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Die bisherige altertumswissenschaftliche Rezeptionsforschung zu Euripides konzentrierte sich zumeist auf die Euripides-Rezeption in der griechischen Komödie oder in der römischen Tragödie. Eine eigene Beschäftigung mit der Euripides-Rezeption in Kaiserzeit und Spätantike stellt bislang ein Desiderat dar. Euripides galt in dieser Zeit als Tragiker schlechthin und war der nach Homer am häufigsten zitierte Dichter. Zumeist rezipiert über die Buchlektüre, war er Schulautor geworden und hatte insbesondere im Rhetorikunterricht der „Zweiten Sophistik“ eine herausragende Stellung. In dieser Epoche konstituierte sich auch die uns bekannte Auswahl an Stücken des Euripides.Der Band arbeitet in 20 Beiträgen die griechischsprachige Rezeption der vollständig wie auch der fragmentarisch erhaltenen Tragödien des Euripides in zentralen Autoren und literarischen Gattungen der Kaiserzeit und Spätantike heraus und diskutiert sie im kultur- und literaturhistorischen Kontext der Zeit. So leistet der Band nicht nur einen Beitrag zur Erforschung der Wirkungsgeschichte des Euripides, sondern auch zu einem allgemeinen Verständnis der literarischen Kultur der Kaiserzeit und Spätantike. During the Imperial Rome Age and late antiquity, Euripides was considered a tragic dramatist par excellence, and, alongside Homer, was the most frequently cited poet. This book examines the reception of complete and partially transmitted Euripidean tragedies into the Greek language vis-à-vis key authors and literary genres of the Imperial Rome Age and late antiquity, situating them in the cultural and literary-historical context of the times.

Euripides. --- Rezeption. --- Tragödie. --- reception. --- tragedy. --- LITERARY CRITICISM / Ancient & Classical.

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Maria Stuart, described as Schiller’s most perfect play, is a finely balanced, inventive account of the last day of the captive Queen of Scotland, caught up in a great contest for the throne of England after the death of Henry VIII and over the question of England’s religious confession. Hope for and doubt about Mary’s deliverance grow in the first two acts, given to the Scottish and the English queen respectively, reach crisis at the center of the play, where the two queens meet in a famous scene in a castle park, and die away in acts four and five, as the action advances to its inevitable end. The play is at once classical tragedy of great fineness, costume drama of the highest order-a spectacle on the stage-and one of the great moments in the long tradition of classical rhetoric, as Elizabeth’s ministers argue for and against execution of a royal prisoner. Flora Kimmich’s new translation carefully preserves the spirit of the original: the pathos and passion of Mary in captivity, the high seriousness of Elizabeth’s ministers in council, and the robust comedy of that queen’s untidy private life. Notes to the text identify the many historical figures who appear in the text, describe the political setting of the action, and draw attention to the structure of the play. Roger Paulin’s introduction discusses the many threads of the conflict in Maria Stuart and enriches our understanding of this much-loved, much-produced play. Maria Stuart is the last of a series of five new translations of Schiller’s major plays, accompanied by notes to the text and an authoritative introduction, and made freely available to read and download for free on the publisher’s website. Printed and digital editions, together with supplementary digital material, can also be found at www.openbookpublishers.com

Literature (General) --- translation --- Germany --- succession --- Friedrich Schiller --- play --- Roger Paulin --- Maria Stuart --- classical tragedy --- historic drama --- Flora Kimmich

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Schiller’s play Kabale und Liebe, usually translated into English as Love and Intrigue, represents the disastrous consequences that follow when social constraint, youthful passion, and ruthless scheming collide in a narrow setting. Written between 1782 and 1784, the play bears the marks of life at the court of the despotic Duke of Württemberg, from which Schiller had just fled, and of a fraught liaison he entered shortly after his flight. It tells the tale of a love affair that crosses the boundaries of class, between a fiery and rebellious young nobleman and the beautiful and dutiful daughter of a musician. Their affair becomes entangled in the competing purposes of malign and not-so-malign figures present at an obscure and sordid princely court somewhere in Germany. It all leads to a climactic murder-suidde. Love and Intrigue, the third of Schiller’s canonical plays (after The Robbers and Fiesco’s Conspiracy at Genoa), belongs to the genre of domestic tragedy, with a small cast and an action indoors. It takes place as the highly conventional world of the late eighteenth century stands poised to erupt, and these tensions pervade its setting and emerge in its action. This lively play brims with comedy and tragedy expressed in a colorful, highly colloquial, sometimes scandalous prose well captured in Flora Kimmich’s skilled and informed translation. An authoritative essay by Roger Paulin introduces the reader to the play.

Schiller, Friedrich, --- Theatre studies --- Literary studies: plays & playwrights --- Friedrich Schiller --- play --- translation --- Kabale und Liebe --- social constraint --- youthful passion --- Duke of Württemberg --- love affair --- class --- Germany --- domestic tragedy --- Roger Paulin

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This generous selection of published essays by the distinguished classicist Charles Segal represents over twenty years of critical inquiry into the questions of what Greek tragedy is and what it means for modern-day readers. Taken together, the essays reflect profound changes in the study of Greek tragedy in the United States during this period-in particular, the increasing emphasis on myth, psychoanalytic interpretation, structuralism, and semiotics.

Greek drama (Tragedy) --- Mythology, Greek, in literature --- Tragédie grecque --- Mythologie grecque dans la littérature --- History and criticism --- Histoire et critique --- 875-21 --- -Mythology, Greek, in literature --- Griekse literatuur: tragedie --- 875-21 Griekse literatuur: tragedie --- Tragédie grecque --- Mythologie grecque dans la littérature --- Mythology, Greek, in literature. --- History and criticism.

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Within two years of the success of his first play Die Räuber on the German stage in 1781, Schiller wrote a drama based on a rebellion in sixteenth century Italy, its title: The Conspiracy of Fiesco at Genoa. A Republican Tragedy. At the head of the conspiracy stood Gian Luigi de' Fieschi (1524-1547), Schiller's Count Fiesco, a clever, courageous and charismatic figure, an epicurean and unhesitant egoist, politically ambitious, but unsure of his aims and principles. He is one of Schiller's mysterious, protean characters who secures both our admiration and disgust. With Fiesco as tragic hero Schiller examines the complex entanglement of morality and politics in his own times that was to preoccupy him throughout his career. The play was a moderate success when performed in Mannheim in 1784; it was more popular in Berlin where, during Schiller's lifetime, it was performed many times in a version by Carl Plümicke, which however radically altered the play's meaning. There have been some noteworthy productions on the German stage and television, even if it has remained somewhat in the shadow of Schiller's other works. In the English-speaking world it is all but unknown and very seldom performed. This translation aims to remedy that oversight.

Fiéschi, Gian Luigi, --- Di Lavagna, Gian Luigi Fiéschi, --- Fiéschi, Gio. Luigi de --- Fieschi, Giovanni Luigi, --- Fieschi, Giovanni Luigi de', --- Fieschi, John Lewis, --- Fiesco, John Lewis, --- Fieskie, Gian Luigi, --- Fiesque, Jean-Louis, --- John Lewis, --- Lavagna, Gian Luigi Fiéschi, --- Lewis, John, --- Genoa (Italy) --- History --- Cenova (Italy) --- Chenova (Italy) --- Comune di Genova (Italy) --- Dženova (Italy) --- Gênes (Italy) --- Genova (Italy) --- Ĝenovo (Italy) --- Genua (Italy) --- Genuja (Italy) --- Gènuva (Italy) --- Genuya (Italy) --- Gjenova (Italy) --- Gjenue (Italy) --- Gorad Genuja (Italy) --- Janov (Italy) --- Jenoba (Italy) --- Jinuwah (Italy) --- Xénova (Italy) --- Zena (Italy) --- جنوة (Italy) --- Горад Генуя (Italy) --- Генуя (Italy) --- Γένοβα (Italy) --- ג'נובה (Italy) --- יאנאווע (Italy) --- 제노바 (Italy) --- ジェノヴァ (Italy) --- 熱那亞 (Italy) --- 热那亚 (Italy) --- theatre --- drama --- literature --- English translations --- translation --- German drama (Tragedy) --- History and criticism. --- German drama