Women Re-Creating Classics: Contemporary Voices

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Drawing together an interdisciplinary range of scholarly and creative voices, this volume looks at contemporary discussions surrounding womens engagement with the classical past. There is a discussion as to why classical creative retellings are so popular now, as well as considerations of what creativity can do to foster new ways of thinking and writing about classics, thus blurring the boundary between the creative and the critical. In particular, the contributors engage with debates on how to make classics more accessible through the medium of creative works, so that it is not just a discipline for the selective few.

The inclusion of original creative work by women writers such as poems by Katie Byford and Carrie Etter, and interviews with Madeline Miller and Kamila Shamsie foregrounds new voices that have previously been excluded or overlooked by classical academia. As a result, this cutting-edge collaboration between practitioners and researchers offers new insights into issues on equality, diversity and inclusivity, all which point forward towards a new classics.

Author Bio

Emily Hauser is a Lecturer in Classics and Ancient History at the University of Exeter, UK. Her research interests include ancient women writers, gender and authorship in the classical world, and the reception of classical women by contemporary female authors. She has published on women writers in ancient Greece and Rome, as well as the reception of the Odyssey in Margaret Atwoods The Penelopiad.

Helena Taylor is a Leverhulme Early Career Fellow in Classics and French Studies at the University of Exeter, UK. She is the author of Ovid in French: Reception by Women from the Renaissance to the Present (2023), Women Writing Antiquity: Gender and Learning in Early Modern France (2023), and The Lives of Ovid in Seventeenth-Century French Culture (2017). She is the co-editor of Women and Querelles in Early Modern France (2021) and she has published a number of articles on early modern womens classical reception.