Ancient Greek culture is pervaded by a profound ambivalence regarding female beauty. It is an awe-inspiring, supremely desirable gift from the gods, essential to the perpetuation of a man's name through reproduction; yet it also grants women terrifying power over men, posing a threat inseparable from its allure. The myth of Helen is the central site in which the ancient Greeks expressed and reworked their culture's anxieties about erotic desire. Despite the passage of three millennia, contemporary culture remains almost obsessively preoccupied with all the power and danger of female beauty and sexuality that Helen still represents. Yet Helen, the embodiment of these concerns for our purported cultural ancestors, has been little studied from this perspective. Such issues are also central to contemporary feminist thought. Helen of Troy engages with the ancient origins of the persistent anxiety about female beauty, focusing on this key figure from ancient Greek culture in a way that both extends our understanding of that culture and provides a useful perspective for reconsidering aspects of our own. Moving from Homer and Hesiod to Sappho, Aeschylus, and Euripides, Ruby Blondell offers a fresh examination of the paradoxes and ambiguities that Helen embodies. In addition to literary sources, Blondell considers the archaeological record, which contains evidence of Helen's role as a cult figure, worshipped by maidens and newlyweds. The result is a compelling new interpretation of this alluring figure.

Series Information:
The New Classical Canon

How a legendary woman from classical antiquity has come to embody the threat of transcendent beauty in movies and TV Helen of Troy in Hollywood examines the figure of the mythic Helen in film and television, showing how storytellers from different Hollywood eras have used Helen to grapple with the problems and dynamics of gender and idealized femininity. Paying careful attention to how the image of Helen is embodied by the actors who have portrayed her, Ruby Blondell provides close readings of such works as Wolfgang Petersen’s Troy and the Star Trek episode “Elaan of Troyius,” going beyond contextualization to lead the reader through a fundamental rethinking of how we understand and interpret the classic tradition. A luminous work of scholarship by one of today’s leading classicists, Helen of Troy in Hollywood highlights the importance of ancient myths not as timeless stories frozen in the past but as lenses through which to view our own artistic, cultural, and political moment in a new light. This incisive book demonstrates how, whether as the hero of these screen adaptations or as a peripheral character in male-dominated adventures, the mythic Helen has become symbolic of the perceived dangers of superhuman beauty and transgressive erotic agency.

This is an English translation of Sophocles' famous tragedy of Oedipus and the fate he so much tries to avoid. Focus Classical Library provides close translations with notes and essays to provide access to understanding Greek culture.

This book attempts to bridge the gulf that still exists between 'literary' and 'philosophical' interpreters of Plato by looking at his use of characterization. Characterization is intrinsic to dramatic form and a concern with human character in an ethical sense pervades the dialogues on the discursive level. Form and content are further reciprocally related through Plato's discursive preoccupation with literary characterization. Two opening chapters examine the methodological issues involved in reading Plato 'as drama' and a set of questions surrounding Greek 'character' words (especially ethos), including ancient Greek views about the influence of dramatic character on an audience. The figure of Sokrates qua Platonic 'hero' also receives preliminary discussion. The remaining chapters offer close readings of select dialogues, chosen to show the wide range of ways in which Plato uses his characters, with special emphasis on the kaleidoscopic figure of Sokrates and on Plato's own relationship to his 'dramatic' hero.

This book is an interpretation of Plato in general, and several dialogues in particular, from the point of view of dramatic characterization. It thus forms part of the growing movement towards reading Plato "dramatically", as opposed to reading him as if he wrote treatises like most philosophers. At the same time, it is intended to show traditional "analytical" philosophical interpreters the significance of such "literary" features for understanding the philosophical issues at stake. Its overall goal is to bridge the gulf still existing between such interpreters and more "literary" readers.

English translation of Sophocles' tragedy of Antigone and her fate when she decides to bury her dead brother Polyneices. Focus Classical Library provides close translations with notes and essays to provide access to understanding Greek culture.

Women on the Edge, provides a broad sample of Euripides' plays focusing on women, and spans the chronology of his surviving works, from the earliest, to his last, incomplete, and posthumously produced masterpiece. Each play shows women in various roles--slave, unmarried girl, devoted wife, alienated wife, mother, daughter--providing a range of evidence about the kinds of meaning and effects the category woman conveyed in ancient Athens.
Although women are often represented in tragedy as powerful and free in their thoughts, speech and actions, real Athenian women were apparently expected to live unseen and silent, under the control of fathers and husbands, with little political or economic power. Women in tragedy often disrupt 'normal' life by their words and actions: they speak out boldly, tell lies, cause public unrest, violate custom, defy orders, even kill. Female characters in tragedy take actions, and raise issues central to the plays in which they appear, sometimes in strong opposition to male characters. The four plays in this collection offer examples of women who support the status quo and women who oppose and disrupt it; sometimes these are the same characters.
The translations in Women on the Edge help readers locate the plays within their original social, cultural and performance context and mediate between ancient and modern ideologies.

Ancient Greek culture is pervaded by a profound ambivalence regarding female beauty. It is an awe-inspiring, supremely desirable gift from the gods, essential to the perpetuation of a man's name through reproduction; yet it also grants women terrifying power over men, posing a threat inseparable from its allure. The myth of Helen is the central site in which the ancient Greeks expressed and reworked their culture's anxieties about erotic desire. Despite the passage of three millennia, contemporary culture remains almost obsessively preoccupied with all the power and danger of female beauty and sexuality that Helen still represents. Yet Helen, the embodiment of these concerns for our purported cultural ancestors, has been little studied from this perspective. Such issues are also central to contemporary feminist thought. Helen of Troy engages with the ancient origins of the persistent anxiety about female beauty, focusing on this key figure from ancient Greek culture in a way that both extends our understanding of that culture and provides a useful perspective for reconsidering aspects of our own. Moving from Homer and Hesiod to Sappho, Aeschylus, and Euripides, Ruby Blondell offers a fresh examination of the paradoxes and ambiguities that Helen embodies. In addition to literary sources, Blondell considers the archaeological record, which contains evidence of Helen's role as a cult figure, worshipped by maidens and newlyweds. The result is a compelling new interpretation of this alluring figure.

In his "Symposium," Plato crafted a set of speeches in praise of love that has influenced writers and artists from antiquity to the present. Early Christian writers read the dialogue's 'ascent passage' as a vision of the soul's journey to heaven. Ficino's commentary on the "Symposium" inspired poets and artists throughout Renaissance Europe and introduced 'a Platonic love' into common speech. Themes or images from the dialogue have appeared in paintings or sketches by Rubens, David, Feuerbach, and La Farge, as well as in musical compositions by Satie and Bernstein. The dialogue's view of love as 'desire for eternal possession of the good' is still of enormous philosophical interest in its own right. Nevertheless, questions remain concerning the meaning of specific features, the significance of the dialogue as a whole, and the character of its influence. This volume brings together an international team of scholars to address such questions.

In this international and interdisciplinary collection of critical essays, distinguished contributors examine a crucial premise of traditional readings of Plato's dialogues: that Plato's own doctrines and arguments can be read off the statements made in the dialogues by Socrates and other leading characters. The authors argue in general and with reference to specific dialogues, that no character should be taken to be Plato's mouthpiece. This is essential reading for students and scholars of Plato. Visit our website for sample chapters

English translation. In Sophocles' last play, the aged playwright completes the story of Oedipus, who confronts the array of obstacles that stand between him and the death he craves. Includes maps, essays and suggestions for further reading. The text was revised in 2002 to be consistent with the other two volumes.

This anthology includes English translations of three plays of Sophocles' Oidipous Cycle: Antigone, King Oidipous, and Oidipous at Colonus. The trilogy includes an introductory essay on Sophocles life, ancient theatre, and the mythic and religious background of the plays. Each of these plays is available from Focus in a single play edition. Focus Classical Library provides close translations with notes and essays to provide access to understanding Greek culture.

Woodruff's work with Peter Meineck makes this text one that is accessible to today's students and could be staged for modern audiences. Line notes printed at the bottom of the page bring a reader further quick assistance. . . . The choral odes as rendered here deserve special notice. After giving a succinct analysis of each in his introduction, Woodruff translates the lyrics into English that is both poetic and comprehensible. . . . Woodruff's rendering of the dialogue moves along easily; these are lines that any contemporary Antigone, Creon or Haemon might speak. Antigone's words on the gods' unwritten laws keep close to the Greek and yet would be authentic for a modern speaker. . . . Woodruff's introduction is a strong, clear, and clever blend of basic traditional information (to those who know Greek tragedy) and fresh insights. . . . Should our drama department ask for my advice as to a playable text, I would certainly suggest Woodruff's new version. --Karelisa Hartigan, The Classical Bulletin