Rossana Zetti | University of Edinburgh (original) (raw)

Organisation of Conferences by Rossana Zetti

Research paper thumbnail of CCC Panel Cfp

Research paper thumbnail of AMPRAW 2017_Program.doc

Research paper thumbnail of CFP - 7th ANNUAL MEETING OF POSTGRADUATES IN THE RECEPTION OF THE ANCIENT WORLD (23 and 24 November 2017, University of Edinburgh)

Conference Presentations by Rossana Zetti

Research paper thumbnail of The Re-staging of Antigone in Twentieth-Century Europe: an Irish Example

This paper will explore the impact of the Antigone myth on modern thought, which has been persist... more This paper will explore the impact of the Antigone myth on modern thought, which has been persistent over the past decades in Europe primarily from a political point of view. Antigone is in fact a paradigmatic play for exploring the clash between the state and the individual person and for vindicating the human right to rebel against a repressive authority. Several politically oriented adaptations of Antigone have been written and staged around the globe and have been used to fight for the recognition of human rights. But how are the plays from the classical repertoire to be made to live for an audience of today? Why has the Antigone myth been so fruitful and how does it affect our modern imagination? In this paper I will focus on two Irish adaptations of the play: Tom Paulin’s The Riot Act (1984) and Brendan Kennelly’s New Version of Antigone (1986). Written at a particular turbulent time, when Ireland was facing the tragedy of the Civil War, the Irish playwrights exploit the Antigone myth to rise modern issues of human right, justice and rebellion against the State. Both versions are particularly interesting since they claim a transposition to the political situation in the North of Ireland. Such parallel is achieved through specific choices of language and by giving clear hint to their characters. By modifying the play in this way, Paulin and Kennelly tend to appropriate the myth, rather than translate its every detail, and to remake it into something new.

Research Projects by Rossana Zetti

Research paper thumbnail of Classical Antiquity & Memory (19th-21st century) - Full Programme

by Penelope Kolovou, Efstathia Athanasopoulou, Richard Cole, Hanna Paulouskaya, Katarzyna Marciniak, Filippo Carlà-Uhink, Markus Kersten, liliana giacoponi, Tiphaine-Annabelle Besnard, Helena González Vaquerizo, Ben Earley, Shushma Malik, Edward McInnis, Liliana Dottorato, Kyriaki Athanasiadou, Gina Bevan, Peter Kotiuga, Maciej Junkiert, Rossana Zetti, and Sophie Emilia Seidler

Papers by Rossana Zetti

Research paper thumbnail of Sophocles’ Antigone Reworked in the Twentieth Century: the Case of Walter Hasenclever’s Antigone (1917)

NEW VOICES IN CLASSICAL RECEPTION STUDIES, 2018

In this article, I will focus on the adaptation of Sophocles’ Antigone by the German expressioni... more In this article, I will focus on the adaptation of Sophocles’ Antigone by the German
expressionist writer Walter Hasenclever. Despite being essentially unknown and scarcely read in contemporary scholarship, Hasenclever’s drama is particularly interesting because it explicitly situates the Antigone of Sophocles as a political work and invokes and expands the political questions raised by the play and its largely political tradition.

Research paper thumbnail of Antigone’s (mis)appropriations in Twentieth-Century Europe: Memory, Politics and Resistance

CALÍOPE Presença Clássica, 2017

In this paper, I will offer a historicised reading of Antigone’s conceptualisation as a politica... more In this paper, I will offer a historicised reading of Antigone’s
conceptualisation as a political play by analysing its reception in
twentieth-century Europe. I will focus in particular on Friedrich
Hölderlin’s adaptation (1804), which is one of the very earliest postRevolutionary
witnesses to the political understanding of the play: it is
particularly interesting because it provides a context for Bertolt Brecht’s
and other twentieth-century adaptations of the myth and it represents a
crucial step towards the current interpretative model in which Antigone is
an icon of radical dissent and resistance. Appropriated both by the Nazi
regime and by factions of the Resistance, Hölderlin’s Antigone was
exploited as a political, subversive document or as representative of a
nationalistic classical tradition. This account of the political reception of
Sophocles’ Antigone in the twentieth century will contribute to shed light
on the ideological climate which produced such a high number of
adaptations of the ancient play, as well as on the reasons for its
pertinence to twentieth-century temporal-political conditions

Journal Volume Editions by Rossana Zetti

Research paper thumbnail of 21st Century Popular Classics: Introduction to selected classical reception papers from the Celtic Conference in Classics, St Andrews, 2018

NEW VOICES IN CLASSICAL RECEPTION STUDIES Conference Proceedings Volume Two, 2020

In 2014 the Celtic Conference in Classics had no classical reception panels. It had two reception... more In 2014 the Celtic Conference in Classics had no classical reception panels. It had two reception papers in the panel organised by Nancy Rabinowitz and Fiona McHardy, on ‘Forms of Violence,
Forms of Hierarchy’, one from Justine McConnell on ‘Postcolonial Sparagmos in the Work of Toni Morrison and Wole Soyinka’, and one from Amanda Potter and Hunter Gardner on ‘Violence and Voyeurism: Watching Ancient Violence in the Area and in the Home in Starz’ Spartacus’.
Consequently, Potter decided to organise a reception panel for the 2016 conference in Dublin in 2016, on ‘Modern (Ancient) Epic’, bringing together scholars from the UK, US and Israel to speak on a range of topics. By 2018 classical reception studies had become front and central within the discipline of classics, and the 2018 Celtic Conference in Classics in St Andrews featured two reception panels, ‘21st Century Classics’ organised by Amanda Potter and Caitlan Smith, and ‘Democratising Classics’ organised by Jenny Messenger and Rossana Zetti. The organisers of the two panels worked together as they created their programmes. At the conference cross fertilisation between the panels was encouraged. For this special edition of New Voices in Classical Reception Studies the organisers have selected papers from presenters from the UK, Europe and the US from across the two panels
that represent the diversity of 21st Century classics

Research paper thumbnail of The Re-staging of Antigone in Twentieth-Century Europe: an Irish Example

This paper will explore the impact of the Antigone myth on modern thought, which has been persist... more This paper will explore the impact of the Antigone myth on modern thought, which has been persistent over the past decades in Europe primarily from a political point of view. Antigone is in fact a paradigmatic play for exploring the clash between the state and the individual person and for vindicating the human right to rebel against a repressive authority. Several politically oriented adaptations of Antigone have been written and staged around the globe and have been used to fight for the recognition of human rights. But how are the plays from the classical repertoire to be made to live for an audience of today? Why has the Antigone myth been so fruitful and how does it affect our modern imagination? In this paper I will focus on two Irish adaptations of the play: Tom Paulin’s The Riot Act (1984) and Brendan Kennelly’s New Version of Antigone (1986). Written at a particular turbulent time, when Ireland was facing the tragedy of the Civil War, the Irish playwrights exploit the Antigone myth to rise modern issues of human right, justice and rebellion against the State. Both versions are particularly interesting since they claim a transposition to the political situation in the North of Ireland. Such parallel is achieved through specific choices of language and by giving clear hint to their characters. By modifying the play in this way, Paulin and Kennelly tend to appropriate the myth, rather than translate its every detail, and to remake it into something new.

Research paper thumbnail of Sophocles’ Antigone Reworked in the Twentieth Century: the Case of Walter Hasenclever’s Antigone (1917)

NEW VOICES IN CLASSICAL RECEPTION STUDIES, 2018

In this article, I will focus on the adaptation of Sophocles’ Antigone by the German expressioni... more In this article, I will focus on the adaptation of Sophocles’ Antigone by the German
expressionist writer Walter Hasenclever. Despite being essentially unknown and scarcely read in contemporary scholarship, Hasenclever’s drama is particularly interesting because it explicitly situates the Antigone of Sophocles as a political work and invokes and expands the political questions raised by the play and its largely political tradition.

Research paper thumbnail of Antigone’s (mis)appropriations in Twentieth-Century Europe: Memory, Politics and Resistance

CALÍOPE Presença Clássica, 2017

In this paper, I will offer a historicised reading of Antigone’s conceptualisation as a politica... more In this paper, I will offer a historicised reading of Antigone’s
conceptualisation as a political play by analysing its reception in
twentieth-century Europe. I will focus in particular on Friedrich
Hölderlin’s adaptation (1804), which is one of the very earliest postRevolutionary
witnesses to the political understanding of the play: it is
particularly interesting because it provides a context for Bertolt Brecht’s
and other twentieth-century adaptations of the myth and it represents a
crucial step towards the current interpretative model in which Antigone is
an icon of radical dissent and resistance. Appropriated both by the Nazi
regime and by factions of the Resistance, Hölderlin’s Antigone was
exploited as a political, subversive document or as representative of a
nationalistic classical tradition. This account of the political reception of
Sophocles’ Antigone in the twentieth century will contribute to shed light
on the ideological climate which produced such a high number of
adaptations of the ancient play, as well as on the reasons for its
pertinence to twentieth-century temporal-political conditions

Research paper thumbnail of 21st Century Popular Classics: Introduction to selected classical reception papers from the Celtic Conference in Classics, St Andrews, 2018

NEW VOICES IN CLASSICAL RECEPTION STUDIES Conference Proceedings Volume Two, 2020

In 2014 the Celtic Conference in Classics had no classical reception panels. It had two reception... more In 2014 the Celtic Conference in Classics had no classical reception panels. It had two reception papers in the panel organised by Nancy Rabinowitz and Fiona McHardy, on ‘Forms of Violence,
Forms of Hierarchy’, one from Justine McConnell on ‘Postcolonial Sparagmos in the Work of Toni Morrison and Wole Soyinka’, and one from Amanda Potter and Hunter Gardner on ‘Violence and Voyeurism: Watching Ancient Violence in the Area and in the Home in Starz’ Spartacus’.
Consequently, Potter decided to organise a reception panel for the 2016 conference in Dublin in 2016, on ‘Modern (Ancient) Epic’, bringing together scholars from the UK, US and Israel to speak on a range of topics. By 2018 classical reception studies had become front and central within the discipline of classics, and the 2018 Celtic Conference in Classics in St Andrews featured two reception panels, ‘21st Century Classics’ organised by Amanda Potter and Caitlan Smith, and ‘Democratising Classics’ organised by Jenny Messenger and Rossana Zetti. The organisers of the two panels worked together as they created their programmes. At the conference cross fertilisation between the panels was encouraged. For this special edition of New Voices in Classical Reception Studies the organisers have selected papers from presenters from the UK, Europe and the US from across the two panels
that represent the diversity of 21st Century classics