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33+ Werke 1,015 Mitglieder 17 Rezensionen

Über den Autor

Simon Goldhill is professor of Greek and the director of the Centre for Research in Arts, Social in Atts, Social Sciences and Humanities at the University of Cambridge. A fellow of the American Academy of Arts and Sciences, he is the author of many books, including Freud's Couch, Scott's Buttocks, mehr anzeigen Bront's Grave; How to Stage Greek Tragedy Today; and Love, Sex Tragedy: How the Ancient World Shapes Our Lives, all also published by the University of Chicago Press weniger anzeigen

Werke von Simon Goldhill

Wonders of the World (2006) 198 Exemplare
The Temple of Jerusalem (2004) 77 Exemplare
Reading Greek Tragedy (1986) 73 Exemplare
Jerusalem: City of Longing (2008) 49 Exemplare
The End of Dialogue in Antiquity (2009) — Herausgeber — 12 Exemplare
Rethinking Revolutions through Ancient Greece (2006) — Herausgeber — 6 Exemplare
Performance Culture and Athenian Democracy (1999) — Herausgeber — 5 Exemplare
Art and Text in Ancient Greek Culture (1994) — Herausgeber — 4 Exemplare
;: ;: (2003) 1 Exemplar

Zugehörige Werke

World Mythology (1993) — Mitwirkender — 577 Exemplare
The Cambridge Companion to Greek Tragedy (1997) — Mitwirkender — 176 Exemplare
The Cambridge History of Greek and Roman Political Thought (2000) — Mitwirkender — 75 Exemplare
Ancient Literacies: The Culture of Reading in Greece and Rome (2009) — Mitwirkender — 66 Exemplare
The Cambridge Companion to the Greek and Roman Novel (2008) — Mitwirkender — 22 Exemplare
Laughing with Medusa: Classical Myth and Feminist Thought (2006) — Mitwirkender — 22 Exemplare
Tragedy and the Tragic: Greek Theatre and Beyond (1996) — Mitwirkender — 21 Exemplare
The Cambridge Companion to Ancient Rhetoric (2009) — Mitwirkender — 18 Exemplare
Oxford Readings in Xenophon (2010) — Mitwirkender — 17 Exemplare
Greeks and Barbarians (2001) — Mitwirkender — 14 Exemplare
The Soul of Tragedy: Essays on Athenian Drama (2006) — Mitwirkender — 9 Exemplare
Classics and the Uses of Reception (Classical Receptions) (2006) — Mitwirkender — 9 Exemplare
Word and Image in Ancient Greece (2000) — Mitwirkender — 8 Exemplare
Tragedy and the Idea of Modernity (Classical Presences) (2015) — Mitwirkender — 5 Exemplare
Characterization and Individuality in Greek Literature (1990) — Mitwirkender — 5 Exemplare
Post-Structuralist Classics (1988) — Mitwirkender — 5 Exemplare
Ancient Drama in Music for the Modern Stage (2010) — Mitwirkender — 4 Exemplare
Philostratus (2009) — Mitwirkender — 4 Exemplare
Choral Mediations in Greek Tragedy (2013) — Mitwirkender — 4 Exemplare
Talmudic transgressions : engaging the work of Daniel Boyarin (2017) — Mitwirkender — 3 Exemplare
Greek tragedy (1993) — Mitwirkender — 3 Exemplare
Choruses, Ancient and Modern (2013) — Mitwirkender — 2 Exemplare
The politics of form in Greek literature (2021) — Mitwirkender — 1 Exemplar
Arethusa (vol 17 no 2): Under the Text — Mitwirkender — 1 Exemplar

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A delightful read on authors and the places they lived in. It was enlightening and genuinely interesting to read about Wordsworth and Bronte's houses, especially in the way they so deeply contrasted each other. Shakespeare's house was an exercise in "packaged heritage" and how "tacky" and commercialized the whole institution can be. Meanwhile, Sir Walter Scott's place was a great way of showing how a house can be manufactured around an author's identity and presence in the world. Finally, the author meditates on Freud's fascination in maintaining the same office in both Vienna and London. I felt this chapter was more personal for the author, and the analysis was good.

It's a quick read that explores how author's shape their houses and how their houses also shape their identity and their works.
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bdgamer | 4 weitere Rezensionen | Sep 10, 2021 |
Greek ideas of body, sex, history and politics shape modern thinking
 
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ritaer | 3 weitere Rezensionen | Jul 23, 2021 |
Armchair travelers will enjoy this account of visits to the homes of five authors in Great Britain — Shakespeare, Scott, Wordsworth, Brontë, Freud — but this book offers more. Simon Goldhill, a Cambridge scholar who straddles the ancient classics and Victorian literature, has an overarching theme. In the 19th century, it was common to hail literature as a branch of religion, indeed, the only branch with a future. If one grants that, then it follows that poets are its prophets. Goldhill sees a connection between this and the rise of visits to writers’s homes at the time: A new form of pilgrimage. His book is an exploration of some top Victorian destinations (well, calling Freud a Victorian might seem a stretch, but the author makes a plausible case for finishing in Hampstead).
He starts out, though, as an anti-pilgrim. In preparing his itinerary and researching the writers whose haunts he was to visit, he felt no emotional pull. He is fully at home in the books: “Why would you want to shut the door on such a greater landscape,” he asks, “to fixate on some merely real place or object?”
Yet there are discoveries. In various ways, the visits reveal aspects of identity. His first stop, Abbotsford, revealed more about Sir Walter Scott the manipulator of his own image, than Scott the writer. Wordsworth’s two homes in the Lake District, meanwhile, evoke the poet’s “journey into the self through memory, self-exploration, and friendship.” “Shakespeare’s birthplace was invented to give voice to a national identity, a truly English selfhood,” writes Goldhill, whereas the parsonage in Haworth that housed the Brontë family seemed to him “a physical expression of the interiority of the self.”
In describing his visit to Stratford-on-Avon the author seems to savor his disgust. It was, he writes, “the hardest place on our pilgrimage . . . to feel any aura of genius, to sense the presence.” Yet the author brings to it a clever eye for the incongruous, telling detail, such as the small glimpse of wattle and daub under plate glass in the wall, or the assurance that the furniture on display are “authentically crafted, accurate replicas.”
In earlier times, one embarked on a pilgrimage not to learn about the places visited, but about one’s self. On this point, Goldhill is coy, in fact, his syntax when he touches on this point became garbled so that it was hard for this reader to follow exactly what he was saying. Despite his initial scepticism — surely the book matters, not the life of the author — as he transfers his reading skills to a different kind of text, namely, author’s houses, these yield insights as well. Still, what does he learn about himself? Whatever it was, it may also be true that he is under no obligation to share it with the reader. What he does share is sufficient encouragement to undertake one’s own quests and make one’s own discoveries.
This book is written in the learned and witty manner of the best of British academics. It is a good read.
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HenrySt123 | 4 weitere Rezensionen | Jul 19, 2021 |
An unconventional biographical treatment of an extremely unconventional family. While I would have liked some more biographical and literary detail about the Bensons (and much more about their ghost stories!), Goldhill's treatment of the notable aspects of their lives is well done and interestingly told.
½
 
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JBD1 | Aug 17, 2020 |

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1,015
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