C. W. Marshall – författare

Wonder Woman, Amazon Princess; Asterix, indefatigable Gaul; Ozymandias, like Alexander looking for new worlds to conquer. Comics use classical sources, narrative patterns, and references to enrich their imaginative worlds and deepen the stories they present. Son of Classics and Comics explores that rich interaction. This volume presents thirteen original studies of representations of the ancient world in the medium of comics. Building on the foundation established by their groundbreaking Classics and Comics (OUP, 2011), Kovacs and Marshall have gathered a wide range of studies with a new, global perspective. Chapters are helpfully grouped to facilitate classroom use, with sections on receptions of Homer, on manga, on Asterix, and on the sense of a 'classic' in the modern world. All Greek and Latin are translated. Lavishly illustrated, the volume widens the range of available studies on the reception of the Greek and Roman worlds in comics significantly, and deepens our understanding of comics as a literary medium. Son of Classics and Comics will appeal to students and scholars of classical reception as well as comics fans.

Wonder Woman, Amazon Princess; Asterix, indefatigable Gaul; Ozymandias, like Alexander looking for new worlds to conquer. Comics use classical sources, narrative patterns, and references to enrich their imaginative worlds and deepen the stories they present. Son of Classics and Comics explores that rich interaction. This volume presents thirteen original studies of representations of the ancient world in the medium of comics. Building on the foundation established by their groundbreaking Classics and Comics (OUP, 2011), Kovacs and Marshall have gathered a wide range of studies with a new, global perspective. Chapters are helpfully grouped to facilitate classroom use, with sections on receptions of Homer, on manga, on Asterix, and on the sense of a 'classic' in the modern world. All Greek and Latin are translated. Lavishly illustrated, the volume widens the range of available studies on the reception of the Greek and Roman worlds in comics significantly, and deepens our understanding of comics as a literary medium. Son of Classics and Comics will appeal to students and scholars of classical reception as well as comics fans.

Wonder Woman. Asterix the Gaul. Watchmen. These popular comics, and many others, use classical sources, narrative patterns, and references to enrich their imaginative worlds and deepen the stories they present. This volume explores that rich interaction. Son of Classics and Comics presents thirteen original studies of representations of the ancient world in the medium of comics. Building on the foundation established by their groundbreaking Classics and Comics (2011), George Kovacs and C. W. Marshall have gathered a wide range of essays with a new, global perspective. Chapters are helpfully grouped to facilitate classroom use, with sections on receptions of Homer, on manga, on Asterix, and on the sense of a "classic" in the modern world. All Greek and Latin passages are translated. Lavishly illustrated, the volume significantly widens the range of available studies on the reception of the Greek and Roman worlds in comics, and deepens our understanding of comics as a literary medium. Son of Classics and Comics will appeal to students and scholars of classical reception as well as comics fans.

Wonder Woman. Asterix the Gaul. Watchmen. These popular comics, and many others, use classical sources, narrative patterns, and references to enrich their imaginative worlds and deepen the stories they present. This volume explores that rich interaction. Son of Classics and Comics presents thirteen original studies of representations of the ancient world in the medium of comics. Building on the foundation established by their groundbreaking Classics and Comics (2011), George Kovacs and C. W. Marshall have gathered a wide range of essays with a new, global perspective. Chapters are helpfully grouped to facilitate classroom use, with sections on receptions of Homer, on manga, on Asterix, and on the sense of a "classic" in the modern world. All Greek and Latin passages are translated. Lavishly illustrated, the volume significantly widens the range of available studies on the reception of the Greek and Roman worlds in comics, and deepens our understanding of comics as a literary medium. Son of Classics and Comics will appeal to students and scholars of classical reception as well as comics fans.

The representation of the ancient world in film has long been an established site of scholarly interest, but animation remains understudied. Given the medium's popularity and its role as an access point to ancient history for young audiences, it deserves more attention and analysis. Why do certain elements of the ancient past resonate and recur in cartoons? Do these productions render the ancient world more accessible, or do they reinforce a sense of distance? This collection of sixteen essays, written by a diverse group of leading scholars, offers answers to these questions as it explores how animation has utilized ancient stories, handed down through mythology, history, and philosophy. In the first section, "Heroes," chapters reflect on the enduring popularity of Hercules, Odysseus, and Icarus, as they explore how mythological tropes, characters, and imagery are frequently mixed and matched to create hybrid interpretations of these timeless tales. "Worlds," the second section, expands outward from the heroic realm and contemplates how animation enables the re-creation of fantastical ancient landscapes. Contributors investigate the classically inspired escapist utopia of Cloud Cuckoo Land in animated productions such as The Lego Movie, Adventure Time, and Gravity Falls, as well as the deployment of the concept of katabasis (descent to the underworld) in features such as Spirited Away and Weathering with You. The last section, "Histories," shows how animation has been used to reconceive the events of the Greco-Roman past in vivid and sometimes subversive ways. Contributors show how Soviet animations drew upon the wise men of antiquity to promote Soviet ideology, and how other productions used representations of Alexander the Great, the Emperor Nero, and the ideas of the philosopher Xenophon to re-evaluate ancient styles of political leadership.This collection adopts a global perspective and shows how an analysis of these productions might not only help us better understand how ancient history is received by a modern audience but can also reveal new aspects of ancient texts themselves, offering clearer and more expansive visions of the past and present.

The representation of the ancient world in film has long been an established site of scholarly interest, but animation remains understudied. Given the medium's popularity and its role as an access point to ancient history for young audiences, it deserves more attention and analysis. Why do certain elements of the ancient past resonate and recur in cartoons? Do these productions render the ancient world more accessible, or do they reinforce a sense of distance? This collection of sixteen essays, written by a diverse group of leading scholars, offers answers to these questions as it explores how animation has utilized ancient stories, handed down through mythology, history, and philosophy. In the first section, "e;Heroes,"e; chapters reflect on the enduring popularity of Hercules, Odysseus, and Icarus, as they explore how mythological tropes, characters, and imagery are frequently mixed and matched to create hybrid interpretations of these timeless tales. "e;Worlds,"e; the second section, expands outward from the heroic realm and contemplates how animation enables the re-creation of fantastical ancient landscapes. Contributors investigate the classically inspired escapist utopia of Cloud Cuckoo Land in animated productions such as The Lego Movie, Adventure Time, and Gravity Falls, as well as the deployment of the concept of katabasis (descent to the underworld) in features such as Spirited Away and Weathering with You. The last section, "e;Histories,"e; shows how animation has been used to reconceive the events of the Greco-Roman past in vivid and sometimes subversive ways. Contributors show how Soviet animations drew upon the wise men of antiquity to promote Soviet ideology, and how other productions used representations of Alexander the Great, the Emperor Nero, and the ideas of the philosopher Xenophon to re-evaluate ancient styles of political leadership. This collection adopts a global perspective and shows how an analysis of these productions might not only help us better understand how ancient history is received by a modern audience but can also reveal new aspects of ancient texts themselves, offering clearer and more expansive visions of the past and present.

The representation of the ancient world in film has long been an established site of scholarly interest, but animation remains understudied. Given the medium's popularity and its role as an access point to ancient history for young audiences, it deserves more attention and analysis. Why do certain elements of the ancient past resonate and recur in cartoons? Do these productions render the ancient world more accessible, or do they reinforce a sense of distance? This collection of sixteen essays, written by a diverse group of leading scholars, offers answers to these questions as it explores how animation has utilized ancient stories, handed down through mythology, history, and philosophy. In the first section, "e;Heroes,"e; chapters reflect on the enduring popularity of Hercules, Odysseus, and Icarus, as they explore how mythological tropes, characters, and imagery are frequently mixed and matched to create hybrid interpretations of these timeless tales. "e;Worlds,"e; the second section, expands outward from the heroic realm and contemplates how animation enables the re-creation of fantastical ancient landscapes. Contributors investigate the classically inspired escapist utopia of Cloud Cuckoo Land in animated productions such as The Lego Movie, Adventure Time, and Gravity Falls, as well as the deployment of the concept of katabasis (descent to the underworld) in features such as Spirited Away and Weathering with You. The last section, "e;Histories,"e; shows how animation has been used to reconceive the events of the Greco-Roman past in vivid and sometimes subversive ways. Contributors show how Soviet animations drew upon the wise men of antiquity to promote Soviet ideology, and how other productions used representations of Alexander the Great, the Emperor Nero, and the ideas of the philosopher Xenophon to re-evaluate ancient styles of political leadership. This collection adopts a global perspective and shows how an analysis of these productions might not only help us better understand how ancient history is received by a modern audience but can also reveal new aspects of ancient texts themselves, offering clearer and more expansive visions of the past and present.

The representation of the ancient world in film has long been an established site of scholarly interest, but animation remains understudied. Given the medium's popularity and its role as an access point to ancient history for young audiences, it deserves more attention and analysis. Why do certain elements of the ancient past resonate and recur in cartoons? Do these productions render the ancient world more accessible, or do they reinforce a sense of distance? This collection of sixteen essays, written by a diverse group of leading scholars, offers answers to these questions as it explores how animation has utilized ancient stories, handed down through mythology, history, and philosophy. In the first section, "Heroes," chapters reflect on the enduring popularity of Hercules, Odysseus, and Icarus, as they explore how mythological tropes, characters, and imagery are frequently mixed and matched to create hybrid interpretations of these timeless tales. "Worlds," the second section, expands outward from the heroic realm and contemplates how animation enables the re-creation of fantastical ancient landscapes. Contributors investigate the classically inspired escapist utopia of Cloud Cuckoo Land in animated productions such as The Lego Movie, Adventure Time, and Gravity Falls, as well as the deployment of the concept of katabasis (descent to the underworld) in features such as Spirited Away and Weathering with You. The last section, "Histories," shows how animation has been used to reconceive the events of the Greco-Roman past in vivid and sometimes subversive ways. Contributors show how Soviet animations drew upon the wise men of antiquity to promote Soviet ideology, and how other productions used representations of Alexander the Great, the Emperor Nero, and the ideas of the philosopher Xenophon to re-evaluate ancient styles of political leadership.This collection adopts a global perspective and shows how an analysis of these productions might not only help us better understand how ancient history is received by a modern audience but can also reveal new aspects of ancient texts themselves, offering clearer and more expansive visions of the past and present.

Since at least 1939, when daily-strip caveman Alley Oop time-traveled to the Trojan War, comics have been drawing (on) material from Greek and Roman myth, literature and history. At times the connection is cosmetic-as perhaps with Wonder Woman's Amazonian heritage-and at times it is almost irrelevant-as with Hercules' starfaring adventures in the 1982 Marvel miniseries. But all of these make implicit or explicit claims about the place of classics in modern literary culture. Classics and Comics is the first book to explore the engagement of classics with the epitome of modern popular literature, the comic book. The volume collects sixteen articles, all specially commissioned for this volume, that look at how classical content is deployed in comics and reconfigured for a modern audience. It opens with a detailed historical introduction surveying the role of classical material in comics since the 1930s. Subsequent chapters cover a broad range of topics, including the incorporation of modern theories of myth into the creation and interpretation of comic books, the appropriation of characters from classical literature and myth, and the reconfiguration of motif into a modern literary medium. Among the well-known comics considered in the collection are Frank Miller's 300 and Sin City, DC Comics' Wonder Woman, Jack Kirby's The Eternals, Neil Gaiman's Sandman, and examples of Japanese manga. The volume also includes an original 12-page "comics-essay," drawn and written by Eisner Award-winning Eric Shanower, creator of the graphic novel series Age of Bronze.

Since at least 1939, when daily-strip caveman Alley Oop time-traveled to the Trojan War, comics have been drawing (on) material from Greek and Roman myth, literature and history. At times the connection is cosmetic-as perhaps with Wonder Woman's Amazonian heritage-and at times it is almost irrelevant-as with Hercules' starfaring adventures in the 1982 Marvel miniseries. But all of these make implicit or explicit claims about the place of classics in modern literary culture. Classics and Comics is the first book to explore the engagement of classics with the epitome of modern popular literature, the comic book. The volume collects sixteen articles, all specially commissioned for this volume, that look at how classical content is deployed in comics and reconfigured for a modern audience. It opens with a detailed historical introduction surveying the role of classical material in comics since the 1930s. Subsequent chapters cover a broad range of topics, including the incorporation of modern theories of myth into the creation and interpretation of comic books, the appropriation of characters from classical literature and myth, and the reconfiguration of motif into a modern literary medium. Among the well-known comics considered in the collection are Frank Miller's 300 and Sin City, DC Comics' Wonder Woman, Jack Kirby's The Eternals, Neil Gaiman's Sandman, and examples of Japanese manga. The volume also includes an original 12-page "comics-essay," drawn and written by Eisner Award-winning Eric Shanower, creator of the graphic novel series Age of Bronze.

Since at least 1939, when daily-strip caveman Alley Oop time-traveled to the Trojan War, comics have been drawing (on) material from Greek and Roman myth, literature and history. At times the connection is cosmetic-as perhaps with Wonder Woman''s Amazonian heritage-and at times it is almost irrelevant-as with Hercules'' starfaring adventures in the 1982 Marvel miniseries. But all of these make implicit or explicit claims about the place of classics in modern literary culture. Classics and Comics is the first book to explore the engagement of classics with the epitome of modern popular literature, the comic book. This volume collects sixteen articles, all specially commissioned for this volume, that look at how classical content is deployed in comics and reconfigured for a modern audience. It opens with a detailed historical introduction surveying the role of classical material in comics since the 1930s. Subsequent chapters cover a broad range of topics, including the incorporation of modern theories of myth into the creation and interpretation of comic books, the appropriation of characters from classical literature and myth, and the reconfiguration of motif into a modern literary medium. Among the well-known comics considered in the collection are Frank Miller''s 300 and Sin City, DC Comics'' Wonder Woman, Jack Kirby''s The Eternals, Neil Gaiman''s Sandman, and examples of Japanese manga. The volume also includes an original 12-page "comics-essay," drawn and written by Eisner Award-winning Eric Shanower, creator of the graphic novel series Age of Bronze.

Since at least 1939, when daily-strip caveman Alley Oop time-traveled to the Trojan War, comics have been drawing (on) material from Greek and Roman myth, literature and history. At times the connection is cosmetic-as perhaps with Wonder Woman''s Amazonian heritage-and at times it is almost irrelevant-as with Hercules'' starfaring adventures in the 1982 Marvel miniseries. But all of these make implicit or explicit claims about the place of classics in modern literary culture. Classics and Comics is the first book to explore the engagement of classics with the epitome of modern popular literature, the comic book. This volume collects sixteen articles, all specially commissioned for this volume, that look at how classical content is deployed in comics and reconfigured for a modern audience. It opens with a detailed historical introduction surveying the role of classical material in comics since the 1930s. Subsequent chapters cover a broad range of topics, including the incorporation of modern theories of myth into the creation and interpretation of comic books, the appropriation of characters from classical literature and myth, and the reconfiguration of motif into a modern literary medium. Among the well-known comics considered in the collection are Frank Miller''s 300 and Sin City, DC Comics'' Wonder Woman, Jack Kirby''s The Eternals, Neil Gaiman''s Sandman, and examples of Japanese manga. The volume also includes an original 12-page "comics-essay," drawn and written by Eisner Award-winning Eric Shanower, creator of the graphic novel series Age of Bronze.

Slavery and sexuality in the ancient world are well researched on their own, yet rarely have they been examined together. This volume is the first to explore the range of roles that sex played in the lives of enslaved people in antiquity beyond prostitution, bringing together scholars of both Greece and Rome to consider important and complex issues. Chapters address a wealth of art, literature, and drama to analyze a wide range of issues, including gendered power dynamics, sexual violence in slave revolts, same-sex relations between free and enslaved people, and the agency of assault victims.  Slavery and Sexuality in Classical Antiquity reveals the often hidden and contradictory attitudes concerning the sexual identities and expression of enslaved people. These individuals were typically objectified by both social convention and legal description but were also recognized as human subjects, with subjectivity and sexual desires of their own. The contributors provoke valuable and fascinating questions that not only recognize the trauma and struggles of enslaved people but also point to the apparent inconsistencies in the mindsets of the enslavers. The resulting volume expands our understanding of both sexuality and slavery in ancient Greece and Rome, as separate subjects and as they impacted each other.

This volume offers 18 new studies reflecting the latest scholarship on Latin verse, explored both in its original context and in subsequent contexts as it has been translated and re-imagined. All chapters reflect the wide research interests of Professor Susanna Braund, to whom the volume is dedicated.Latin Poetry and Its Reception assembles a blend of senior scholars and new voices in Latin literary studies. It makes important contributions to the understanding of kingship in Hellenistic and Roman thought, with the first four chapters dedicated to exploring this theme in Republican poetry, Virgil, Seneca, and Statius. Chapters focusing on the modern reception include case studies from the 16th to the 21st century, with discussions on Gavin Douglas, Edward Gibbon, Herman Melville, Igor Stravinsky, and Elena Ferrante, among others. No comparable volume provides a similar range.Latin Poetry and Its Reception will appeal to all scholars of Latin poetry and classical reception, from senior undergraduates to scholars in classics and other disciplines.

This volume offers 18 new studies reflecting the latest scholarship on Latin verse, explored both in its original context and in subsequent contexts as it has been translated and re-imagined. All chapters reflect the wide research interests of Professor Susanna Braund, to whom the volume is dedicated.Latin Poetry and Its Reception assembles a blend of senior scholars and new voices in Latin literary studies. It makes important contributions to the understanding of kingship in Hellenistic and Roman thought, with the first four chapters dedicated to exploring this theme in Republican poetry, Virgil, Seneca, and Statius. Chapters focusing on the modern reception include case studies from the 16th to the 21st century, with discussions on Gavin Douglas, Edward Gibbon, Herman Melville, Igor Stravinsky, and Elena Ferrante, among others. No comparable volume provides a similar range.Latin Poetry and Its Reception will appeal to all scholars of Latin poetry and classical reception, from senior undergraduates to scholars in classics and other disciplines.

A comprehensive survey of Roman theatrical production, this book examines all aspects of Roman performance practice, and provides fresh insights on the comedies of Plautus and Terence. Following an introductory chapter on the experience of Roman comedy from the perspective of Roman actors and the Roman audience, addressing among other things the economic concerns of putting on a play in the Roman republic, subsequent chapters provide detailed studies of troupe size and the implications for role assignment, masks, stage action, music, and improvisation in the plays of Plautus and Terence. Marshall argues that Roman comedy was raw comedy, much more rough-and-ready than its Hellenistic precursors, but still fully conscious of its literary past. The consequences of this lead to fresh conclusions concerning the dramatic structure of Roman comedy, and a clearer understanding of the relationship between the plays-as-text and the role of improvisation during performance.

A comprehensive survey of Roman theatrical production, this book examines all aspects of Roman performance practice, and provides fresh insights on the comedies of Plautus and Terence. Following an introductory chapter on the experience of Roman comedy from the perspective of Roman actors and the Roman audience, addressing among other things the economic concerns of putting on a play in the Roman republic, subsequent chapters provide detailed studies of troupe size and the implications for role assignment, masks, stage action, music, and improvisation in the plays of Plautus and Terence. Marshall argues that Roman comedy was raw comedy, much more rough-and-ready than its Hellenistic precursors, but still fully conscious of its literary past. The consequences of this lead to fresh conclusions concerning the dramatic structure of Roman comedy, and a clearer understanding of the relationship between the plays-as-text and the role of improvisation during performance.

"Cylons in America" is the first collection of critical studies of Battlestar Galactica (its 2003 miniseries, and the ongoing 2004 television series), examining its place within popular culture and its engagement with contemporary American society.With its fourth season due to air in January 2008, the award-winning Battlestar Galactica continues to be exceptionally popular for non-network television, combining the familiar features of science fiction with direct commentary on life in mainstream America. "Cylons in America" is the first collection of critical studies of Battlestar Galactica (its 2003 miniseries, and the ongoing 2004 television series), examining its place within popular culture and its engagement with contemporary American society.Battlestar Galactica depicts the remnants of the human race fleeing across space from a robotic enemy called the Cylons. The fleet is protected by a single warship, the Battlestar, and is searching for a "lost colony" that settled on the legendary planet "Earth."Originally a television series in the 1970s, the current series maintains the mythic sense established with the earlier quest narrative, but adds elements of hard science and aggressive engagement with post-9/11 American politics. "Cylons In America" casts a critical eye on the revived series and is sure to appeal to fans of the show, as well as to scholars and researchers of contemporary television.

With its fourth season due to air in January 2008, the award-winning Battlestar Galactica continues to be exceptionally popular for non-network television, combining the familiar features of science fiction with direct commentary on life in mainstream America. Cylons in America is the first collection of critical studies of Battlestar Galactica (its 2003 miniseries, and the ongoing 2004 television series), examining its place within popular culture and its engagement with contemporary American society. Battlestar Galactica depicts the remnants of the human race fleeing across space from a robotic enemy called the Cylons. The fleet is protected by a single warship, the Battlestar, and is searching for a "lost colony" that settled on the legendary planet "Earth." Originally a television series in the 1970s, the current series maintains the mythic sense established with the earlier quest narrative, but adds elements of hard science and aggressive engagement with post-9/11 American politics. Cylons In America casts a critical eye on the revived series and is sure to appeal to fans of the show, as well as to scholars and researchers of contemporary television.

The first collection of critical essays on HBO's The Wire - the most brilliant and socially relevant television series in years The Wire is about survival, about the strategies adopted by those living and working in the inner cities of America. It presents a world where for many even hope isn't an option, where life operates as day-to-day existence without education, without job security, and without social structures. This is a world that is only grey, an exacting autopsy of a side of American life that has never seen the inside of a Starbucks.Over its five season, sixty-episode run (2002-2008), The Wire presented several overlapping narrative threads, all set in the city of Baltimore. The series consistently deconstructed the conventional narratives of law, order, and disorder, offering a view of America that has never before been admitted to the public discourse of the televisual. It was bleak and at times excruciating. Even when the show made metatextual reference to its own world as Dickensian, it was too gentle by half.By focusing on four main topics (Crime, Law Enforcement, America, and Television), The Wire: Urban Decay and American Television examines the series' place within popular culture and its representation of the realities of inner city life, social institutions, and politics in contemporary American society. This is a brilliant collection of essays on a show that has taken the art of television drama to new heights.

The first collection of critical essays on HBO's The Wire - the most brilliant and socially relevant television series in years T he Wire is about survival, about the strategies adopted by those living and working in the inner cities of America. It presents a world where for many even hope isn't an option, where life operates as day-to-day existence without education, without job security, and without social structures. This is a world that is only grey, an exacting autopsy of a side of American life that has never seen the inside of a Starbucks. Over its five season, sixty-episode run (2002-2008), The Wire presented severall overlapping narrative threads, all set in the city of Baltimore. The series consistently deconstructed the conventional narratives of law, order, and disorder, offering a view of America that has never before been admitted to the public discourse of the televisual. It was bleak and at times excruciating. Even when the show made metatextual reference to its own world as Dickensian, it was too gentle by half.By focusing on four main topics (Crime, Law Enforcement, America, and Television), The Wire: Urban Decay and American Television examines the series' place within popular culture and its representation of the realities of inner city life, social institutions, and politics in contemporary American society. This is a brilliant collection of essays on a show that has taken the art of television drama to new heights.

Quintus Ennius (239-169 BCE) was Latin literature's extraordinary founding father: he composed a striking array of texts in a striking array of genres (tragedy, satire, philosophy, epigram, epic, and more), many of which he in fact introduced to, or invented at, Rome. Modern scholarship, however, has focused overwhelmingly on just one Ennian poem: his epic, the Annales. Assembling an international team of literary critics and philologists, Ennius Beyond Epic provides the first assessment of Ennius' corpus in all of its unruly totality. Its thirteen chapters range widely: some examine themes throughout the poet's fragmentary output; others offer analyses of particular non-epic texts (e.g., Andromacha, Sacra historia, Saturae); still others study the Roman reception of Ennius' corpus from Pacuvius to Catullus to Apuleius and beyond. The picture that emerges is of a New Ennius: a daring, experimental, and multiform author.

Using Euripides' play Helen as the main point of reference, C. W. Marshall's detailed study expands our understanding of Athenian tragedy and provides new interpretations of how Euripides created meaning in performance. Marshall focuses on dramatic structure to show how assumptions held by the ancient audience shaped meaning in Helen and to demonstrate how Euripides' play draws extensively on the satyr play Proteus, which was part of Aeschylus' Oresteia. Structure is presented not as a theoretical abstraction, but as a crucial component of the experience of performance, working with music, the chorus and the other plays in the tetralogy. Euripides' Andromeda in particular is shown to have resonances with Helen not previously described. Arguing that the role of the director is key, Marshall shows that the choices that a director can make about role doubling, gestures, blocking, humour, and masks play a crucial part in forming the meaning of Helen.

Using Euripides' play Helen as the main point of reference, C. W. Marshall's detailed study expands our understanding of Athenian tragedy and provides new interpretations of how Euripides created meaning in performance. Marshall focuses on dramatic structure to show how assumptions held by the ancient audience shaped meaning in Helen and to demonstrate how Euripides' play draws extensively on the satyr play Proteus, which was part of Aeschylus' Oresteia. Structure is presented not as a theoretical abstraction, but as a crucial component of the experience of performance, working with music, the chorus and the other plays in the tetralogy. Euripides' Andromeda in particular is shown to have resonances with Helen not previously described. Arguing that the role of the director is key, Marshall shows that the choices that a director can make about role doubling, gestures, blocking, humour, and masks play a crucial part in forming the meaning of Helen.

Using Euripides'' play Helen as the main point of reference, C. W. Marshall''s detailed study expands our understanding of Athenian tragedy and provides new interpretations of how Euripides created meaning in performance. Marshall focuses on dramatic structure to show how assumptions held by the ancient audience shaped meaning in Helen and to demonstrate how Euripides'' play draws extensively on the satyr play Proteus, which was part of Aeschylus'' Oresteia. Structure is presented not as a theoretical abstraction, but as a crucial component of the experience of performance, working with music, the chorus and the other plays in the tetralogy. Euripides'' Andromeda in particular is shown to have resonances with Helen not previously described. Arguing that the role of the director is key, Marshall shows that the choices that a director can make about role doubling, gestures, blocking, humour, and masks play a crucial part in forming the meaning of Helen.