Isabelle Torrance – författare

This collection addresses how models from ancient Greece and Rome have permeated Irish political discourse in the century since 1916. The 1916 Easter Rising, when Irish nationalists rose up against British imperial forces, became almost instantly mythologized in Irish political memory as a turning point in the nation's history that paved the way for Irish independence. Its centenary has provided a natural point for reflection on Irish politics, and this volume highlights an unexplored element in Irish political discourse, namely its frequent reliance on, reference to, and tensions with classical Greek and Roman models. Topics covered include the reception and rejection of classical culture in Ireland; the politics of Irish language engagement with Greek and Roman models; the intersection of Irish literature with scholarship in Classics and Celtic Studies; the use of classical referents to articulate political inequalities across gender, sexual, and class hierarchies; meditations on the Northern Irish conflict through classical literature; and the political implications of neoclassical material culture in Irish society. As the only country colonized by Britain with a pre-existing indigenous heritage of expertise in classical languages and literature, postcolonial Ireland represents a unique case in the field of classical reception. This book opens a window on a rich and varied dialogue between significant figures in Irish cultural history and the Greek and Roman sources that have inspired them, a dialogue that is firmly rooted in Ireland's historical past and continues to be ever-evolving.

Metapoetry in Euripides is the first detailed study of the self-conscious literary devices applied within Euripidean drama and how these are interwoven with issues of thematic importance, whether social, theological, or political. In the volume, Torrance argues that Euripides employed a complex system of metapoetic strategies in order to draw the audience's attention to the novelty of his compositions. The metapoetic strategies discussed include intertextual allusions to earlier poetic texts (especially to Homer, Aeschylus and Sophocles) which are often developed around unusual and memorable language or imagery, deployment of recognizable trigger words referring to plot construction, novelties or secondary status, and self-conscious references to fiction implied through allusion to writing. Torrance also looks at and compares metapoetic techniques used in tragedy, satyr-drama, and old comedy to demonstrate that the Greek tragedians commonly exploited metapoetic strategies, and that metapoetry is more pervasive in Euripides than in the other tragedians. While Euripides shares some metapoetic techniques with old comedy, these remain implicit in his tragedies (but not in his satyr-dramas).

This volume brings together a group of interdisciplinary experts who demonstrate that Aeschylus’ Seven Against Thebes is a text of continuing relevance and value for exploring ancient, contemporary and comparative issues of war and its attendant trauma. The volume features contributions from an international cast of experts, as well as a conversation with a retired U.S. Army Lt. Col., giving her perspectives on the blending of reality and fiction in Aeschylus’ war tragedies and on the potential of Greek tragedy to speak to contemporary veterans. This book is a fascinating resource for anyone interested in Aeschylus, Greek tragedy and its reception, and war literature.

This volume brings together a group of interdisciplinary experts who demonstrate that Aeschylus’ Seven Against Thebes is a text of continuing relevance and value for exploring ancient, contemporary and comparative issues of war and its attendant trauma. The volume features contributions from an international cast of experts, as well as a conversation with a retired U.S. Army Lt. Col., giving her perspectives on the blending of reality and fiction in Aeschylus’ war tragedies and on the potential of Greek tragedy to speak to contemporary veterans. This book is a fascinating resource for anyone interested in Aeschylus, Greek tragedy and its reception, and war literature.

Through an extensive series of extracts and accompanying interpretative and contextual essays, this open access volume showcases the expertise in classical learning that flourished in medieval Gaelic Ireland. Providing translations of all excerpts, it situates better known ‘antiquity sagas’ in the Middle Irish language, such as Togail Troí (The Siege of Troy, based on Dares Phrygius), Imtheachta Aeniasa (The Wanderings of Aeneas, based on Virgil’s Aeneid), In Cath Catharda (The Civil War, based on Lucan) and Togail na Tebe (The Siege of Thebes, based on Statius), within the broader constellation of medieval Irish literature that references and engages with classical antiquity.Included are synchronistic poetry and world chronologies; lesser-known Irish poetry and prose recounting episodes from Graeco-Roman mythography and featuring, for instance, Jason and the Argonauts, Ulysses and Penelope, Agamemnon and Clytemnestra, Daedalus and the Minotaur; linguistic and metaphysical tracts; place-name lore; and medieval historiographies of Alexander the Great, Hercules, and warriors of Irish legend recast as classical heroes. Creating access to this body of texts and revealing the marked influences of classical concepts on the imaginative resources of medieval Ireland fills a conspicuous lacuna in our knowledge of classical reception in European literatures.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the European Research Council, grant no. 818366.

Through an extensive series of extracts and accompanying interpretative and contextual essays, this open access volume showcases the expertise in classical learning that flourished in medieval Gaelic Ireland. Providing translations of all excerpts, it situates better known ‘antiquity sagas’ in the Middle Irish language, such as Togail Troí (The Siege of Troy, based on Dares Phrygius), Imtheachta Aeniasa (The Wanderings of Aeneas, based on Virgil’s Aeneid), In Cath Catharda (The Civil War, based on Lucan) and Togail na Tebe (The Siege of Thebes, based on Statius), within the broader constellation of medieval Irish literature that references and engages with classical antiquity.Included are synchronistic poetry and world chronologies; lesser-known Irish poetry and prose recounting episodes from Graeco-Roman mythography and featuring, for instance, Jason and the Argonauts, Ulysses and Penelope, Agamemnon and Clytemnestra, Daedalus and the Minotaur; linguistic and metaphysical tracts; place-name lore; and medieval historiographies of Alexander the Great, Hercules, and warriors of Irish legend recast as classical heroes. Creating access to this body of texts and revealing the marked influences of classical concepts on the imaginative resources of medieval Ireland fills a conspicuous lacuna in our knowledge of classical reception in European literatures.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the European Research Council, grant no. 818366.

Why should classical antiquity matter to Irish migration? Irish Migrations and Classical Antiquity argues that ancient Greece and Rome have shaped Irish migration narratives from the earliest texts to the 21st century. These classical models emerge in response to four key drivers of migration: war, economic need, religious motivation and the pursuit of education. Rather than passive inheritances, Graeco-Roman forms are used both to join and to challenge dominant frameworks, offering tools for cultural participation and strategies of resistance to exclusion.The book traces classical reception in contexts ranging from early Irish origin legends and medieval Latin learning to 21st-century cultural politics, including Irish-language translation, diaspora literature and gendered experiences. Participation appears in assertions of Irish civilisation, synchronistic histories, literary cosmopolitanism and transnational exchange. Resistance surfaces in critiques of marginalisation, defence of minority languages and challenges to aesthetic or political canons. This book rethinks how Irish identities travel across borders, languages and centuries by showing how the ancient world underwrites both movement and its meanings.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the European Research Council.

In this new student introduction to a Greek tragedy, Isabelle Torrance looks at what makes Iphigenia among the Taurians a successful tragedy in ancient Greek terms, and how dramatic excitement is achieved through the exotic setting, the cast of characters, and the chorus. Assuming no knowledge of Greek, and with students in mind, the central themes of ethnicity and gender relations are examined to show how Euripides manipulates established stereotypes. The play was one of Aristotle’s favourites and his enthusiasm derived from the fact that, in spite of its ostensibly happy ending, the play presents the audience with an exquisitely constructed reversal of events: when Iphigenia recognizes that she has been about to sacrifice her long-lost brother, kin-murder is avoided and the plot turns into an escape drama. Other significant concerns of the play surround ritual and the gods, and these are discussed to highlight how the drama asks probing theological questions. Finally, the vast reception history of the play in a variety of genres, such as ancient comedy, Roman philosophy, European opera, and 20th century theatre, is sketched out from antiquity to the present day.

Sophocles, Aeschylus and Euripides are often described as the greatest tragedians of the ancient world. Of these three pivotal founders of modern drama, Euripides is characterized as the interloper and the innovator: the man who put tragic verse into the mouths of slaves, women and the socially inferior in order to address vital social issues such as sex, class and gender relations. It is perhaps little wonder that his work should find such resonance in the modern day.In this concise introduction, Isabelle Torrance engages with the thematic, cultural and scholarly difficulties that surround his plays to demonstrate why Euripides remains a figure of perennial relevance. Addressing here issues of social context, performance theory, fifth-century philosophy and religion, textual criticism and reception, the author presents an astute and attractively-written guide to the Euripidean corpus – from the widely read and celebrated Medea to the lesser-known and deeply ambiguous Alcestis.

Sophocles, Aeschylus and Euripides are often described as the greatest tragedians of the ancient world. Of these three pivotal founders of modern drama, Euripides is characterized as the interloper and the innovator: the man who put tragic verse into the mouths of slaves, women and the socially inferior in order to address vital social issues such as sex, class and gender relations. It is perhaps little wonder that his work should find such resonance in the modern day.In this concise introduction, Isabelle Torrance engages with the thematic, cultural and scholarly difficulties that surround his plays to demonstrate why Euripides remains a figure of perennial relevance. Addressing here issues of social context, performance theory, fifth-century philosophy and religion, textual criticism and reception, the author presents an astute and attractively-written guide to the Euripidean corpus – from the widely read and celebrated Medea to the lesser-known and deeply ambiguous Alcestis.