Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-31T14:39:56.808Z Has data issue: false hasContentIssue false
Series:   Elements in Translation and Interpreting

Creative Classical Translation

Published online by Cambridge University Press:  08 November 2023

Paschalis Nikolaou
Paschalis Nikolaou
Affiliation:
Ionian University, Corfu

Summary

This Element surveys transmissions of ancient Greek and Latin texts into anglophone literatures, often straddling boundaries between translational responsibility and adaptive, re-creative textual practices. Attention to manifestations of and reasons for versioning, retranslation, hybridity, and translation as experiment, compels an introductory discussion of evolving tendencies of classical reception; with particular dispositions relating to a sociocultural context such as that of the United States observed in Section 3. The role paratexts play in the dialogue between scholarship, literary art, and performance, is the focus of Section 4, while Section 2 presents readers with a range of English responses to Homer. Creativity through sites and positions of translation is a defining feature of the workings of literary traditions; and of antiquity and modernity, in constant dialogue. This Element explores numerous textual manifestations and reasons for invention, along with integrations of thinking on classical translation over the centuries, helping shape present-day translation studies.
Get access

Keywords

classical receptionsHomerversiontranslation paratextscreativity
Type
Element
Information
Series: Elements in Translation and Interpreting
Online ISBN: 9781009165341
Publisher: Cambridge University Press
Print publication: 07 December 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adamitis, J. & Gamel, M.-K. (2013). Theaters of War. In Lateiner, D., Gold, B. K., & Perkins, J., eds., Roman Literature, Gender and Reception: Domina Illustris. New York: Routledge, pp. 284–302.Google Scholar
Almond, M. (2009). Horace on Teesside. In Harrisοn, S. J., ed., Living Classics: Greece and Rome in Contemporary Poetry in English. Oxford: Oxford University Press, pp. 19–42.CrossRefGoogle Scholar
‘Antigone’ (2022). Australian Arts Review (Theatre), 26 May. https://artsreview.com.au/antigone-2/.Google Scholar
Armitage, S. (2000). Mister Heracles: After Euripides. London: Faber and Faber.Google Scholar
Armitage, S. (2008). Introduction. In The Odyssey: A Dramatic Retelling of Homer’s Epic. New York: W. W. Norton & Company, pp. v–vi.Google Scholar
Armitage, S. (2016). Still. London: Enitharmon.Google Scholar
Arnold, M. ([1809] 1960). On Translating Homer. In The Complete Prose Works of Matthew Arnold, Vol. 1: On the Classical Tradition, ed. Super, R. H.. Ann Arbor: University of Michigan Press, pp. 97–216.Google Scholar
Arnold, M. ([1849] 2019). Fragment of an ‘Antigone’. In Poetical Works. Frankfurt: Outlook, pp. 204–6.Google Scholar
Asimakoulas, D. (2019). Rewriting Humour in Comic Books: Cultural Transfer and Translation of Aristophanic Adaptations. Palgrave Studies in Translating and Interpreting. Cham: Palgrave Macmillan.CrossRefGoogle Scholar
Athanassakis, A. N. (ed. & trans.) (1976). The Homeric Hymns. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Atwood, M. (2005). The Penelopiad: The Myth of Penelope and Odysseus. Canongate Myths. Edinburgh: Canongate.Google Scholar
Avianus (1993). The Fables of Avianus, trans. D. R. Slavitt. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Bainbridge, C. (2005). The War in Heaven. The Guardian, October 8. www.theguardian.com/books/2005/oct/08/poetry.homer.Google Scholar
Balmer, J. (2004a). Chasing Catullus: Poems, Translations and Transgressions. Newcastle upon Tyne: Bloodaxe Books.Google Scholar
Balmer, J. (2004b). Catullus: Poems of Love and Hate, trans. J. Balmer. Newcastle upon Tyne: Bloodaxe Books.Google Scholar
Balmer, J. (2005). The Word for Sorrow: A Work Begins Its Progress. Modern Poetry in Translation 3(3), 60–8.Google Scholar
Balmer, J. (2009). The Word for Sorrow. Cambridge: Salt.Google Scholar
Balmer, J. (2013). Piecing Together the Fragments: Translating Classical Verse, Creating Contemporary Poetry. Classical Presences. Oxford: Oxford University Press.Google Scholar
Balmer, J. (2017a). Letting Go: Thirty Mourning Sonnets and Two Poems. Mayfield: Agenda Editions.Google Scholar
Balmer, J. (2017b). The Paths of Survival. Bristol: Shearsman Books.Google Scholar
Balmer, J. (2019). The Library versus the Lyre: The Paths of Survival and the Poetry of Textual History. Synthesis: An Anglophone Journal of Comparative Literary Studies 12 (‘Recomposed: Anglophone Presences of Classical Literature’), 76–95.Google Scholar
Balmer, J. (2022). Ghost Passage. Swindon: Shearsman Books.Google Scholar
Barker, P. (2018). The Silence of the Girls. London: Hamish Hamilton.Google Scholar
Bartsch, S. (2020). Introduction to the Poem. In Vergil, The Aeneid. London: Profile Books, pp. xv–xliii.Google Scholar
Bassnett, S. (2019). On Rereading Homer’s Iliad in the Twenty-First Century. Synthesis: An Anglophone Journal of Comparative Literary Studies 12 (‘Recomposed: Anglophone Presences of Classical Literature’), 96–102.Google Scholar
Bassnett, S. (2022). Translation, Transcreation, Transgression. In Jansen, L., ed., Anne Carson/Antiquity. Bloomsbury Studies in Classical Reception. London: Bloomsbury Academic, pp. 237–50.Google Scholar
Batchelor, K. (2018). Translation and Paratexts. Translation Theories Explained. London: Routledge.Google Scholar
Bergin, T. (2018). Hughes As Translator. In Gifford, T., ed., Ted Hughes in Context. Cambridge: Cambridge University Press, pp. 72–81.Google Scholar
Blakesley, M. (2018). Tony Harrison the Translator: ‘Life’s a Performance. Either Join in / Lightheartedly, or Thole the Pain’. English Studies 99(1), 51–66.Google Scholar
Boland, E. (ed. & trans.) (2004). After Every War: Twentieth-Century Women Poets. Princeton, NJ: Princeton University Press.Google Scholar
Boland, Ε. (2011). Translating the Underworld. In A Journey with Two Maps: Becoming a Woman Poet. New York: W. W. Norton, pp. 77–97.Google Scholar
Boland, E. (2012). Afterword. In Oswald, A., Memorial. New York: Farrar, Straus and Giroux, pp. 83–90.Google Scholar
Borges, J. L. (1999). The Homeric Versions. In Weinberger, E., ed., Selected Non-fictions, trans. E. Allen, S. J. Levine, & E. Weinberger. New York: Viking, pp. 69–74.Google Scholar
Braund, S. (2018). Virgil after Vietnam. In Braund, S. & Torlone, Z. Martirosova, eds., Virgil and His Translators. Classical Presences. Oxford: Oxford University Press, pp. 107–23.Google Scholar
Brower, R. A. (1947). Seven Agamemnons. Journal of the History of Ideas 8(4), 383–405.CrossRefGoogle Scholar
Brower, R. Α. (1974). Mirror on Mirror: Translation, Limitation, Parody. Studies in Comparative Literature 33. Cambridge, MA: Harvard University Press.Google Scholar
Bruno, R. & Carson, A. (2021). Euripides. The Trojan Women: A Comic. New York: New Directions.Google Scholar
Burke, P. (1998). The European Renaissance: Centres and Peripheries. Oxford: Blackwell.Google Scholar
Burkitt, K. (2007). Imperial Reflections: The Post-Colonial Verse-Novel as Post-Epic. In Hardwick, L. & Gillespie, C., eds., Classics in Post-Colonial Worlds. Classical Presences. Oxford: Oxford University Press, pp. 157–69.Google Scholar
Burt, S. (2020). Imitator’s Note. In After Callimachus: Poems, foreword Payne, M.. The Lockert Library of Poetry in Translation. Princeton, NJ: Princeton University Press, pp. xxii–xxv.Google Scholar
Byron, L. (1819). Don Juan. London: printed by Thomas Davison, Whitefriars.Google Scholar
Callimachus (1988). Hymns, Epigrams, Select Fragments, trans. S. Lombardo & D. Rayor. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Carson, A. (1998). Autobiography of Red. New York: Knopf.Google Scholar
Carson, A. (2003). If Not, Winter: Fragments of Sappho. New York: Knopf.Google Scholar
Carson, A. (2006). ‘Why I Wrote Two Plays about Phaidra’. In Grief Lessons: Four Plays by Euripides. New York: New York Review Books Classics, pp. 309–12.Google Scholar
Carson, A. (2009). An Oresteia: Agamemnon by Aiskhylos; Elektra by Sophokles; Orestes by Euripides. New York: Faber and Faber.Google Scholar
Carson, A. (2010). Nox. New York: New Directions.Google Scholar
Carson, A. (2013). Red Doc. New York: Knopf.Google Scholar
Carson, A. (2015). The Task of the Translator of Antigone. In Antigonick. New York: New Directions, pp. 3–6.Google Scholar
Carson, A. (2017). ‘I Wish I Were Two Dogs Then I Could Play with Me’. In Euripides, Bakkhai: A New Version by Anne Carson. New York: New Directions, pp. 7–12.Google Scholar
Carson, A. (2020). Norma Jeane Baker of Troy. New York: New Directions.Google Scholar
Cather, W. (1918). My Ántonia. Boston, MA: Houghton Mifflin.Google Scholar
Chang, D. (2011). Democracy at War: Antigone: Insurgency in Toronto. In Mee, E. B. & Foley, Helene P., eds., Antigone on the Contemporary World Stage. Classical Presences. Oxford: Oxford University Press, pp. 267–85.Google Scholar
Chapman, G. (2005). To the Reader of Homer’s Iliad. In Blaisdell, B., ed., Elizabethan Poetry: An Anthology. Mineola, NY: Dover Publications, pp. 24–8.Google Scholar
Console, C. (2011). The Odicy. Richmond, CA: Omnidawn.Google Scholar
Constantine, P. (trans.). (2001). Hölderlin’s Sophocles: Oedipus and Antigone. Tarset: Bloodaxe.Google Scholar
Constantine, P. (2011). Service Abroad: Hölderlin, Poet-Translator. A Lecture. Translation and Literature 20(1), 79–97.Google Scholar
Cole, E. (2020). The Wooster Group’s To You, The Birdie! In Postdramatic Tragedies. Classical Presences. Oxford: Oxford University Press, pp. 143–75.Google Scholar
Cox, F. (2018). Ovid’s Presence in Contemporary Women’s Writing: Strange Monsters. Classical Presences. Oxford: Oxford University Press.Google Scholar
Davenport, G. (trans.) (1995). 7 Greeks. New York: New Directions.Google Scholar
Demanski, L. (2021). An Aeneas Divided. The University of Chicago Magazine 113(2), 27–31.Google Scholar
Dryden, J. (1992). On Translation. In Schulte, R. & Biguenet, J., eds., Theories of Translation: An Anthology of Essays from Dryden to Derrida. Chicago, IL: University of Chicago Press, pp. 17–31.Google Scholar
Doolitle, H. (1986). Translations 1915–1920. In Martz, L. L., ed., Collected Poems 1912–1944. New York: New Directions.Google Scholar
duBois, P. (2015). Queer Sappho. In Sappho. London: I. B. Tauris, pp. 155–74.Google Scholar
Duggan, G. & Noto, P. (2012). The Infinite Horizon. Portland, OR: Image Comics.Google Scholar
Eccleston, S.-M. (2019). Cyrus Console’s The Odicy and Epic Ecology. Classical Receptions Journal 11(1), 23–43.Google Scholar
Eco, U. (2004). Mouse or Rat? Translation As Negotiation. London: Weidenfeld & Nicolson.Google Scholar
Euripides (2017). Bakkhai: A New Version by Anne Carson. New York: New Directions.Google Scholar
Ellison, R. (1952). Invisible Man. New York: Random House.Google Scholar
Ellison, R. (2010). Three Days Before the Shooting …. New York: Random House.Google Scholar
Fagles, R. (2001). Translator’s Postscript. In Homer, The Odyssey. London: Penguin Books, pp. 419–26.Google Scholar
Fagles, R. (2006). Postscript. In Virgil, The Aeneid. New York: Viking Penguin, pp. 389–405.Google Scholar
Fitzgerald, R. (1952). Heroic Poems in English. The Kenyon Review 14(4), 698–706.Google Scholar
Fitzgerald, R. (1981). Postscript: Virgil’s The Aeneid. In Virgil, The Aeneid. New York: Random House, pp. 412–14.Google Scholar
Frost, R. (1914). North of Boston. London: David Nutt.Google Scholar
Genette, G. (1997). Paratexts: Thresholds of Interpretation, trans. J. E. Lewin. Cambridge: Cambridge University Press.Google Scholar
Gibbs, J. (2007). Antigone and Her African Sisters: West African Versions of a Greek Original. In Hardwick, L. & Gillespie, C., eds., Classics in Post-Colonial Worlds. Classical Presences. Oxford: Oxford University Press, pp. 54–71.Google Scholar
Gifford, T. (ed.) (2018). Ted Hughes in Context. Cambridge: Cambridge University Press.Google Scholar
Gillespie, S. (2011). English Translation and Classical Reception: Towards a New Literary History. Malden, MA: Wiley-Blackwell.Google Scholar
Gillespie, S. (2021). John Polwhele’s Horatian Translations. Translation and Literature 30(1), 30–51.Google Scholar
Glück, L. (1996). Meadowlands. New York: The Ecco Press.Google Scholar
Graves, R. (trans.) (1959). The Anger of Achilles. Homer’s Iliad. Illustrations by D. Searle. New York: Doubleday & Company.Google Scholar
Green, P. (2012). Homer Now. The New Republic, June 7. https://newrepublic.com/article/103920/homer-the-iliad-translations.Google Scholar
Greenwood, E. (2009). Sounding Out Homer: Christopher Logue’s Acoustic Homer. Oral Tradition 24(2), 503–18.Google Scholar
Hadas, R. (2018). Poems for Camilla. Evansville, IN: Measure Press.Google Scholar
Hallett, J. P. (2016). Greek (and Roman) Ways and Thoroughfares: The Routing of Edith Hamilton’s Classical Antiquity. In Wyles, R. & Hall, E., eds., Women Classical Scholars: Unsealing the Fountain from the Renaissance to Jacqueline de Romilly. Classical Presences. Oxford: Oxford University Press, pp. 216–42.Google Scholar
Hamilton, E. (1930). The Greek Way. New York: W. W. Norton.Google Scholar
Hamilton, E. (1964). The Ever Present Past. New York: W. W. Norton.Google Scholar
Hardwick, L. (2000). Greek Drama at the End of the Twentieth Century: Cultural Renaissance or Performative Outrage? The Open University (Classical Receptions in Drama and Poetry in English from c.1970–2005). www.open.ac.uk/arts/research/greekplays/publications/essays/hardwick-greek-drama-20th-century.Google Scholar
Hardwick, L. (2003). Reception Studies. Greece and Rome: New Surveys in the Classics, 33. Oxford: Oxford University Press.Google Scholar
Hardwick, L. (2007). Shades of Multi-Lingualism and Multi-Vocalism in Modern Performances of Greek Tragedy in Post-Colonial Contexts. In Hardwick, L. & Gillespie, C., eds., Classics in Post-Colonial Worlds. Classical Presences. Oxford: Oxford University Press, pp. 305–28.Google Scholar
Hardwick, L. (2011). Fuzzy Connections: Classical Texts and Modern Poetry in English. In Parker, J. & Matthews, T., eds., Tradition, Translation, Trauma: The Classic and the Modern. Classical Presences. Oxford: Oxford University Press, pp. 39–60.Google Scholar
Hardwick, L. & Gillespie, C. (eds.). (2007). Classics in Post-Colonial Worlds. Classical Presences. Oxford: Oxford University Press.Google Scholar
Harrison, S. J. (2009). Introduction: The Return of Classics. In Harrison, S. J., ed., Living Classics: Greece and Rome in Contemporary Poetry in English. Oxford: Oxford University Press, pp. 1–16.Google Scholar
Harrison, T. (1981). U.S. Martial. Newcastle: Bloodaxe Books.Google Scholar
Harrison, T. (2005). Bitter Tears. The Guardian, March 19. www.theguardian.com/stage/2005/mar/19/theatre.classics.Google Scholar
Heaney, C. & Hollis, M. (2016). Note on the Text. In Heaney, S. Aeneid: Book VI. London: Faber and Faber, pp. 51–3.Google Scholar
Heaney, S. (1991). Choruses from ‘The Cure’ at Troy: A Version of Sophocles’ ‘Philoctetes’. Arion: A Journal of Humanities and the Classics. Third Series, 1(2), 131–8.Google Scholar
Heaney, S. (2001a). Horace and the Thunder. The Irish Times, 17 November.Google Scholar
Heaney, S. (2001b). Electric Light. London: Faber and Faber.Google Scholar
Heaney, S. (2004a). Anything Can Happen: A Poem and Essay by Seamus Heaney with Translations in Support of Art for Amnesty. Dublin: Townhouse.Google Scholar
Heaney, S. (2004b). The Burial at Thebes: Sophocles’ Antigone translated by Seamus Heaney. London: Faber and Faber.Google Scholar
Heaney, S. (2005). ‘Me’ as in ‘Metre’: On Translating Antigone. In. Dillon, J. & Wilmer, S. E., eds., Rebel Women: Staging Ancient Greek Drama Today. London: Methuen, pp. 166–73.Google Scholar
Heaney, S. (2009). Title Deeds: Translating a Classic. In Harrison, S. J., ed., Living Classics: Greece and Rome in Contemporary Poetry in English. Oxford: Oxford University Press, pp. 122–39.Google Scholar
Heaney, S. (2010). Route 110. In Human Chain. London: Faber and Faber, pp. 48–59.Google Scholar
Heaney, S. (2016). Translator’s Note. In Aeneid: Book VI. London: Faber and Faber, pp. vii–ix.Google Scholar
Heaney, S. & Hass, R. (2000). Sounding Lines: The Art of Translating Poetry. Doreen B. Townsend Center for the Humanities Occasional Papers, 20. Berkeley, CA: University of California Press.Google Scholar
Heaney, S. & O’Driscoll, D. (2003). Seamus Heaney with Dennis O’Driscoll. Lannan Foundation. https://lannan.org/events/seamus-heaney-with-dennis-odriscoll.Google Scholar
Hofmann, M. & Lasdun, J. (eds.) (1996). After Ovid: New Metamorphoses. New York: Noonday.Google Scholar
Homer (1860). The Iliad of Homer, trans. W. Cowper, ed. R. Southey. New York: D. Appleton.Google Scholar
Homer ([1715] 1906). Pope’s Iliad of Homer, ed. Church, A. J.. London: Cassell.Google Scholar
Homer (1946). The Odyssey, trans. E. V. Rieu. Penguin Classics 1. London: Penguin Books.Google Scholar
Homer (1950). The Iliad, trans. E. V. Rieu. London: Penguin Books.Google Scholar
Homer (1951). The Iliad, trans. R. Lattimore. Chicago, IL: University of Chicago Press.Google Scholar
Homer (1961). Homer’s Odyssey, trans. R. Fitzgerald, ed. G. S. Kirk. New York: Farrar, Straus and Giroux.Google Scholar
Homer (1974). The Iliad, trans. R. Fitzgerald. New York: Doubleday.Google Scholar
Homer (1990). The Iliad, trans. R. Fagles. New York: Penguin.Google Scholar
Homer (1996). The Odyssey, trans. R. Fagles. New York: Penguin.Google Scholar
Homer (1997). The Iliad, trans. S. Lombardo, ed. Murnaghan, S.. Indianapolis, IN: Hackett Publishing.Google Scholar
Homer (2011). Iliad, trans. S. Mitchell. New York: Free Press.Google Scholar
Homer (2023). The Iliad, trans. Wilson, E.. New York: W. W. Norton.Google Scholar
Homerus & West, M. (1998). Volumen I: Rhapsodiae I–XII. Bibliotheca scriptorum Graecorum et Romanorum Teubneriana. Stuttgart: B. G. Teubner.Google Scholar
Hooper, R. (1888). Introduction. In The Iliads of Homer, trans. G. Chapman. London: John Russell Smith, pp. x–lxi.Google Scholar
Hope, D. & Roberts, M. (2022). What Makes Music Sound American? In America. CD Recording: Deutsche Grammophon, pp. 7–13.Google Scholar
Hughes, T. (1972). Crow: From the Life and Songs of the Crow. London: Faber and Faber.Google Scholar
Hughes, T. (1983). Seneca’s Oedipus, adapted by Ted Hughes. London: Faber and Faber.Google Scholar
Hughes, T. (1997). Tales from Ovid: Twenty-Four Passages from the ‘Metamorphoses’. London: Faber and Faber.Google Scholar
Hughes, T. (1999). Alcestis: In a Version by Ted Hughes. London: Faber and Faber.Google Scholar
Ioannidou, E. (2017). Greek Fragments in Postmodern Frames: Rewriting Tragedy 1970–2005. Classical Presences. Oxford: Oxford University Press.Google Scholar
Jakovljevic, B. (2010). Wooster Baroque. TDR: The Drama Review 54 (3), 87–122.Google Scholar
Jay, P. & Lewis, C. (eds.) (1996). Sappho through English Poetry. London: Anvil Press Poetry.Google Scholar
Jerome (2004). Letter to Pammachius, trans. K. Davies. In Venuti, L., ed., The Translation Studies Reader, 2nd ed. London: Routledge, pp. 21–30.Google Scholar
Jusdanis, G. (2017). Black Odysseus: An Elegy. Arcade: Literature, the Humanities and the World. https://arcade.stanford.edu/blogs/black-odysseus-elegy.Google Scholar
Kazantzakis, N. ([1938] 1958). The Odyssey: A Modern Sequel, trans. K. Friar. New York: Simon & Schuster.Google Scholar
Kim, S. (2021). Riot Antigone: After Sophocles’ Antigone. In Powers, M., ed., Reclaiming Greek Drama for Diverse Audiences: An Anthology of Adaptations and Interviews. London: Routledge, pp. 212–48.Google Scholar
Köhler, B. (2007). Niemands Frau. Berlin: Suhrkamp Verlag.Google Scholar
Kozak, L. & Hickman, M. (eds.) (2019). The Classics in Modernist Translation. London: Bloomsbury Academic.Google Scholar
Lamb, C. (1808). The Adventures of Ulysses. London: Printed by T. Davison for the Juvenile Library.Google Scholar
Leezenberg, M. (2007). From the Peloponnesian War to the Iraq War: A Post-Liberal Reading of Greek Tragedy. In Hardwick, L. & Gillespie, C., eds., Classics in Post-Colonial Worlds. Classical Presences. Oxford: Oxford University Press, pp. 265–85.Google Scholar
Lefevere, A. (1975). Translating Poetry: Seven Strategies and a Blueprint. Assen: Van Gorcum.Google Scholar
Lefevere, A. & Bassnett, S. (1998). Introduction: Where Are We in Translation Studies? In Bassnett, S. & Lefevere, A., eds., Constructing Cultures: Essays in Literary Translation. Topics in Translation 11. Clevedon: Multilingual Matters, pp. 1–11.Google Scholar
Le Guin, U. K. (2009). Afterword. In Lavinia. Boston, MA: Mariner Books, pp. 273–9.Google Scholar
Levine, J. S. (1984). Translation As (Sub)Version: On Translating Infante’s Inferno. SubStance 13(1), 85–94.Google Scholar
Levitan, M. & Lombardo, S. (eds.) (2022). The Dionysiaca of Nonnus of Panopolis: A Group Translation. Ann Arbor: University of Michigan Press.Google Scholar
Liebregts, P. (2019). Translations of Greek Tragedy in the Work of Ezra Pound. London: Bloomsbury.Google Scholar
Liveley, G. (2019). ‘After His Wine-Dark Sea’: H.D. in Homer. In Cox, F. & Theodorakopoulos, E., eds., Homer’s Daughters: Women’s Responses to Homer in the Twentieth Century and Beyond. Classical Presences. Oxford: Oxford University Press, pp. 21–38.Google Scholar
Logue, C. (1962). Patrocleia: Book XVI of Homer’s Iliad adapted by Christopher Logue. London: Scorpion Press.Google Scholar
Logue, C. (1981). Ode to the Dodo: Poems 1953–1978. London: Jonathan Cape.Google Scholar
Logue, C. (1991). Kings: An Account of Books 1 and 2 of Homer’s Iliad. New York: Farrar, Straus and Giroux.Google Scholar
Logue, C. (1995). The Husbands: An Account of Books 3 and 4 of Homer’s Iliad. New York: Farrar, Straus and Giroux.Google Scholar
Logue, C. (1996). A Chorus from Antigone. In Selected Poems, ed. Reid, C.. London: Faber and Faber, pp. 6–7.Google Scholar
Logue, C. (2003). All Day Permanent Red: The First Battle Scenes of Homer’s Iliad Rewritten. New York: Farrar, Straus and Giroux.Google Scholar
Logue, C. (2005). Cold Calls: War Music Continued. London: Faber and Faber.Google Scholar
Logue, C. (2015). War Music: An Account of Homer’s Iliad, ed. Reid, C.. London: Faber and Faber.Google Scholar
Lombardo, S. (2001). Homer’s Light: The Odyssey Koan. Paper presented at Hampshire College (April). https://kansaszencenter.org/wp-content/uploads/2020/07/Homers-Light-The-Odyssey-Koan.pdf.Google Scholar
Longley, M. (1994). Ceasefire. The Irish Times, 3 September.Google Scholar
Lowell, R. ([1961] 1990). Imitations. New York: Farrar, Straus and Giroux.Google Scholar
Machacek, G. (2011). Milton and Homer: ‘Written to Aftertimes’. Pittsburgh: Duquesne University Press.Google Scholar
Macintosh, F. (2016). Conquering England: Ireland and Greek Tragedy. In van Zyl Smit, B., ed., A Handbook to the Reception of Greek Drama. Hoboken, NJ: John Wiley and Sons, pp. 323–36.Google Scholar
Mack, P. & North, J. (eds.) (2015). Introduction. In The Afterlife of Ovid. London: Institute of Classical Studies, School of Advanced Study, University of London, pp. vii–xi.Google Scholar
Mahon, D. (2022). The Adaptations 1975–2020. Loughcrew: The Gallery Press.Google Scholar
Malmkjær, K. (2020). Translation and Creativity. London: Routledge.Google Scholar
Malouf, D. (2009). Ransom. New York: Random House.Google Scholar
Martindale, C. (1993). Redeeming the Text: Latin Poetry and the Hermeneutics of Reception. Cambridge: Cambridge University Press.Google Scholar
Mason, H. A. (1969). Creative Translation: Ezra Pound’s Women of Trachis. The Cambridge Quarterly 4(3), 244–72.Google Scholar
Mason, Z. (2018). Metamorphica. New York: Farrar, Straus and Giroux.Google Scholar
Matthias, J. (2016). Camilla of the Volscians. In Complayntes for Doctor Neuro and Other Poems. Bristol: Shearsman Books, pp. 50–4.Google Scholar
Mazzucchelli, D. (2009). Asterios Polyp. New York: Pantheon.Google Scholar
McClatchy, J. D. (ed.) (2002). The Odes: New Translations by Contemporary Poets. Princeton, NJ: Princeton University Press.Google Scholar
McConnell, J. (2013). Black Odysseys: The Homeric Odyssey in the African Diaspora since 1939. Classical Presences. Oxford: Oxford University Press.Google Scholar
McNeilly, K. & Carson, A. (2003). Gifts and Questions: An Interview with Anne Carson. Canadian Literature 176, 12–25.Google Scholar
Meineck, P. (2014). ‘The Thorniest Problem and the Greatest Opportunity’: Directors on Directing the Greek chorus. In Gagné, R. & Govers Hopman, M., eds., Choral Mediations in Greek Tragedy. Cambridge: Cambridge University Press, pp. 352–83.Google Scholar
Meineck, P. (2016). Greek Drama in North America. In van Zyl Smit, B., ed., A Handbook to the Reception of Greek Drama. Hoboken, NJ: John Wiley and Sons, pp. 173–98.Google Scholar
Minier, M. (2013). Definitions, Dyads, Triads and Other Points of Connection in Translation and Adaptation Discourse. In Krebs, K., ed., Translation and Adaptation in Theatre and Film. New York: Routledge, pp. 13–31.Google Scholar
Moul, V. (2010). Jonson, Horace and the Classical Tradition. Cambridge: Cambridge University Press.Google Scholar
Mueller, M. (2021). Sappho and Sexuality. In Finglass, P. J. & Kelly, A., eds., The Cambridge Companion to Sappho. Cambridge Companions to Literature. Cambridge: Cambridge University Press, pp. 36–52.Google Scholar
Murnaghan, S. (1997). Introduction. In Homer, The Iliad, trans. S. Lombardo. Indianapolis, IN: Hackett Publishing, pp. xlix–lvii.Google Scholar
Nikolaou, P. (2017). ‘The Iliad Suits You’: Christopher Logue’s Homer – from Patrocleia (1962) to the Posthumous Edition of War Music. In The Return of Pytheas: Scenes from British and Greek Poetry in Dialogue. Bristol: Shearsman Books, pp. 17–40.Google Scholar
Nikolaou, P. (2019). Introduction: Angloclassical? Synthesis: An Anglophone Journal of Comparative Literary Studies 12 (‘Recomposed: Anglophone Presences of Classical Literature’), 1–20.Google Scholar
Nikolaou, P. (2020). Poems for Camilla by Rachel Hadas. The Hopkins Review 13(2), 309–13.Google Scholar
Nikolaou, P. (2022a). An Aeneid in New York. Literary Matters 14(2). www.literarymatters.org/14-2-an-aeneid-in-new-york-rachel-hadas-interviewed-by-paschalis-nikolaou/.Google Scholar
Nikolaou, P. (2022b). The Paratextual Cosmos. In Jansen, L., ed., Anne Carson/Antiquity. Bloomsbury Studies in Classical Reception. London: Bloomsbury Academic, pp. 119–33.Google Scholar
Nims, J. F. (1971). Sappho to Valéry: Poems in Translation. Princeton, NJ: Princeton University Press.Google Scholar
Nisbet, G. (2021). Epigrams of Martial by Sam Riviere. Translation and Literature 30(2), 219–26.Google Scholar
Nonnos (1940–2). Dionysiaca, trans. W. H. D. Rouse. 3 vols. Loeb Classical Library. Cambridge, MA: Harvard University Press.Google Scholar
‘On Translating Nonnus’ (2022). In M. Levitan & S. Lombardo, eds., The Dionysiaca of Nonnus of Panopolis: A Group Translation. Ann Arbor: University of Michigan Press, pp. 725–52.Google Scholar
Nosbaum, J. (2006). Versions from the Aeneid and the Iliad. Modern Poetry in Translation, Series 3, No. 5, 122–5.Google Scholar
O’Sullivan, C. (2009). Censoring These ‘Racy Morsels of the Vernacular’: Loss and Gain in Translations of Apuleius and Catullus. In ní Chuilleanáin, M. E., Cuilleanáin, C. Ó, & Parris, D., eds., Translation and Censorship: Arts of Interference. Dublin: Four Courts Press, pp. 76–92.Google Scholar
Oswald, A. (2011). Memorial. London: Faber and Faber.Google Scholar
Oswald, A. (2016). Tithonus. In Falling Awake. London: Jonathan Cape, pp. 43–81.Google Scholar
Oswald, A. (2019). Nobody: A Hymn to the Sea. London: Jonathan Cape.Google Scholar
Parker, M. (2019). Speaking Truth to Power: Seamus Heaney’s The Burial at Thebes and the Poetry of Redress. In Harrison, S. J., Macintosh, F., & Eastman, H., eds., Seamus Heaney and the Classics: Bann Valley Muses. Classical Presences. Oxford: Oxford University Press, pp. 98–120.Google Scholar
Paterson, D. (2006). Fourteen Notes on the Version. In Orpheus: A Version of Rilke’s Die Sonette an Orpheus. London: Faber and Faber, pp. 73–84.Google Scholar
Paul, G. (2019). Excavations in Homer: Speculative Archaeologies in Alice Oswald’s and Barbara Köhler’s Responses to the Iliad and the Odyssey. In Cox, F. & Theodorakopoulos, E., eds., Homer’s Daughters: Women’s Responses to Homer in the Twentieth Century and Beyond. Classical Presences. Oxford: Oxford University Press, pp. 143–60.Google Scholar
Payne, M. (2020). Foreword. In Burt, S., After Callimachus: Poems. The Lockert Library of Poetry in Translation. Princeton, NJ: Princeton University Press, pp. xi–xxi.Google Scholar
Pope, A. (1956). The Correspondence of Alexander Pope, Vol. 1: 1704–1718, ed. Sherburn, G.. Oxford: Oxford University Press.Google Scholar
Pound, E. (1919). Homage to Sextus Propertius. In Quia Pauper Amavi. London: The Egoist, pp. 32–51.Google Scholar
Pound, E. (2003). The Pisan Cantos, ed. Sieburth, R.. New York: New Directions.Google Scholar
Power, W. (2005). The Seven. Musical Play, dir. Jo Bonney, chor. Bill T. Jones.Google Scholar
Powers, M. (ed.) (2020). Diversifying Greek Tragedy on the Contemporary US Stage: An Anthology of Adaptations and Interviews. Classical Presences. Oxford: Oxford University Press.Google Scholar
Powers, M. (ed.) (2021). Reclaiming Greek Drama for Diverse Audiences: An Anthology of Adaptations and Interviews. London: Routledge.Google Scholar
Prins, Y. (2016). What Is Historical Poetics? Modern Language Quarterly 77(1), 13–40.Google Scholar
Ranger, H. (2019). ‘Reader, I Married Him/Her’: Ali Smith, Ovid, and Queer Translation. Classical Receptions Journal 11(3), 231–55.Google Scholar
Rayor, D. J. (1990). Translating Fragments. Translation Review 32–33(1), 15–18.Google Scholar
Rayor, D. J. (2016). Reimagining the Fragments of Sappho through Translation. In Bierl, A. & Lardinois, A., eds., The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4: Studies in Archaic and Classical Greek Song, vol. 2. Leiden: Brill, pp. 396–412.Google Scholar
Rayor, D. J. (2019). Valuing Classical Translations for Outreach, Diversity, and Art. Society for Classical Studies Blog, 31 January. https://classicalstudies.org/scs-blog/diane-rayor/blog-valuing-classical-translations-outreach-diversity-and-art.Google Scholar
Rees, R. (2018). Hughes and the Classics. In Gifford, T., ed., Ted Hughes in Context. Cambridge: Cambridge University Press, pp. 123–32.Google Scholar
Reid, C. (2015). Editor’s Note. In Logue, C., War Music: An Account of Homer’s Iliad. London: Faber and Faber, pp. 299–302.Google Scholar
Reynolds, M. (2011). The Poetry of Translation: From Chaucer and Petrarch to Homer and Logue. Oxford: Oxford University Press.Google Scholar
Riding, J. (2020). Sam Riviere on Martial, Authenticity and Stealing. The London Magazine, April 6. www.thelondonmagazine.org/interview-sam-riviere-on-martial-authenticity-and-stealing/.Google Scholar
Riding, L. (1937). A Trojan Ending. London: Constable.Google Scholar
Riviere, S. (2020). After Fame: The Epigrams of Martial. London: Faber and FaberGoogle Scholar
Robinson, D. (ed.) (2002). Western Translation Theory from Herodotus to Nietzsche. London: Routledge.Google Scholar
Robinson, M. (2004). Gilead. New York: Farrar, Straus and Giroux.Google Scholar
Roche, A. (2020). Hiberno-Greek Rebel Women: Seamus Heaney’s Antigone and the Hecuba of Frank McGuinness and Marina Carr. In Nikolaou, P., ed., Encounters in Greek and Irish Literature: Creativity, Translations and Critical Perspectives. Lady Stephenson Library, Newcastle upon Tyne: Cambridge Scholars Publishing, pp. 12–33.Google Scholar
Rolon, K. Grazide, M., Williams, N. et. al. (2021). Interview with Seonjae Kim. In Powers, M., ed., Reclaiming Greek Drama for Diverse Audiences: An Anthology of Adaptations and Interviews. London: Routledge, pp.249–55.Google Scholar
Roth, P. (1998). I Married a Communist. Boston, MA: Houghton Mifflin.Google Scholar
Roth, P. (2000). The Human Stain. New York: Houghton Mifflin.Google Scholar
Roynon, T. (2021). The Classical Tradition in Modern American Fiction. Edinburgh. Edinburgh University Press.Google Scholar
Sappho (1992). Poems and Fragments, trans. J. Balmer. Newcastle upon Tyne: Bloodaxe Books.Google Scholar
Schulte, R. & Biguenet, J. (eds.) (1992). Theories of Translation: An Anthology of Essays from Dryden to Derrida. Chicago, IL: University of Chicago Press.Google Scholar
Scott, C. (2010). Re-theorizing the Literary in Literary Translation. In Fawcett, A., Garcia, K. L. Guadarrama, & Parker, R. Hyde, eds., Translation: Theory and Practice in Dialogue. Continuum Studies in Translation. London: Bloomsbury Publishing, pp. 109–27.Google Scholar
Shay, J. (1994). Achilles in Vietnam: Combat Trauma and the Undoing of Character. New York: Simon & Schuster.Google Scholar
Shay, J. (2002). Odysseus in America: Combat Trauma and the Trials of Homecoming. New York: Scribner.Google Scholar
Shelley, P. (2013). Hymn to Mercury, from Homer. In Prometheus Unbound: A Lyrical Drama in Four Acts, with Other Poems. Cambridge Library Collection – Fiction and Poetry. Cambridge: Cambridge University Press, pp. 821–54.Google Scholar
Simon, S. (1996). Gender in Translation: Cultural Identity and the Politics of Transmission. London: Routledge.Google Scholar
Slavitt, D. R. (trans.) (1994). The Metamorphoses of Ovid: Freely Translated into Verse. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Smith, A. (2007). Girl Meets Boy. Canongate Myths 8. Edinburgh: Canongate.Google Scholar
Stallings, A. (2021). Like Sheep: On Translating a Literary Plague in a Time of Pandemic. The Hudson Review 73(4), 541–6.Google Scholar
Steiner, G. (1986). Antigones: The Antigone Myth in Western Literature, Art, and Thought. Oxford: Oxford University Press.Google Scholar
Steiner, G. (1996). Homer in English. In No Passion Spent: Essays 1978–1996. London: Faber and Faber, pp. 88–107.Google Scholar
Steiner, G. (2004). Homer in English Translation. In Fowler, R., ed., The Cambridge Companion to Homer. Cambridge: Cambridge University Press, pp. 363–75.Google Scholar
Stoppard, T. (2022). Introduction. In Penelope. London: Faber and Faber, pp. v–viii.Google Scholar
Talbot, S. (2004). English Ghosts of Callimachus. Arion: A Journal of Humanities and the Classics. Third Series, 12(1), 139–69.Google Scholar
Taplin, O. (2007). Some Assimilations of the Homeric Simile in Later Twentieth-Century Poetry. In Graziosi, B. & Greenwood, E., eds., Homer in the Twentieth Century: Between World Literature and the Western Canon. Classical Presences. Oxford: Oxford University Press, pp. 177–90.Google Scholar
Tate, A. (1977). Collected Poems 1919–1976. New York: Farrar, Straus and Giroux.Google Scholar
Thomas, R. F. (2012). The Streets of Rome: The Classical Dylan. In Brockliss, W., Chaudhuri, P, Lushkov, A. Haimson, & Wasdin, K., eds., Reception and the Classics: An Interdisciplinary Approach to the Classical Tradition. Cambridge: Cambridge University Press, pp. 134–59.Google Scholar
Trachsler, V. (2021). ‘The Need for Translation’: The Role of Translation in Eavan Boland’s Work. Translation and Literature 30(1), 30–51.Google Scholar
Trinacty, C. (2016). Intertextual translation in Ovid, Seneca, and Ted Hughes. Classical Receptions Journal 8(4), 479–505.Google Scholar
Underwood, S. (1998). English Translators of Homer: From George Chapman to Christopher Logue. Plymouth: Northcote House and British Council.Google Scholar
Underwood, S. (2014). Cold Calls: The Penultimate Instalment of Logue’s Homer. New Voices in Classical Reception Studies 9, 85–95. https://fass.open.ac.uk/sites/fass.open.ac.uk/files/files/new-voices-journal/issue9/underwood.pdf.Google Scholar
Vandiver, E. (2010). Stand in the Trench, Achilles: Classical Receptions in British Poetry of the Great War. Classical Presences. Oxford: Oxford University Press.Google Scholar
Venuti, L. (2004). The Translation Studies Reader, 2nd ed. London: Routledge.Google Scholar
Vergil (2008). The Aeneid, trans. S. Ruden. New Haven, CT: Yale University Press.Google Scholar
Vergil (2020). The Aeneid, trans. S. Bartsch. London: Profile Books.Google Scholar
Virgil (1971). The Aeneid of Virgil, trans. A. Mandelbaum. Berkeley: University of California Press.Google Scholar
Virgil (1981). The Aeneid, trans. R. Fitzgerald. New York: Random House.Google Scholar
Virgil ([1697] 1997). Virgil’s Aeneid, trans. J. Dryden. Penguin Classics. Harmondsworth: Penguin Books.Google Scholar
Virgil (2005). The Aeneid, trans. S. Lombardo, ed. W. R. Johnson. Indianapolis, IN: Hackett Publishing.Google Scholar
Virgil (2006). The Aeneid, trans. R. Fagles. New York: Viking Penguin.Google Scholar
von Flotow, L. (1997). Translation and Gender: Translating in the ‘Era of Feminism’. Perspectives on Translation Theories Explained. London: Routledge.Google Scholar
Walcott, D. (1990). Omeros. New York: Farrar, Straus and Giroux.Google Scholar
Warner, M. (2004). Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self. Clarendon Lectures in English. Oxford: Oxford University Press.Google Scholar
Webb, T. (2004). Homer and the Romantics. In Fowler, R., ed., The Cambridge Companion to Homer. Cambridge: Cambridge University Press, pp. 287–310.Google Scholar
West, D. L. (2011). The Making of the Iliad: Disquisition and Analytical Commentary. Oxford: Oxford University Press.Google Scholar
Wilmer, S. E. ( 2007). Finding a Post-Colonial Voice for Antigone: Seamus Heaney’s Burial at Thebes. In Hardwick, L. & Gillespie, C., eds., Classics in Post-Colonial Worlds. Classical Presences. Oxford: Oxford University Press, pp. 228–44.Google Scholar
Wilson, E. (2009). Violent Grace: Anne Carson’s An Oresteia. The Nation, 8 April. www.thenation.com/article/archive/violent-grace-anne-carsons-oresteia/.Google Scholar
Wilson, E. (2018). Translator’s Note. In Homer, The Odyssey. New York: W. W. Norton, pp. 83–91.Google Scholar
Wilson, E. (2019). Epilogue: Translating Homer As a Woman. In Cox, F. & Theodorakopoulos, E., eds., Homer’s Daughters: Women’s Responses to Homer in the Twentieth Century and Beyond. Classical Presences. Oxford: Oxford University Press, pp. 279–98.Google Scholar
Wilson, P. (2004). Homer and the English Epic. In Fowler, R., ed., The Cambridge Companion to Homer. Cambridge: Cambridge University Press, pp. 272–86.Google Scholar
Ziolkowski, T. (1993). Virgil and the Moderns. Princeton, NJ: Princeton University Press.Google Scholar
Žižek, S. (2016). Antigone. London: Bloomsbury Academic.Google Scholar
Zukofsky, C. & Zukofsky, L. (eds. & trans.) (1969). Catullus (Gai Valeri Catulli Veronensis liber). London: Cape Golliard Press and Grossman Publishers.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Creative Classical Translation
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Creative Classical Translation
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Creative Classical Translation
Available formats
×