Afterlives of the Aeneid's Women

Magdalena Zira is a theatre director, playwright and classics scholar based in Cyprus, interested in feminist and postcolonial interpretations of the canon, and new theatre work based on marginalized oral histories. Edith Hall is Professor of Classics at Durham University and Fellow of the British Academy specialising in ancient literature and philosophy and their reception and advocacy for prison education, widening access, Parthenon sculptures reunification and social justice.

• Introduction: Meet the Women of the AeneidMagdalena Zira and Edith HallSection A: TrojansChapter 1: ‘I’m a bitch, I’m a lover, I’m a child, I’m a mother...’: the disembodied voice of CreusaSarah Cullinan HerringChapter 2: Prophecy, Subjugation, and Female Voice: Lesia Ukrainka’s Cassandra and the Politics of LanguageHelen EastmanChapter 3: Andromache in AlbaniaEdith HallSection B: CarthaginiansChapter 4: Anna’s Empathetic Agency in Marlowe’s Dido, Queen of CarthagePatricia WarehChapter 5: A Punic Queen on the Hispanic stage: Dido in Spain’s Golden Age TheatreOliver BaldwinChapter 6: ‘Virgil travestied’ in German-speaking lands: from Enlightenment Austria to Wilhelmine GermanyClemence SchultzeChapter 7: Travesties of Gender and Genre in F.C. Burnand’s DidoEdith HallChapter 8: American Dido: Gwendolyn Brooks and Annie AllenPatrice RankineChapter 9: Dido and the Jews: From Enemy to Legitimizing FigureMaureen AttaliChapter 10: Digital Dido: Roleplay as Reception in the Civilization Video Game SeriesDMH RuprechtChapter 11: Dido/Elissa or a Wandering Story: A Cypriot play about the Carthaginian QueenMagdalena ZiraSection C: ItaliansChapter 12: ‘Give me the branch!’: Lady Sibyl as Guide and Seer in von Veldeke’s EneasNiall SlaterChapter 13: Lavinia’s Arrow: Lavinia as teenage courtly heroine in Heinrich von Veldeke’s Eneasroman (c.1184 CE)Justin Vyvyan-JonesChapter 14: (Re)Articulating Virgil’s Women: Dido, Camilla and Lavinia in an Epic Mediaeval AfterlifeLynn GordonChapter 15: Warrior Maiden: A Reconsideration of Sandro Botticelli’s ‘Pallas and the Centaur’Jeremy LamChapter 16: The Concealment and Exposure of a Passionate Latin Queen: Images of Amata in Early Modern ArtEdmund ThomasChapter 17: An Aeneid for the Granduchess: Vergilian Heroines and the Chivalric Tradition in Barbera Tigliamochi’s Ascanio Errante (Florence, 1640)Valentina ProsperiChapter 18: ‘Mutationi d’affetti’ and Lavinia’s Erotic Reversal in the 1641 Lost Opera Le nozze d’Enea con LaviniaJulia Pelosi-ThorpeChapter 19: Angelica Kauffman and Silvia’s StagAnne RogersonChapter 20: Psychology, Morality, Desire: Lavinia and Amata in Ursula Le Guin’s LaviniaAnactoria ClarkeChapter 21: Queer CamillasJennifer IngleheartBibliographyIndex

'The topic is both compelling and timely, and the contributors do an excellent job of balancing the inherently political nature of the topic with literary and historical analysis. [It] will surely contribute significantly to the study of the reception of the Aeneid.' Kirk Freudenburg, Brooks and Suzanne Ragen Professor of Classics, Yale University