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18 results

  • Chapter 3 - Translation and/as Adaptation

  • from Part I - Adapting Greek Tragedy
  • Edited by Vayos Liapis, Open University of Cyprus, Avra Sidiropoulou, Open University of Cyprus
  • Book:
    Adapting Greek Tragedy
    Published online:
    12 March 2021
    Print publication:
    01 April 2021, pp 110-130

  • Summary

    This chapter discusses how translation and adaptation are key factors in the 'thick' cultural processes that reconnect past and present. Starting from the premise that translations are works in their own right, the argument shows how translation and adaptation of works from other times, places, and languages are themselves forms of reception and of cultural commentary. Special attention is given to situating mediations, displacements, and moments of heightened receptivity in language, performance, and hermeneutics. Three examples from the translation and performance history of Aeschylus' Oresteia are analysed in depth: the subtitled YouTube production of the Watchman's scene by Barefaced Greek; the collaboration in text, performance, and mask design between Tony Harrison and Jocelyn Herbert; and the symbiosis of translation and adaptation in Yael Farber's Molora. The concluding section of the discussion points to future directions in the relationship between translation/adaptation and the construction of cultural memories.

  • Preface

  • Lorna Hardwick
  • Journal:
    New Surveys in the Classics / Volume 49 / 2019
    Published online by Cambridge University Press:
    17 February 2025, pp. v-vi
    Print publication:
    2019
    • Article
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  • 21 - ‘Shards and suckers’

  • from Part 5 - Homeric receptions
  • Edited by Robert Fowler, University of Bristol
  • Book:
    The Cambridge Companion to Homer
    Published online:
    28 May 2006
    Print publication:
    14 October 2004, pp 344-362

  • Summary

    On 12 April 1989 in the Main House of the Düsseldorf Theatre a staged version of Homer’s Iliad had its première. Die Ilias des Homer was a co-production between the Düsseldorf Schauspielhaus and the Schauspiel Essen. It was presented in two parts, each lasting two and a half hours, directed by Hansgöunther Heyme and Hanns-Dietrich Schmidt, based on the translation into German by the Homer scholar Wolfgang Schadewaldt (1900-74) who had completed work on the project shortly before his death. A proposal to make the version into a television production to be shown in the early evening in order to attract a young audience to Homer had foundered for financial reasons.

    Alongside his research, Schadewaldt also worked extensively on translations, many of which were published in the later stages of his career and some of which were staged. In 1958 he had published a prose translation of the Odyssey so the Iliad translation both completed his translation of Homer and linked to his staged translations of Greek drama. Schadewaldt also published works on the history of German culture, especially on the relationship between classicism and Romanticism, including Goethe-Studien: Natur und Altertum (1963). T

  • Philomel and pericles: Silence in the funeral speech

  • Lorna Hardwick
  • Journal:
    Greece & Rome / Volume 40 / Issue 2 / October 1993
    Published online by Cambridge University Press:
    07 September 2009, pp. 147-162
    Print publication:
    October 1993

  • This comment occurs in the closing sequence of the epitaphios of 431/0 attributed to Pericles. The speech was delivered at the public funeral held for Athenian casualties in the first year of the Archidamian War. The earlier part of the speech was devoted to praise of the characteristics, practices, and values of the Athenians as a democratic and imperial community. The features which Pericles is reported as stressing were those which ‘made Athens great’, those by which her dominance was shown. From these is derived the glory achieved by those who died ‘as became Athenians’ (2.43).

  • Ancient Amazons ‘ Heroes, Outsiders or Women?

  • Lorna Hardwick
  • Journal:
    Greece & Rome / Volume 37 / Issue 1 / April 1990
    Published online by Cambridge University Press:
    07 September 2009, pp. 14-36
    Print publication:
    April 1990

  • The network of associations of the word Amazon still plays a part in the shorthand of modern discourse. Its connotations may vary from a slightly comic praise of sporting excellence in women to underlying insinuations that Amazons are not quite feminine. When applied by politicians and journalists to the women in the Peace Camp at Greenham Common during the 1980s, for example, the epithet Amazon carried the implication that these women rejected men and had developed a society apart (therefore (sịc) they must be subversives, lesbians, communists, hippies – etc. etc.). Modern usage perhaps emphasizes the unusual or even threatening associations; Amazons are, for whatever reason, outside the ‘normal’ parameters of life-style and achievements. Ancient usage presupposed an additional element, Amazons as a subject for artistic and poetic interest. The reasons why this was so do much to explain how and why the image of the Amazons communicated certain associations and how these in turn relate to underlying assumptions about the framework of Greek society and its values.