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Zusatztext 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. Informationen zum Autor 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. Klappentext 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 Derek Walcott 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 by international scholars, who debate the relationship between the culture of Greece and Rome and the changes that have followed the end of colonial empires. Zusammenfassung 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 Derek Walcott 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 by international scholars, who debate the relationship between the culture of Greece and Rome and the changes that have followed the end of colonial empires. Inhaltsverzeichnis Introduction 1. Case Studies Trojan Women in Yorubaland: Femi Osofisan's Women of Owu Antigone's Boat: The Colonial and the Post-colonial in Tegonni: An African Antigone, by Femi Osofisan Antigone and her African Sisters: West African Versions of a Greek Original Cross-Cultural Bonds Between Ancient Greece and Africa: Implications for Contemporary Staging Practices The Curse of the Canon: Ola Rotimi's The Gods Are Not to Blame Post-Apartheid Electra: In the City of Paradise Sculpture at Heroes' Acre, Harare, Zimbabwe: Classical Influences? 2. Encounter and New Traditions Perspectives on Post-Colonialism in South Africa: The Voortrekker Monument's Classical Heritage Imperial Reflections: The Post-Colonial Verse-Novel as Post-Epic A Divided Child, or Derek Walcott's Post-Colonial Philology Arriving Backwards: The Return of The Odyssey in the English-Speaking Caribbean `If you are a woman': Theatrical Wominizing in Sophocles' Antigone and Fugard, Kani, and Ntshona's The Island Finding a Post-colonial Voice for Antigone: Seamus Heaney's Burial at Thebes 3. Challenging Theory: Framing Further Questions `The same kind of smile': About the `Use and Abuse' of Theory in Constructing the Classical Tradition From the Peloponnesian War to the Iraq War: A Post-Liberal Reading of Greek Tragedy Western Classics, Indian Classics: Postcolonial Contestations Shades of Multilingualism and Multivocalism in Modern Performances of Greek Tragedy in Post-Colonial Contexts The Empire Never Ended Another Architecture ...
