Since the golden era of silent movies stars have been described as screen gods, goddesses and idols. But why did Hollywood, that most modernity industry, first look back to antiquity as it built its s
Since the golden era of silent movies, stars have been described as screen gods, goddesses and idols. This is the story of how Olympus moved to Hollywood to divinise stars as Apollos and Venuses for t
Professor Greenberg's lucid study examines the themes of authority, power and sexuality in Corneille's major plays, drawing on the work of Foucault, and Freudian and feminist critics. He begins by considering the question of myth and of a 'pre-historical' cultural memory in Médée, and proceeds to a detailed analysis of each of the four best-known tragedies: Le Cid, Horace, Cinna, and Polyeucte. A concluding chapter discusses two middle-period plays and Suréna, Corneille's last tragedy. Professor Greenberg argues that the formal symmetries of classical tragedy reflect a desire for control in the realm of both politics and sexuality. He also seeks to show how these principles of symmetry are challenged or undermined in various ways by the plays themselves. The result is an exacerbation of sexual and political desire which invests Cornelian tragedy with its peculiar power and involves us so deeply in its world.
