Katherine Anna New
Biographic Data
| ID | 5933587 |
|---|---|
| NAME | Katherine Anna New |
| GIVEN NAMES | Katherine Anna |
| FAMILY NAME | New |
| SIGNATURE | NEW K A |
| AFFILIATIONS | University of Oxford |
| ORCID | 0000-0003-3931-3031 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Speaking Truth to Power
“I make no secret of the truth – I make it irrelevant.” This line spoken by Minos has haunted me since I first heard it beneath the starry sky of Gorky Park in Oleg Ernev’s Theseus, boldly reimagined by a small private troupe in an innovative, controversial 2010 production. It opened with Atrion, king of Crete, voluntarily yielding his crown to Minos’s sly persuasion and casting his people into the jaws of a newly minted usurper. I was struck by …
Stuart Goldberg. An Indwelling Voice
Following Our Own Path”
The present article focuses on the tension arising from Pavel Katenin’s aesthetic and literary vision for the reception of Antiquity in Russian mythological drama: his avid support of Classical purism and his denunciation of dramatists, for whom ancient myths served merely as a resource of historical parallels, is challenging to reconcile with the revolutionary conception of his play Andromache . The paper argues that Katenin regarded antiquity a…
Roman Comedy on the Russian Stage
The article is devoted to the analysis of literary sources of Alexander N. Ostrovsky’s comedy There Was Not a Penny, But Suddenly Altyn . The two-level approach to the study of Ostrovsky’s play has enabled the assessment of both the degree to which it assimilated Plautus’ Aulularia and the manner in which the Russian playwright reflected the comedic conventions of his literary model. At the micro-structural level of There Was Not a Penny , the ex…
No prominent works on this page.
Roman Comedy on the Russian Stage
The article is devoted to the analysis of literary sources of Alexander N. Ostrovsky’s comedy There Was Not a Penny, But Suddenly Altyn . The two-level approach to the study of Ostrovsky’s play has enabled the assessment of both the degree to which it assimilated Plautus’ Aulularia and the manner in which the Russian playwright reflected the comedic conventions of his literary model. At the micro-structural level of There Was Not a Penny , the ex…
Following Our Own Path”
The present article focuses on the tension arising from Pavel Katenin’s aesthetic and literary vision for the reception of Antiquity in Russian mythological drama: his avid support of Classical purism and his denunciation of dramatists, for whom ancient myths served merely as a resource of historical parallels, is challenging to reconcile with the revolutionary conception of his play Andromache . The paper argues that Katenin regarded antiquity a…
Stuart Goldberg. An Indwelling Voice
Speaking Truth to Power
“I make no secret of the truth – I make it irrelevant.” This line spoken by Minos has haunted me since I first heard it beneath the starry sky of Gorky Park in Oleg Ernev’s Theseus, boldly reimagined by a small private troupe in an innovative, controversial 2010 production. It opened with Atrion, king of Crete, voluntarily yielding his crown to Minos’s sly persuasion and casting his people into the jaws of a newly minted usurper. I was struck by …
Art (3 works) · History (3 works) · Literature (3 works) · Politics (2 works) · Shakespeare, Adaptation, and Literary Criticism (2 works) · Aesthetics (1 work) · Allusion (1 work) · Ancient history (1 work) · Archaeology (1 work) · Comedy (1 work)