Silvia Bigliazzi ed., Sophocles' Oedipus at Colonus and Shakespeare's King Lear. Classical and Early Modern Intersections. Skenè. Studies I
Framed by a broader discussion of classical and early modern intersections with a focus on the meaning of ‘Classical’ in the English Renaissance, this collection of essays concentrates on how Sophocles’ Oedipus at Colonus and Shakespeare’s King Lear tackle common thematic, dramatic, genetic, cultural, performative and translative issues from different angles. Among the book’s foci of interest, the relation between fathers and sons/daughters, madness and wisdom of power, being and non-being in human and divine time.
Silvia Bigliazzi ed., Julius Caesar 1935. Shakespeare and Censorship in Fascist Italy. Skenè. Texts
This parallel edition presents for the first time the integral script of the censored text of Shakespeare's Julius Caesar, in Raffalello Piccoli's 1925 Italian translation. The script was prepared for the 1935 production of the play organised by OND at the Maxentius Basilica in Rome, at the eve of Mussolini's colonial enterprise in Ethiopia.
Giovanna Di Martino, Translating and Adapting Aeschylus’ Seven Against Thebes in America, Skenè. Studies II
This book addresses the influence that the Seven Against Thebeshas increasingly gained in America (and worldwide), through the analysis of three translations (H. Bacon and A. Hecht 1973; S. Sandy 1999; C. Mueller 2002) and two adaptations (W. Power 2001-8, The Seven; E. Stewart 2001-4, Seven Against Thebes) of the play. Beginning in the late 1960s, Seven Against Thebes has been unlocked in its multiple readings: at stake are Eteocles’ and Polynices’ relationships with their (past and present) genos, and the meaning of their claims to the polis, their inheritance, with the metatheatrical implications of a larger discourse on their own relationship with Oedipus’ legacy. An almost forgotten play has today become a timely response to the delicate cultural power dynamics at work in a place like America, where the fight for (ethnic, cultural, economic, linguistic, etc.) recognition is a daily reality and always involves a dialogue with one’s own past and tradition. In other words, the Seven represents a fertile playground to grapple with our legacy and tradition – as the three translators and two adapters show in their works – as well an apt response to today’s urgent need for a self-(re)definition.