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An extraordinary drama of flight and rescue arising from women's resistance to marriage, The Suppliants is surprising both for its exotic color and for its forceful enactment of the primal struggle between male and female, lust and terror, brutality and cunning. In his translation of this ancient Greek drama, Peter Burian introduces a new generation of readers to a powerful work of Aeschylus' later years. He conveys the strength and daring of Aeschylus' language in the idiom of our own time, while respecting what is essentially classical in this dramatist's art: the rigor of the formal constraint with which he compresses high emotion to the bursting point. The Suppliants, which is the first and only surviving part of a trilogy, does not conform to our expectations of Greek drama in that it has neither hero, nor downfall, nor tragic conclusion. Instead the play portrays unresolved conflicts of sexuality, love, and emotional maturity. These distinctly modern themes come alive in a translation that re-creates the psychological immediacy as well as the dramatic tension of this ancient work.
Originally published in 1991.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Transnational Theater, Literature, and Film in Contemporary Germany
The contemporary moment has been described in terms of both a “narrative” and a “performative turn,” but the overlap between these two has largely escaped attention. This curious gap is explained by the ways in which scholars across the humanities have defined narrative and performance as opposite forces, emphasizing their respective affiliations with time vs. space and identity constitution vs. its undoing. Although the opposition has been acknowledged as false by many in this simple form, its shifting instantiations continue to shape the ways we make sense of the arts as well as society. Instead, An Aesthetics of Narrative Performance: Transnational Theater, Literature, and Film in Contemporary Germany by Claudia Breger maps the complexities of imaginative worldmaking in contemporary culture through an aesthetics of narrative performance: an ensemble of techniques exploring the interplay of rupture and recontextualization in the process of configuration. Interlacing diverging definitions of both narrative and performance, the study outlines two clusters of such techniques—scenic narration and narrative “presencing” in performance vs. forms of narrative theatricalization—and analyzes the cultural work they do in individual works in three different media: literature, film, and theater. These readings focus on the rich configurations of contemporary worldmaking “at location Germany.” In the discussed representations of German unification, contemporary cultures of migration, and the transnational War on Terror, the aesthetics of narrative performance finds its identity as a multifaceted imaginative response to the post/modern crisis of narrative authority.
In this timely critical introduction to the representation of Afghanistan in film, Mark Graham examines the often surprising combination of propaganda and poetry in films made in Hollywood and the East. Through the lenses of postcolonial theory and historical reassessment, Graham analyzes what these films say about Afghanistan, Islam, and the West and argues that they are integral tools for forming discourse on Afghanistan, a means for understanding and avoiding past mistakes, and symbols of the country's shaky but promising future. Thoughtfully addressing many of the misperceptions about Afghanistan perpetuated in the West, Afghanistan in the Cinema incorporates incisive analysis of the market factors, funding sources, and political agendas that have shaped the films. _x000B__x000B_The book considers a range of films, beginning with the 1970s epics The Man Who Would Become King and The Horsemen and following the shifts in representation of the Muslim world during the Russian War in films such as The Beast and Rambo III. Graham then moves on to Taliban-era films such as Kandahar, Osama, and Ellipsis, the first Afghan film directed by a woman. Lastly, the book discusses imperialist nostalgia in films such as Charlie Wilson's War and destabilizing visions represented in contemporary works such as The Kite Runner. _x000B_
A Centenary of Wildlife Filming in Kenya
Jean Hartley, born in Kenya, is acknowledged as being the first to legitimise ìfixingî for wildlife film crews. Over the last 25 years, she has worked on over a thousand films, the vast majority being about wildlife and nature. She features five of the great film makers who all started their careers in Kenya in the1950s, legends whom she is proud to call personal friends. Watching all of their films, and many more, she became fascinated by the history of film making in Kenya and determined to find out when it all started. In this insightful book, she traces the roots of wildlife film back a hundred years, drawing on accounts of the original film makers and the professional hunters who guided those early safaris. She tracks the changes from those grainy, speeded up, silent films through to the technologically perfect High Definition and 3D films that are being made today.
Media Coverage of the Humanitarian Disaster in the Congo and the United Nations Response, 1997–2008
Africa’s Deadliest Conflict deals with the complex intersection of the legacy of post-colonial history—a humanitarian crisis of epic proportions—and changing norms of international intervention associated with the idea of human security and the responsibility to protect (R2P). It attempts to explain why, despite a softening of norms related to the sanctity of state sovereignty, the international community dealt so ineffectively with a brutal conflict in the Democratic Republic of the Congo, which between 1997 and 2011 claimed an estimated 5.5 million. In particular, the book focuses on the role of mass media in creating a will to intervene, a role considered by many to be the key to prodding a reluctant international community to action.
Included in the book are a primer on Congolese history, a review of United Nations peacekeeping missions in the Congo, and a detailed examination of both US television news and New York Times coverage of the Congo from 1997 through 2008. Separate conclusions are offered with respect to peacekeeping in the Age of R2P and on the role of mass media in both promoting and inhibiting robust international responses to large-scale humanitarian crises.
The Struggle for Visibility, 1900--1960
Nine actresses, from Madame Sul-Te-Wan in Birth of a Nation (1915) to Ethel Waters in Member of the Wedding (1952), are profiled in African American Actresses. Charlene Regester poses questions about prevailing racial politics, on-screen and off-screen identities, and black stardom and white stardom. She reveals how these women fought for their roles as well as what they compromised (or didn't compromise). Regester repositions these actresses to highlight their contributions to cinema in the first half of the 20th century, taking an informed theoretical, historical, and critical approach.
Cultural Difference, Mimesis, and Media
Why would a Hollywood film become a Nigerian video remake, a Tanzanian comic book, or a Congolese music video? Matthias Krings explores the myriad ways Africans respond to the relentless onslaught of global culture. He seeks out places where they have adapted pervasive cultural forms to their own purposes as photo novels, comic books, songs, posters, and even scam letters. These African appropriations reveal the broad scope of cultural mediation that is characteristic of our hyperlinked age. Krings argues that there is no longer an "original" or "faithful copy," but only endless transformations that thrive in the fertile ground of African popular culture.
A Ghanaian History
Influence, Imitation, and Intertextuality
Alfred Hitchcock is arguably the most famous director to have ever made a film. Almost single-handedly he turned the suspense thriller into one of the most popular film genres of all time, while his Psycho updated the horror film and inspired two generations of directors to imitate and adapt this most Hitchcockian of movies. Yet while much scholarly and popular attention has focused on the director’s oeuvre, until now there has been no extensive study of how Alfred Hitchcock’s films and methods have affected and transformed the history of the film medium. In this book, thirteen original essays by leading film scholars reveal the richness and variety of Alfred Hitchcock’s legacy as they trace his shaping influence on particular films, filmmakers, genres, and even on film criticism. Some essays concentrate on films that imitate Hitchcock in diverse ways, including the movies of Brian de Palma and thrillers such as True Lies, The Silence of the Lambs, and Dead Again. Other essays look at genres that have been influenced by Hitchcock’s work, including the 1970s paranoid thriller, the Italian giallo film, and the post-Psycho horror film. The remaining essays investigate developments within film culture and academic film study, including the enthusiasm of French New Wave filmmakers for Hitchcock’s work, his influence on the filmic representation of violence in the post-studio Hollywood era, and the ways in which his films have become central texts for film theorists.