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• W4239270105 abstract "Click to increase image sizeClick to decrease image size Notes I would like to thank the executive editor of the journal, Aníbal Biglieri, for extending the invitation for this special issue, as well as Maria Marsilio for her perceptive comments on this piece. The research for the present article was supported by a generous summer grant from Saint Joseph's University. 1. See, e.g., Croce; Torrance; Nelli, “Identity,” “Antígona Furiosa”; Nikoloutsos. Studies by Latin Americanists, in either English or Spanish, are too many to be listed here. See the bibliography of the individual essays in this issue. 2. This is the first collection to be devoted in part to the reception of classical drama in Spanish America. Its contributors, however, started to pursue the subject long before its publication. Dauster's first essay on the impact of Euripides on Triana dates back to 1969 (for specific titles, see Nikoloutsos in this issue); Cypess (“The Function of Myth”) discusses allusions to Athenian drama in the work of Mexican playwright Xavier Villaurrutia, as early as 1972. 3. Pianacci records twenty-two different versions of Antigone; Miranda Cancela (72) and Pociña (519) list eleven Latin American adaptations of Medea since 1950. For a full list of titles of Latin American plays inspired by classical drama and myth in the twentieth century as a whole, see González Betancur 75–76. 4. Evidence for this unawareness is the fact that, with very few exceptions, these titles are unrecorded in Oxford University's Archive of Performances of Greek and Roman Drama. For specific data, see Nikoloutsos; Poulson in this issue. 5. There is a Caribbean adaptation of Antigone written in Creole, on which see Fradinger. 6. See, e.g., chs. 1–7 in Hardwick and Gillespie. By the same token, the reception of antiquity in former British colonies in the Caribbean, such as Trinidad and Tobago, has already received attention in Anglophone classical scholarship. See Greenwood, “We Speak”; “Between Colonialism”; Afro-Greeks. 7. See the assessment of literary critic Juan María Gutiérrez: “La tragedia clásica nació y murió en las orillas argentinas con el señor don Juan Cruz Varela” (qtd. in Aisemberg and Lusnich 21)." @default.
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• W4239270105 title "Introduction" @default.
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• W4239270105 doi "https://doi.org/10.1080/08831157.2012.625907" @default.
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