Euripides; the Athenian playwright who dared to question the whims of wanton gods; has always been the most intriguing of the Greek tragedians. Now; with translations aimed at the stage rather than the page; his restless intellect strikes the chordThis volume contains some of Euripides most famous works: Elektra; which reverses previous notions of heroic behaviour; Orestes; in which almost all the characters are driven by base motives of cowardice or revenge; Iphigeneia in Tauris who presumes her brother Orestes dead and her mother Klytemnestra and stepfather Aigisthos still living; is visited by a surprise guest.Elektra; Oresetes and Iphigeneia in Tauris were performed together as Agamemnons children at The Gate Theatre in 1995 and show the consequences of Agamemnons sacrifice" of his daughter at the start of the Trojan war.
#3427053 in eBooks 2013-11-14 2013-11-14File Name: B00GLDYJJ8
Review
7 of 10 people found the following review helpful. UnreadableBy Scaron;epscaron;inSiebert; an English Professor at the University of Richmond; believes; as her central thesis; that indigenous people are offered recognition through their cultural distinctiveness by Canada and the United States but instead should identify as indigenous based their political position of having governments prior to the formation of Canada and the United States. Most Native people would not separate culture from politics; especially considering many tribes traditional leadership are religious leaders.The way Siebert rails against cultural identification throughout the book demonstrates she has limited interactions and history with actual Native peoples. She finds fault with every aspect of the National Museum of the American Indian and chides its founding director Rick Westmdash;who; like his father; is a Cheyenne peace chief; one of the Council of 44mdash;for not being politically assertive at his speech in the opening. She then criticizes Isuma Productions and their movie Atanarjuat for upholding the Canadian national agenda; while several times incorrectly referring to the all-Inuit production company as "Indian." I cannot fathom how Siebert determined she had the qualifications to critique these various individuals and institutions on the manner they expressed of their indigenous sovereignty.She then devotes an entire chapter to Jimmie Durham; whom she describes as creating "insubordinate indigenous art." If you are arguing for Indigenous sovereignty; tribes right to determine their membership is an inherent expression of this sovereignty. No American Indian tribe accepts Durham a member or designated artisan; and Durham left the US during the build up the 1990 passage of the Indian Arts and Crafts Act; in which only Native American people could claim to be Native American artists.The notion that Siebert feels she can dictate to American Indian and Inuit artists how they should properly express their sovereignty defies any logic. Self-representation is a sovereign right of Native Americans as well; although that concept doesnt get mentioned much in this convoluted; redundant work.