English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

In Hauptmann’s reception of antiquity there is an overlap between the ‘dark’ (i.e. chthonic, Dionysiac, barbaric) understanding of the Greeks, which had been introduced by Bachofen and Nietzsche and which was characteristic of modernism as a whole around 1900, and a late neoclassical view of the Hellenic legacy, which is manifested not least in his drawing on the literary translations of the nineteenth century (in the case of the three tragedians, Donner’s translations “in the original metres”). The same tension is a feature also of his late Atrides Tetralogy. Its second part,  Agamemnons Tod  (‘Agamemnon’s Death’) not only recurs to Aeschylus’  Oresteia , to which Hauptmann had responded with enthusiasm in his youth, but is also influenced by the chthonic Homer interpretation of his first drama on a theme from the ancient world,  Der Bogen des Odysseus  (‘Odysseus’ Bow’), and by nineteenth-century archaeology at Mycenae.

Schiffbruch im Totenreich: Konkurrierende Antike-Bezüge in Gerhart Hauptmanns Einakter Agamemnons Tod