The Horror and the Glory: Euripides Among the Victorians
Bibliographic record
Abstract
This dissertation explores the literary and cultural impact of Euripides in the long nineteenth century. The project tests Victorian theories of translation and appropriation against a diverse array of media (including poetry, prose, drama, non-fiction, and Pre-Raphaelite art) in multiple European languages (primarily English and ancient Greek, but also Latin, German, Italian, and French). Emphasizing ancient texts in their original languages, I examine how a wide array of Victorians (including Matthew Arnold, J. M. Barrie, Charlotte Brontë, George Eliot, Jane Harrison, Walter Pater, Frederick Sandys, Bram Stoker, J. A. Symonds, R. Y. Tyrrell, A. W. Verrall, Augusta Webster, and Oscar Wilde) engage with Euripidean tragedy to express the perceived tribulations and monstrosities of their rapidly changing era. Three of Euripides’s most widely read tragedies form the centre of the analysis, Bacchae, Medea, and Hippolytus, all of which are underpinned by Euripides’s associations with the god Dionysus. Although Ernst Behler’s 1986 article persuasively claimed a “nineteenth century damnatio of Euripides,” I argue that Euripidean texts were nevertheless widely read, translated, and appropriated into Victorian literature as a vehicle through which writers expressed ideas about aspects of ancient Greece antithetical to Matthew Arnold’s more popular notions of its “sweetness and light.” Through a theoretical framework inspired by Bakhtin, Foucault, Burkert, and Sedgwick, I analyze ancient and Victorian discursive formations; the material conditions of Victorian life, which prompt identification with Euripidean drama; and the socio-political institutions which Euripidean-inflected Victorian texts critique.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.011 | 0.009 |
| Scholarly communication | 0.005 | 0.004 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".