Translating Ancient Greek Drama in Early Modern Europe: Theory and Practice (15th–16th Centuries)

Acknowledgements\nForeword\nContents\nList of Figures and Tables\nAbbreviations\nIntroduction\nPart I: Translating Comedy\nAristophanes’ Readers and Translators in 15th-Century Italy: The Latin Plutus of MS Matrit. Gr. 4697\nFrom Translating Aristophanes to Composing a Greek Comedy in 16th c. Europe: The Case of Alciato\nThe Sausage-Seller Suddenly Speaks Vernacular: The First Italian Translation of Aristophanes’ Knights\nPart II: Translating Tragedy\nII.1: Scholarly Networks: Translation Models and Functions\nAn ‘Origin’ of Translation: Erasmus’s Influence on Early Modern Translations of Greek Tragedy into Latin\nImitation, Collaboration, Competition Between English and Continental Translators of Greek Tragedy\nWhy Translate Greek Tragedy? Melanchthon, Winsheim, Camerarius, and Naogeorgus\nII.2: Proto-National Dynamics and Vernacular Translating\nTranslating Ancient Greek Tragedy in 16th- Century Italy\nThe Italian Translation of Euripides’ Hecuba by Michelangelo Buonarroti the Younger (1568–1647)\nSophocles in 16th-Century Portugal: Aires Vitória’s Tragédia del Rei Agaménom\nTranslating Ancient Greek Drama into French, 1537–1580\nPart III: Beyond Translation\nTranslation Ad Spiritum: Euripides’ Orestes and Nicholas Grimald’s Archipropheta (1548)\nInterpreting Oedipus’ Hamartia in the Italian Cinquecento: Theory and Practice (1526–1570)\nCoda: Dramaturgy and Translation\nEarly Modern Iphigenias and Practice Research\nAfterword: Prospects for Pan-European Translation History\nList of Contributors\nBibliography\nIndex Nominum et Rerum\nIndex Locorum