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Ulysses in Black
In this groundbreaking work, Patrice D. Rankine asserts that the classics need not be a mark of Eurocentrism, as they have long been considered. Instead, the classical tradition can be part of a self-conscious, prideful approach to African American culture, esthetics, and identity. Ulysses in Black demonstrates that, similar to their white counterparts, African American authors have been students of classical languages, literature, and mythologies by such writers as Homer, Euripides, and Seneca. Ulysses in Black closely analyzes classical themes (the nature of love and its relationship to the social, Dionysus in myth as a parallel to the black protagonist in the American scene, misplaced Uly...
They Aren't, Until I Call Them
The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data is available in the internet at http://dnb.d-nb.de.
Aristotle and Black Drama
Civil disobedience has a tattered history in the American story. Described by Martin Luther King Jr. as both moral reflection and political act, the performance of civil disobedience in the face of unjust laws is also, Patrice Rankine argues, a deeply artistic practice. Modern parallels to King's civil disobedience can be found in black theater, where the black body challenges the normative assumptions of classical texts and modes of creation. This is a theater of civil disobedience. Utilizing Aristotle's Poetics, Rankine ably invokes the six aspects of Aristotelian drama--character, story, thought, spectacle, song, and diction. He demonstrates the re-appropriation and rejection of these themes by black playwrights August Wilson, Adrienne Kennedy, and Eugene O'Neill. Aristotle and Black Drama frames the theater of civil disobedience to challenge the hostility that still exists between theater and black identity.
The Oxford Handbook of Greek Drama in the Americas
The Oxford Handbook of Greek Drama in the Americas is the first edited collection to discuss the performance of Greek drama across the continents and archipelagos of the Americas from the beginning of the nineteenth century to the present. The study and interpretation of the classics have never been restricted by geographical or linguistic boundaries but, in the case of the Americas, long colonial histories have often imposed such boundaries arbitrarily. This volume tracks networks across continents and oceans and uncovers the ways in which the shared histories and practices in the performance arts in the Americas have routinely defied national boundaries. With contributions from classicists...
Gladiators
The games comprised gladiatorial fights, staged animal hunts (venationes) and the executions of convicted criminals and prisoners of war. Besides entertaining the crowd, the games delivered a powerful message of Roman power: as a reminder of the wars in which Rome had acquired its empire, the distant regions of its far-flung empire (from where they had obtained wild beasts for the venatio), and the inevitability of Roman justice for criminals and those foreigners who had dared to challenge the empire's authority. Though we might see these games as bloodthirsty, cruel and reprehensible condemning any alien culture out of hand for a sport that offends our sensibilities smacks of cultural chauv...
Ulysses in Black
In this groundbreaking work, Patrice D. Rankine asserts that the classics need not be a mark of Eurocentrism, as they have long been considered. Instead, the classical tradition can be part of a self-conscious, prideful approach to African American culture, esthetics, and identity. Ulysses in Black demonstrates that, similar to their white counterparts, African American authors have been students of classical languages, literature, and mythologies by such writers as Homer, Euripides, and Seneca. Ulysses in Black closely analyzes classical themes (the nature of love and its relationship to the social, Dionysus in myth as a parallel to the black protagonist in the American scene, misplaced Uly...
Classicisms in the Black Atlantic
Classicisms in the Black Atlantic explores how black authors and artists in the Atlantic world have shaped and reshaped the cultural legacies of classical antiquity from the aftermath of slavery up to the present day to represent black voices and experiences, often revealing in the process effaced black presences in classical antiquity.
Brill’s Companion to Classics in the Early Americas
Brill’s Companion to Classics in the Early Americas illuminates the remarkable range of Greco-Roman classical receptions across the western hemisphere from the late fifteenth to the early nineteenth century. Bringing together fifteen essays by scholars working at the intersection of Classics and all aspects of Americanist studies, this unique collection examines how Hispanophone, Lusophone, Anglophone, Francophone, and/or Indigenous individuals engaged with Greco-Roman literary cultures and materials. By coming at the matter from a multilingual transhemispheric perspective, it disrupts prevailing accounts of classical reception in the Americas which have typically privileged North over South, Anglophone over non-Anglophone, and the cultural production of hegemonic groups over that of more marginalized others. Instead it offers a fresh account of how Greco-Roman literatures and ideas were in play from Canada to the Southern Cone to the Caribbean, treating classical reception in the early Americas as a dynamic, polyvocal phenomenon which is truly transhemispheric in reach.
Classics, the Culture Wars, and Beyond
Scrutinizes the contentious ideological feuds in American academia during the 1980s and 1990s
African Athena
African Athena examines the history of intellectuals and literary writers who contested the white, dominant Euro-American constructions of the classical past and its influence on the present.
