Lorna Hardwick is Professor emeritus of Classical Studies and is director of the Classical Receptions in Late Twentieth Century Drama and Poetry in English project. She is an Honorary Research Associate of the Archive of Performances of Greek and Roman Drama at Oxford. Classical Reception Studies is one of the fastest growing areas in Classics research and teaching. It looks at the ways in which Greek and Roman texts, ideas and material culture have been interpreted, used and reworked by subsequent writers, thinkers, artists and societies. In the ancient world oral, written, built or performed texts were a vibrant part of community culture and its often contested values and power struggles. The work of the research project focuses on how these processes have also played an important part in recent culture and politics and have often been catalysts for cultural change. Classical drama and poetry, images and ideas have provided a field for debates about cultural identity and aesthetic values in the present and these activities have redirected attention back to the ancient texts and their contexts, often suggesting new perspectives and interpretations and revealing aspects that have been marginalised or suppressed. The research project’s website publishes a database of modern productions of Greek drama together with critical essays on key aspects of the research. A similar database covering classical referents in modern poetry in English is in preparation. The website also includes a showcase for new researchers, the refereed e-journal New Voices and an archive for the annual international electronic seminar series on the reception of Greek and Roman drama.
Lorna’s publications in the field of classical reception include Translating Words, Translating Cultures (2000) and New Surveys in the Classics; Reception Studies (2003) as well as a number of articles on drama and poetry. She has a particular interest in the impact of various kinds of translation and adaptation on modern perceptions of Greece and Rome and in the reworking of classical material in post-colonial contexts (publications.) She is, with Professor Jim Porter (University of Michigan) the Series Editor for the new series Oxford Studies in Classical Receptions: Classical Presences and is co-editor, with Dr Chris Stray (Swansea) of the Blackwell Companion to Classical Receptions (2008) and, with Carol Gillespie, of Classics in Post-colonial Worlds. She was founding editor of the Classical Receptions Journal, launched as an Oxford Journal in 2009. She is founding convenor of the international research group Classics and Poetry Now (CAPN).
Hardwick, L., 2018 forthcoming, ‘Voices, Bodies, Silences and Media: Heightened Receptivities in Epic in Performance’ in F. Macintosh and J. McConnell, eds. Epic In Performance, Oxford: Oxford University Press.
Hardwick, L., 2018, forthcoming, ‘Translation and/as Adaptation’, in V. Liapis and A. Sidiropoulou, eds., Adapting Greek Tragedy: Contemporary Contexts for Ancient Texts, Cambridge: Cambridge University Press.
Hardwick, L., 2018, forthcoming, ‘Aspirations and Mantras in Classical reception Research: Can there really be dialogue between ancient and modern?, in M. De Pourcq et al., eds., Framing Classical Receptions, Leiden: Brill.
Hardwick, L., 2017 forthcoming, ‘Thinking with classical reception: critical distance, critical licence, critical amnesia’, in E. Richardson, ed., Classics in Extremis: The Edges of Classical Reception, London: Bloomsbury.
Hardwick, L., 2017, ‘Voices of Trauma: Remaking Aeschylus in the Twentieth Century’, in S. E. Constantinidis, ed., The Reception of Aeschylus’ Plays through Shifting Models and Frontiers, Leiden: Brill, 280-303.
Hardwick, L., 2017, ‘The Reception of Antigone in the 20th and 21st Centuries, in C. Morais, L. Hardwick and M. de F. Silva, eds., Portrayals of Antigone in Portugal: 20th and 21st Century Rewritings of the Antigone Myth, Metaforms vol. 9, Brill: Leiden, 27-42.
Hardwick, L., 2016, ‘Translating Myths, Translating Fictions’, in J. McConnell and E. Hall, eds., Ancient Greek Myth in World Fiction since 1989,75-90.
Hardwick, L., 2016, ‘Homer, Repetition and Reception’, in A. Efstathiou and I. Karamanou, eds., Homeric Reception across Generic and Cultural Contexts, Trends in Classics Supplementary Volume 37, Berlin: De Gruyter, 15-30.
Hardwick, L., 2016, ‘Cultural Spaces in the Recent Translation and Performance of Greek Drama’, in P. Monaghan and J. Montgomery Griffiths, eds., Close Relations: Spaces of Greek and Roman Theatre, Newcastle upon Tyne: Cambridge Scholars Publishing, 155-176.
Hardwick, L., 2015, ‘Radicalism and Gradualism Enmeshed: Classics from the Grass Roots in the Cultural Politics of Nineteenth-century Britain’, in H. Stead and E. Hall, eds., Greek and Roman Classics in the British Struggle for Social Reform, London: Bloomsbury, 20-36.
Hardwick, L., 2015, ‘Audiences across the pond: Oceans apart or shared experiences?’, in K. Bosher, F. Macintosh, J. McConnell and P. Rankine, eds., The Oxford Handbook of Greek Drama in the Americas, Oxford: Oxford University Press, 819-40.
Hardwick, L., 2015, ‘Concepts’, in C. Lee and N. Morley, eds., A Handbook to the Reception of Thucydides, Chichester and Malden MA, 493-511.
Hardwick, L., 2014, ‘’Exceptionalities and Paradigms: Ancient and Modern Greek culture in Classical Reception Research’, in D. Tziovas, ed., Re-imagining the Past: Antiquity and Modern Greek Culture, Oxford: Oxford University Press, 333-349.
Hardwick, L., 2013, ‘Translating Greek plays for the theatre today: Transmission, transgression, transformation’, in Target 25.3, Special issue: Translation in the Theatre, ed. C. Marinetti, 321-342.
Hardwick, L., 2013, ‘The problem of the spectators: ancient and modern’, in A. Bakogianni, ed., Dialogues with the Past 1: Classical Reception Theory and Practice, Bulletin of the Institute of Classical Studies 126-1, London: ICS, 11-26.
Hardwick, L., 2013, ‘Against the ‘Democratic Turn’: Counter-texts; Counter-contexts; Counter-arguments’, in L. Hardwick and S. J. Harrison, eds., Classics in the Modern World: A ‘Democratic Turn’?, Oxford: Oxford University Press, 15-32.
2011 ‘Lashed to the Mast’? Finding a way through the siren songs of Greek plays on the modern stage (with apologies to Homer)’, in P. Sipova, M. Spivalova and J. Jirik, eds., Ad Honorem Eva Stehlikova, Praha, Filosoficky ustav AV CR , 104-110.
‘Greek Drama and Theatre for the Oppressed’, in J.Nelis, ed., Receptions of Antiquity, Gent, Academia Press, 81-91.
‘Antigone’s Journey: From Athens to Edinburgh, via Paris and Tbilisi’, in E.B. Mee and H.P.Foley, eds., Antigone on the Contemporary World Stage, Oxford, Oxford University Press, 392-406.
‘Fuzzy Connections: Classical Texts and Modern Poetry in English’, in J. Parker and T. Mathews, eds. Tradition, Translation, Trauma: The Classic and the Modern, Oxford, Oxford University Press, pp 39-60.
2010 ‘Lysistratas on the Modern Stage’, in D. Stuttard, ed., Looking at Lysistrata, London, Duckworth: Bristol Classical Press, 80-89.
‘Negotiating Translation for the Stage’ in E. Hall and S. Harrop, eds., Theorising Performance: Greek Drama, Cultural History and Critical Practice. London, Duckworth, pp 192-207.
2009 ‘Classical Texts’ in M. Baker and G.Saldanha, eds., Routledge Encyclopedia of Translation Studies, 2nd edition, London and New York, Routledge, 34-37.
Is 'the Frail Silken Line' worth more than 'a Fart in a Bearskin'? or, how translation practice matters in poetry and drama. In: Harrison, S. J. ed. Living Classics: Greece and Rome in Contemporary Poetry in English. Classical presences. Oxford: Oxford University Press, pp. 172–193.
2008 ‘Translated Classics: Vibrant Hybrids or Shattered Icons?’ in (eds) A. Lianeri and V. Zajko, Translation and the Classics. Oxford: Oxford University Press, 341-66
‘Can Poets Do Drama? The Case of Ted Hughes’, in (ed.) R. Rees, Ted Hughes and the Classics, Oxford: Oxford University Press, 39-61.
2007 ‘Translating Greek Tragedy to the Modern Stage’ in ‘Forum: What’s at Stake in Theatrical Translation’, Special Issue on Theatre and Translation, Theatre Journal, 59.3, October 2007, 347–89
‘Contests and Continuities in Classical Traditions: African Migrations in Greek Drama’ in J. Hilton and A. Gosling, Africa and the Classical Tradition, Capetown: University of Capetown, 43–72.
‘Postcolonial Studies’ in C. Kallendorf A Companion to the Classical Tradition. Oxford: Oxford University Press, 312–27.
Shades of Multi-Lingualism and Multi-Vocalism in Modern Performances of Greek Tragedy in Post-Colonial Contexts. In L. Hardwick & C. Gillespie (eds) Classics in Post-Colonial Worlds, Oxford: Oxford University Press, 305-28.
‘Text and Performance in Ancient Greek Plays on the Modern Stage: The Case of Aristophanes’ Ecclesiazusai’ in I. Vivilakis (ed.) Stephanos: Tribute to Walter Puchner, Athens, Ergo Editions, 493-500.
‘De-colonizing the Mind? Controversial productions of Greek Drama in Post-Colonial England, Scotland and Ireland’, in C. Stray (ed.) Remaking the Classics, London: Duckworth, 89-105.
‘Singing across the faultlines: cultural shifts in twentieth century receptions of Homer’ in (eds) B. Graziosi and E. Greenwood, Homer in the 20th Century: Between World Literature and the Western Canon, Oxford: Oxford University Press, 47-74.
(ed. with C. Gillespie) Classics in Post-Colonial Worlds. Oxford: Oxford University Press.
(ed. with C. A. Stray) The Blackwell Companion to Classical Receptions. Oxford: Blackwell.
2006 ‘‘Murmurs in the Cathedral’: the impact of translations from Greek poetry and drama on modern work in English by Michael Longley and Seamus Heaney’ Yearbook of English Studies, vol. 36.1 on ‘Translation’, London: Modern Humanities Research Association, 204-215.
‘Remodelling Receptions: Greek Drama as Diaspora in Performance’ in (edd) C. Martindale and R. Thomas, Classics and the Uses of Reception, Oxford: Blackwell, 204-15.
‘Staging Sophocles in post-colonial contexts’ in (ed) N. Shiafkalis, The influence of Sophocles on Contemporary Theatre, Nicosia: International Theatre Institute pp. 75-94 (Greek) and 258-76 (English).
2005 ‘Refiguring Classical Texts: Aspects of the Post-colonial Condition’ in (ed.) B. Goff, Classics and Colonialism, 107-17, London: Duckworth.
‘The Comic in the Tragic: Parody and Critique in modern productions of Euripides’ Hecuba’, in (ed) M. Kolk The Performance of the Comic: Arabic Theatre, Documenta 23/3, Belguim 306-315.
‘Staging Agamemnon: The Languages of Translation’, in (eds) F. Macintosh, P. Michelakis, E. Hall, and O. Taplin, Agamemnon in Performance, 458 BC-2004 AD, ch. 11, Oxford: Oxford University Press, 207-21 .
‘The praxis of what is ‘European’ in modern performance of Greek drama: The multi-lingual turn’ Parados 6, pp6-8, Athens.
2004 ‘Shards and Suckers: Modern Receptions of Homer’ in (ed) R. Fowler, The Cambridge Companion to Homer, Cambridge: Cambridge University Press, 338-354.
‘Greek drama and anti-colonialism: De-colonising Classics’, in E. Hall, F. Macintosh and A. Wrigley (eds), Dionysus since ‘69: Tragedy at the Dawn of the Millennium, Oxford: Oxford University Press, 219-244.
‘Sophocles’ Oedipus and Conflicts of Identity in Post-colonial contexts’, in (eds) F. Decreus and M. Kolk Reading Classics in ‘East’ and ‘West’, Documenta, 22/4, Belgium, 376-386.
2003 Greece and Rome New Surveys in the Classics no. 33 Reception Studies; Oxford: Oxford University Press.
tr. into Modern Greek 2013 by Dr Ioanna Karamanou and published by Papazisi.
‘Classical Theatre in Modern Scotland: A Democratic Stage’ in Hardwick and Gillespie (eds.), The Role of Greek Drama and Poetry in Crossing and Redefining Cultural Boundaries, Milton Keynes , 1–12, and at www2.open.ac.uk/ClassicalStudies/GreekPlays/Seminar02/SS.htm
(ed. with C. Gillespie) The Role of Greek Drama and Poetry in Crossing and Redefining Cultural Boundaries, Milton Keynes, 1–12, and at www2.open.ac.uk/ClassicalStudies/GreekPlays/Seminar02/SS.htm
2002 ‘Classical Texts in Post-Colonial Literatures: Consolation, Redress and New Beginnings in the Work of Derek Walcott and Seamus Heaney’ in the International Journal of the Classical Tradition, Vol. 9. No. 2 Fall 2002, 236- 256, Boston.
2001 ‘Who owns the plays? Issues in the translation and performance of Greek drama on the modern stage’, Eirene, Studia Graecia et Latina (Theatralia) 37, Prague, 23-39.
2000 ‘Placing Prometheus’ in (ed) Hardwick, L., Tony Harrison’s Poetry, Drama and Film: The Classical Dimension, Selected Proceedings of the Open Colloquium 1999, Milton Keynes, 1-15, and at www2.open.ac.uk/ClassicalStudies/GreekPlays/Colq99/colq99.htm
Translating words, translating cultures Classical inter/faces Series, London: Duckworth.
(ed. with, P. Easterling, S. Ireland , N. Lowe, and F. Macintosh) Selected Proceedings of the January Conference 1999: Theatre Ancient and Modern. Milton Keynes, and at www2.open.ac.uk/ClassicalStudies/GreekPlays/Conf99/index.htm
(ed.) Tony Harrison’s Poetry, Drama and Film: The Classical Dimension, Selected Proceedings of the Open Colloquium, Milton Keynes, and at www2.open.ac.uk/ClassicalStudies/GreekPlays/Colq99/colq99.htm
1997 ‘Reception as Simile: the poetics of reversal in Homer and Derek Walcott’, International Journal of the Classical Tradition vol. 3, Winter, 326-338, Boston.
1996 ‘A Daidolos in the late-modern age? Transplanting Homer into Derek Walcott’s The Odyssey: A stage version,’ in (eds.) L. Hardwick and S. Ireland
‘Critical Humanism in Action: Towards reading Aeschylus’ The Persians’, Media and Technology for Human Resource Development, 7 and 8/1, Special Issue, 12-23. New Delhi : All India Association for Educational Technology.
(ed. with S. Ireland) Selected Proceedings of the January Conference 1996: The Reception of Classical Texts and Images. Milton Keynes: The Open University.
She has contributed to many Open University courses in Classical Studies, including Rome: The Augustan Age, Fifth-century Athens: City State and Democracy, Homer: Poetry and Society, Culture Identity and Power in the Roman Empire, Exploring the Classical World and the MA in Classical Studies Greek theatre module. She has also contributed teaching material on classical themes to a number of Arts Faculty interdisciplinary courses including the first level course, The Arts Past and Present, in which she discusses the relationship between Sophocles’ play Antigone and Seamus Heaney’s The Burial at Thebes. Lorna has also contributed to the MA in English (starting October 2009).
From 2000–2005 Lorna was Subject Director for Classics and Ancient History in the Higher Education Academy Subject Centre for History, Classics and Archaeology. She works extensively with post-graduate students in the OU and internationally and was the founding Convenor of the Classical Reception Studies Network (serving until 2010). In 2005–7 she served as the President of the Joint Association of Classical Teachers.