By Sappho, Diogenes of Sinope, Archilochos, Alkman, Anakreon, Herakleitos, Herondas
"Overall, this quantity will find the money for nice excitement to students, lecturers, and in addition those that easily like to watch pleasant souls disport themselves in language."—Anne Carson
Here is a colourful style pf works by means of seven Greek poets and philosophers who lived from the 8th to the 3rd centuries BC. Salvaged from shattered pottery vases and tattered scrolls of papyrus, every little thing decipherable from the is still of those old authors is assembled the following. From early to later, the gathering includes: Archilochos; Sappho; Alkman; Anakreon; the philosophers Herakleitos and Diogenes; and Herondas. This composite of fragments translated via man Davenport is the main entire number of its type ever to seem in a single quantity.
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The author explained her aspirations: The Sisters Rosensweig seems a combination of Isn't It Romantic and Uncommon Women. But those other plays are episodic, and this was a deliberate decision not to be episodic. Also, I decided not to write another play about my generation. Even though it has autobiographical materials, the focus of the play is not me. I wanted to do all those things and also evoke a fondness for plays that I love, including Chekhov. (Wasserstein 1997b, 169) Like The Heidi Chronicles, The Sisters Rosensweig was a major Broadway success.
One of the early scenes portrays Heidi's "visit"-both literal and symbolic-to a women's consciousness-raising group in Ann Arbor in 1970. This is Heidi's only direct encounter with organized feminism in the play and the only scene that displays a women's community. Wasserstein depicts this meeting by satirizing its rituals and rhetoric through ironic exaggeration. Given the scene's general tone, the meeting's actual conversations allude only tangentially to the important historical function of consciousness raising in this early phase of radical and liberal feminism.
More credit to them. But the whole notion of "having it all" is ridiculous. It's a ridiculous phrase (Wasserstein 1987, 422). In her earlier plays, Wasserstein pervasively directed her frustration at what she critiques as programmatic prescriptions by the women's movement. " In 1999 at the age of 49, Wendy Wasserstein gave birth to a daughter. In December 2000, her new play, Old Money, opened at New York's Lincoln Center. It seems as if in her own life Wasserstein may have solved the very conflict with which her heroines could not come to grips for the past three decades.