Helen Slaney
Biographic Data
| ID | 5632885 |
|---|---|
| NAME | Helen Slaney |
| GIVEN NAMES | Helen |
| FAMILY NAME | Slaney |
| SIGNATURE | SLANEY H |
| AFFILIATIONS | University of Roehampton, London, UK |
| ORCID | 0000-0002-4410-2469 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Truth in the Late Foucault
The first full treatment of truth as a core philosophical concept in the late Foucault, this volume examines his work on the ancient world and the early church. Each essay features a deep examination as to how the topics of truth and sexuality intersect with and focus on Foucault’s engagement with ancient philosophy and thought. Truth in the Late Foucault offers readings on Plato, Artemidorus, Cicero, Sophocles and the Stoics, and pays close atte…
Pots in performance
During the 1790s, Emma Hamilton, wife of collector and diplomat Sir William Hamilton, developed an innovative form of performance art, tableaux vivants known as the ‘(Grecian) Attitudes’. Notoriously transgressive both sexually and socially, Emma also transgressed materially, transposing the scenes depicted on Sir William’s vases into a kinaesthetic medium. That performance remains a subaltern or illegitimate mode of relating to ancient material …
Seneca
Composed in early imperial Rome by Lucius Annaeus Seneca, Stoic philosopher and tutor to the emperor Nero, the tragedy Medea is dominated by the superhuman energy of its protagonist: diva, killer, enchantress, force of nature. Seneca’s treatment of the myth covers an episode identical to that of Euripides’ Greek version, enabling instructive comparisons to be drawn. Seneca’s Medea has challenged and fascinated theatre-makers across cultures and c…
Eighteenth-Century Antiquity
Eighteenth-Century Antiquity
Sir William Hamilton’s Greek vase collection, assembled at Naples between the 1760s and 1790s, became a turning point in the reception of ancient material culture and hence in perceptions of classical antiquity. This chapter compares three angles of approach to the collection, each corresponding to a strand of distributed cognition. Extended cognition is represented by the catalogue which made the collection available to the reading public; embod…
Seneca Censored
The English theatrical repertoire in the eighteenth century was dominated by plays that appealed to the audience’s sympathies, showing characters experiencing everyday dilemmas rather than debating the fate of mythical kingdoms. Seneca was therefore a less popular choice for translators, and those playwrights who did make use of his works transformed them into sentimental dramas. The increasing prevalence of stage naturalism in combination with t…
Seneca in ’68
In the generation after Artaud, many directors attempted to put the maxims of Cruelty into practice. These included Jean-Louis Barrault, who applied Artaud’s ideas to a 1942 production of Racine’s Phèdre. Whereas Artaud had eschewed formal speech, Barrault returned to Racine’s poetry with a new sense of its musicality. His protégé Jorge Lavelli did the same with a translation of Seneca’s Medea some twenty years later. At the same time, Peter Broo…
The Senecan Aesthetic
Alongside the works of the better-known classical Greek dramatists, the tragedies of Lucius Annaeus Seneca have exerted a profound influence over the dramaturgical development of European theatre. 'The Senecan Aesthetic' surveys the multifarious ways in which Senecan tragedy has been staged, from the Renaissance up to the present day: plundered for neo-Latin declamation and seeping into the blood-soaked revenge tragedies of Shakespeare's contempo…
Seneca’s Chorus of One
The Senecan Aesthetic
Alongside the works of the better-known classical Greek dramatists, the tragedies of Lucius Annaeus Seneca have exerted a profound influence over the dramaturgical development of European theatre. 'The Senecan Aesthetic' surveys the multifarious ways in which Senecan tragedy has been staged, from the Renaissance up to the present day: plundered for neo-Latin declamation and seeping into the blood-soaked revenge tragedies of Shakespeare's contempo…
Seneca’s Chorus of One
Seneca Censored
The English theatrical repertoire in the eighteenth century was dominated by plays that appealed to the audience’s sympathies, showing characters experiencing everyday dilemmas rather than debating the fate of mythical kingdoms. Seneca was therefore a less popular choice for translators, and those playwrights who did make use of his works transformed them into sentimental dramas. The increasing prevalence of stage naturalism in combination with t…
Seneca in ’68
In the generation after Artaud, many directors attempted to put the maxims of Cruelty into practice. These included Jean-Louis Barrault, who applied Artaud’s ideas to a 1942 production of Racine’s Phèdre. Whereas Artaud had eschewed formal speech, Barrault returned to Racine’s poetry with a new sense of its musicality. His protégé Jorge Lavelli did the same with a translation of Seneca’s Medea some twenty years later. At the same time, Peter Broo…
The Senecan Aesthetic
Alongside the works of the better-known classical Greek dramatists, the tragedies of Lucius Annaeus Seneca have exerted a profound influence over the dramaturgical development of European theatre. 'The Senecan Aesthetic' surveys the multifarious ways in which Senecan tragedy has been staged, from the Renaissance up to the present day: plundered for neo-Latin declamation and seeping into the blood-soaked revenge tragedies of Shakespeare's contempo…
Seneca
Composed in early imperial Rome by Lucius Annaeus Seneca, Stoic philosopher and tutor to the emperor Nero, the tragedy Medea is dominated by the superhuman energy of its protagonist: diva, killer, enchantress, force of nature. Seneca’s treatment of the myth covers an episode identical to that of Euripides’ Greek version, enabling instructive comparisons to be drawn. Seneca’s Medea has challenged and fascinated theatre-makers across cultures and c…
Eighteenth-Century Antiquity
Eighteenth-Century Antiquity
Sir William Hamilton’s Greek vase collection, assembled at Naples between the 1760s and 1790s, became a turning point in the reception of ancient material culture and hence in perceptions of classical antiquity. This chapter compares three angles of approach to the collection, each corresponding to a strand of distributed cognition. Extended cognition is represented by the catalogue which made the collection available to the reading public; embod…
Pots in performance
During the 1790s, Emma Hamilton, wife of collector and diplomat Sir William Hamilton, developed an innovative form of performance art, tableaux vivants known as the ‘(Grecian) Attitudes’. Notoriously transgressive both sexually and socially, Emma also transgressed materially, transposing the scenes depicted on Sir William’s vases into a kinaesthetic medium. That performance remains a subaltern or illegitimate mode of relating to ancient material …
Truth in the Late Foucault
The first full treatment of truth as a core philosophical concept in the late Foucault, this volume examines his work on the ancient world and the early church. Each essay features a deep examination as to how the topics of truth and sexuality intersect with and focus on Foucault’s engagement with ancient philosophy and thought. Truth in the Late Foucault offers readings on Plato, Artemidorus, Cicero, Sophocles and the Stoics, and pays close atte…
Art (7 works) · History (7 works) · Classical Antiquity Studies (6 works) · Aesthetics (4 works) · Epistemology (4 works) · Literature (4 works) · Philosophy (4 works) · Embodied cognition (3 works) · Ancient history (2 works) · Biology (2 works)