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The Oresteia

Autor Aeschylus Traducere de E. D. a. Morshead
en Limba Engleză Paperback
The Oresteia is a trilogy of Greek tragedies written by Aeschylus which concerns the end of the curse on the House of Atreus. When originally performed it was accompanied by Proteus, a satyr play that would have been performed following the trilogy; it has not survived. The term "Oresteia" may have originally referred to all four plays, but today is generally used to designate only the surviving trilogy. The only surviving example of a trilogy of ancient Greek plays, the Oresteia was originally performed at the Dionysia festival in Athens in 458 BC, where it won first prize. A principal theme of the trilogy is the shift from the practice of personal vendetta to a system of litigation. The name derives from the character Orestes, who sets out to avenge his father after his mother's affair with Aegisthus. Aeschylus (circa 525 BC - 455 BC) was the first of the three ancient Greek tragedians whose plays can still be read or performed, the others being Sophocles and Euripides. He is often described as the father of tragedy: our knowledge of the genre begins with his work and our understanding of earlier tragedies is largely based on inferences from his surviving plays. According to Aristotle, he expanded the number of characters in plays to allow for conflict amongst them, whereas previously characters had interacted only with the chorus. Only seven of his estimated seventy to ninety plays have survived into modern times.
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Specificații

ISBN-13: 9781482315424
ISBN-10: 1482315424
Pagini: 198
Dimensiuni: 152 x 229 x 11 mm
Greutate: 0.27 kg
Editura: CREATESPACE

Descriere

Descriere de la o altă ediție sau format:
Aeschylus' famed plays Agamemnon, The Libation Bearers, and The Eumenides comprise the Oresteia, which uses the dark and convoluted story of a family curse, and a long history of murder and revenge, to raise haunting questions about the nature and the price of justice. In Agamemnon , the Argive king reaches home following his victory in the Trojan War, only to meet his death at the hand of his wife, Clytemnestra. Horrible as this deed is shown to be, we also come to understand in the course of the play how justice has been satisfied by Agamemnon's murder. The second play in the trilogy, The Libation Bearers (Choephoroe), portrays the vengeance of Agamemnon's son Orestes, who returns from exile to exact the price of his father's murder. With the aid of his sister Electra, Orestes kills Clytemnestra, and her lover, Aegisthus. By spilling his mother's blood, however, he invites the wrath of the ancient Erinyes, or Furies, and they begin to pursue him. The Eumenides shows the Furies' pursuit of Orestes, who is protected by the younger god Apollo. Orestes is ultimately tried for his crime in Athens, and Athena, goddess of wisdom, casts the deciding vote on his behalf, and releases him from the ancient familial blood-guilt. Athena persuades the Furies to accept the new legal justice and a new role in the polis, as Kindly Ones, who will bless the city of Athens and its land. In this exciting new translation, at once faithful to the original and as fully alive as a poem in English, Alan Shapiro and Peter Burian showcase the complexity and intricate imagery of this great work of Athenian tragic poetry.

Notă biografică

Alan Shapiro is Professor of English at the University of North Carolina at Chapel Hill and the author of a number of prize-winning volumes of poetry and prose, including The Dead Alive and Busy, winner of the 2001 Kingsley Tufts Award. Peter Burian is Professor of Classics at Duke University. Together, they act as the general editors for Oxford's Greek Tragedy in New Translations series.

Cuprins

Note
The Oresteia: Introduction
DAVID GRENE
The Oresteia: the Theatrical Perspective
NICHOLAS RUDALL
Translating for the Stage and from the Stage
WENDY DONIGER O'FLAHERTY
Part One: Unabridged Translation
Agamemnon
The Libation Bearers
The Eumenides
Part Two: Acting Version
Agamemnon
The Libation Bearers
The Eumenides

Recenzii

Peter Meineck's new rendition of the Oresteia is that rare and wonderful thing: a text accessible to the Greekless audience while still preserving the vocabulary of Aeschylus. Those of us who have seen Peter Meineck's performances have long marveled at his ability to turn Greek into clear English, how he does not do 'versions' of the plays, how he does not rewrite the ancients into modern jargon (even his comedies maintain more Aristophanic text than is usual). Here lines that students have always needed explicated stand clear. . . . Helene Foley has provided a fine introduction for this translation. Introduction and translation together provide an exciting text, one that should be widely read, widely used. --Karelisa Hartigan, University of Florida, in The Classical Outlook

. . . a translation for the stage by an experienced man of the theater. Its virtues are very real, and, though Meineck makes them seem easy, very hard to achieve. The idiom is contemporary without yielding to the siren song of gimmicky updating; it manages to be clear without betraying Aeschylus’ complexity or sacrificing his intricate imagery. What makes it effective on stage makes it work on the page, too. With the added guidance of Helene Foley's characteristically intelligent Introduction and Meineck's own crisp annotation and full stage directions, this translation offers the most approachable and in many ways most communicative Oresteia now available. It will be the Oresteia of choice for many teachers and their students, as well as for readers interested in what makes Greek tragedy great theater. --Peter Burian, Duke University

Textul de pe ultima copertă

"By far the best translation. Faithful to the original Greek text and eminently readable. The notes constitute a commentary in their own right."--Albert Henrichs, Harvard University "Hugh Lloyd-Jones's translation stands out very much from any other. The notes are first class and scholarly."--Jeffrey Rusten, Cornell University