The Author: Rebecca Futo Kennedy is Assistant Professor of Classics at Denison University in Granville, Ohio. She received her B.A. in classical studies from the University of California, San Diego and her Ph.D. in Greek and Latin from The Ohio State University.

«Rebecca Futo Kennedy’s book is a welcome addition to the political readings of Greek tragedy. Her attempt to tie the representations of Athena in surviving plays to changes in Athenian self-understanding and imperial fortunes is at once provocative and nuanced. The connections she makes between history, politics, and literature will interest scholars of many stripes.» (Geoff Bakewell, Associate Professor of Classics, Creighton University, Omaha, Nebraska)«This is an adventurous and original study that explores important questions, and proposes some unexpected new answers, concerning the relationship between religion, politics, morality and Athenian self-image in the plays of Aeschylus, Sophocles and Euripides. As a model of justice, moderation and wise leadership, the goddess Athena was a powerful symbol to the Athenians of their own city’s claims to cultural and political supremacy, and Rebecca Futo Kennedy shows skillfully how this symbol was deployed – and sometimes qualified and questioned – in their theatrical productions.» (Mark Griffith, Professor of Classics, and of Theater, Dance and Performance Studies, University of California, Berkeley)

The Author: Rebecca Futo Kennedy is Assistant Professor of Classics at Denison University in Granville, Ohio. She received her B.A. in classical studies from the University of California, San Diego and her Ph.D. in Greek and Latin from The Ohio State University.

«Rebecca Futo Kennedy’s book is a welcome addition to the political readings of Greek tragedy. Her attempt to tie the representations of Athena in surviving plays to changes in Athenian self-understanding and imperial fortunes is at once provocative and nuanced. The connections she makes between history, politics, and literature will interest scholars of many stripes.» (Geoff Bakewell, Associate Professor of Classics, Creighton University, Omaha, Nebraska)«This is an adventurous and original study that explores important questions, and proposes some unexpected new answers, concerning the relationship between religion, politics, morality and Athenian self-image in the plays of Aeschylus, Sophocles and Euripides. As a model of justice, moderation and wise leadership, the goddess Athena was a powerful symbol to the Athenians of their own city’s claims to cultural and political supremacy, and Rebecca Futo Kennedy shows skillfully how this symbol was deployed – and sometimes qualified and questioned – in their theatrical productions.» (Mark Griffith, Professor of Classics, and of Theater, Dance and Performance Studies, University of California, Berkeley)

The Author: Rebecca Futo Kennedy is Assistant Professor of Classics at Denison University in Granville, Ohio. She received her B.A. in classical studies from the University of California, San Diego and her Ph.D. in Greek and Latin from The Ohio State University.

«Rebecca Futo Kennedy’s book is a welcome addition to the political readings of Greek tragedy. Her attempt to tie the representations of Athena in surviving plays to changes in Athenian self-understanding and imperial fortunes is at once provocative and nuanced. The connections she makes between history, politics, and literature will interest scholars of many stripes.» (Geoff Bakewell, Associate Professor of Classics, Creighton University, Omaha, Nebraska)«This is an adventurous and original study that explores important questions, and proposes some unexpected new answers, concerning the relationship between religion, politics, morality and Athenian self-image in the plays of Aeschylus, Sophocles and Euripides. As a model of justice, moderation and wise leadership, the goddess Athena was a powerful symbol to the Athenians of their own city’s claims to cultural and political supremacy, and Rebecca Futo Kennedy shows skillfully how this symbol was deployed – and sometimes qualified and questioned – in their theatrical productions.» (Mark Griffith, Professor of Classics, and of Theater, Dance and Performance Studies, University of California, Berkeley)