Giovanna Di Martino

My dissertation seeks to address the neglect of Aeschylus’ reception in Italy. It responds to the call by Charles Martindale that translation needs to be at the heart of the study of Classics; and it heeds the exhortation of modern literary specialists that translations as well as adaptations and performances need to become part of literary history. By putting Aeschylus back into the history of Classics in Italy, it becomes clear just how central a role this playwright – and in particular his Prometheus Bound and Oresteia – has played in the history of Italian theatre, in the forging of a strong national identity in the twentieth century in particular, and in the history of Italian scholarship.

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