Volume 23

Arion 23.1 Spring/Summer 2015

Essays and Verse

Aeschylus Offers Paradigms for Today’s Politics
Theodore Ziolkowski

ArionFrontCover23-1

Agamemnon, My Mother, and Me: Reflections on Life
and Translation
Karen Simons

Wild Broom
Or, The Flower of the Desert
Giacomo Leopardi
(Translated by Steven J. Willett)

Lycurgus in Leaflets and Lectures:
The Weiße Roseand Classics at Munich University,
1941–1945
Niklas Holzberg

Hypatia, 415 CE
Joan Alice Wood Kimball

The “I” and “Not I” in Augustine’s Confessions
Andrea Nightingale

The Elegies of Maximianus: A Selection
A. M. Juster

Revenge/Porn: Django Unchained,
Terence’s Eunuchus,
and the Role of Roman Slavery in the American Imagination
Richard Apostol

Eight Epigrams from The Greek Anthology
Brooke Clark

Making a New Myth of Greece: Lawrence Durrell,
Rex Warner, and the “Captain” of Modern Greek Letters
Avi Sharon

Five Poems
Karl Kirchwey

Further Unmodern Observations
Herbert Golder

Reviews

Versions or Perversions:
Last Call for the Playwrights?
Jan Kott, The Eating of the Gods: An Interpretaion of Greek Tragedy
Euripides, Medea, A New Version by Ben Power
J. Michael Walton

Grounded, Heracles and the Gorgon’s Gaze
Grounded by George Brant
Stephe Harrop

Recolenda

Caesar Lives
Iggy Pop

 

Arion 23.2 Fall 201523.2_ArionCoverFront

Essays and Verse

Ancient Narrative Now
Jane Alison

The Unsettled Settler: Herakles the Colonist
and the Labours of Marian Maguire
Greta Hawes

Four Poems
Ricardo Pau-Llosa

Rhetoric Renascent:
Why Shakespeare Went to School
James Como

Three Times Horass’ I.38
Douglass Parker

“A Kind of Moral Gladiatorship”:
Abolitionist Use of the Classics
Margaret Malamud

Two Poems
Katie Hartsock

The Coming Classics Revolution
Part II: Synthesis
Colin Wells

Athena, Daphne
Diskin Clay

Mythical Musical Drama in Monteverdi
Marianne McDonald

Some Protreptic Anecdotes about
the Cynic Philosopher Crates (ca. 365–285 bce)
Apuleius
(Translated by Thomas McCreight)

The Five Paragraph Essay
Will D. Desmond

Three Poems
P. Whalen

The Interpretation of Art is Never Finished:
Some Renaissance Examples
Paul Barolsky

Reviews

Lost Epics
M. L. West, The Epic Cycle:
A Commentary on the Lost Troy Epics
Stephen Scully

 

Arion 23.3 Winter 2016

Essays and Verse

cover 23.3

War Stories Told, Untold and Retold
from Troy to Tinian to Fort Campbell
Thomas G. Palaima

Sex, Violence, and Faith:
The Art of Caravaggio
Amelia Arenas

Three Poems
Lawrence Dugan

Petronius the Man in Modern Fiction
Theodore Ziolkowski

Epigram x.63
Martial
Translated by Alistair Elliot

Ambiguity and Audience Response
Felix Budelmann, Laurie Maguire, and Ben Teasdale

The Origin of Eureka
Jocelyn Penny Small

Iphis and Ianthe
Charles Martin

Reviews

Hiding in Plain Sight: The Satirist Who Wouldn’t Be Seen
James Uden, The Invisible Satirist: Juvenal and Second-Century
Rome
Dan Hooley

Tragic Affect and Euripides’ Audiences
Victoria Wohl, Euripides and the Politics of Form
Stephe Harrop

Antigones in New York
Antigone, Brooklyn Academy of Music,
24 September–4 October 2015, directed by
Ivo van Hove, translated by Anne Carson
Antigona, Noche Flamenca, 21 July–8 August 2015, adapted
and directed by Martín Santangelo, choreographed by and
starring Soledad Barrio, consulting director, Lee Breuer
Avi Sharon

Radical Re-Envisionings:
The Almeida Theatre’s Oresteia and Medea
The Oresteia, 29 May–18-July 2015,
adapted and directed by Robert Icke
Medea, 25 September–14 November 2015,
directed by Rupert Goold and adapted by Rachel Cusk
Justine McConnell