Classics in Post-Colonial Worlds

Paperback | July 29, 2010

EditorLorna Hardwick, Carol Gillespie

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Classical material was traditionally used to express colonial authority, but it was also appropriated by imperial subjects to become first a means of challenging colonialism and then a rich field for creating cultural identities that blend the old and the new. Nobel prize-winners such as DerekWalcott and Seamus Heaney have rewritten classical material in their own cultural idioms while public sculpture in southern Africa draws on Greek and Roman motifs to represent histories of African resistance and liberation. These developments are explored in this collection of essays byinternational scholars, who debate the relationship between the culture of Greece and Rome and the changes that have followed the end of colonial empires.

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Classical material was traditionally used to express colonial authority, but it was also appropriated by imperial subjects to become first a means of challenging colonialism and then a rich field for creating cultural identities that blend the old and the new. Nobel prize-winners such as DerekWalcott and Seamus Heaney have rewritten cl...

Lorna Hardwick is Professor of Classical Studies and Director of the Reception of Classical Texts and Images Research Project at The Open University. Carol Gillespie is Project Officer of the Reception of Classical Texts and Images Research Project at The Open University.

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Format:PaperbackDimensions:448 pages, 8.5 × 5.43 × 0.07 inPublished:July 29, 2010Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0199591326

ISBN - 13:9780199591329

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Table of Contents

Lorna Hardwick: Introduction1. Case StudiesFelix Budelmann: Trojan Women in Yorubaland: Femi Osofisan's Women of OwuBarbara Goff: Antigone's Boat: The Colonial and the Post-colonial in Tegonni: An African Antigone, by Femi OsofisanJames Gibbs: Antigone and her African Sisters: West African Versions of a Greek OriginalJohn Djisenu: Cross-Cultural Bonds Between Ancient Greece and Africa: Implications for Contemporary Staging PracticesMichael Simpson: The Curse of the Canon: Ola Rotimi's The Gods Are Not to BlameElke Steinmeyer: Post-Apartheid Electra: In the City of ParadiseJessie Maritz: Sculpture at Heroes' Acre, Harare, Zimbabwe: Classical Influences?2. Encounter and New TraditionsRichard Evans: Perspectives on Post-Colonialism in South Africa: The Voortrekker Monument's Classical HeritageKatharine Burkitt: Imperial Reflections: The Post-Colonial Verse-Novel as Post-EpicCashman Kerr Prince: A Divided Child, or Derek Walcott's Post-Colonial PhilologyEmily Greenwood: Arriving Backwards: The Return of The Odyssey in the English-Speaking CaribbeanRush Rehm: `If you are a woman': Theatrical Wominizing in Sophocles' Antigone and Fugard, Kani, and Ntshona's The IslandStephen E. Wilmer: Finding a Post-colonial Voice for Antigone: Seamus Heaney's Burial at Thebes3. Challenging Theory: Framing Further QuestionsFreddy Decreus: `The same kind of smile': About the `Use and Abuse' of Theory in Constructing the Classical TraditionMichiel Leezenberg: From the Peloponnesian War to the Iraq War: A Post-Liberal Reading of Greek TragedyHarish Trivedi: Western Classics, Indian Classics: Postcolonial ContestationsLorna Hardwick: Shades of Multilingualism and Multivocalism in Modern Performances of Greek Tragedy in Post-Colonial ContextsIka Willis: The Empire Never EndedDavid Richards: Another Architecture

Editorial Reviews

"an important indication of the newly prominent place of reception studies in the field of classics and also an interesting barometer of the current state of such studies." --Rachel D. Friedman, Bryn Mawr Classical Review