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Journal articles on the topic 'Ancient Greek dance'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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1

Lykesas, Georgios, Christina Papaioannou, Aspasia Dania, Maria Koutsouba та Evgenia Nikolaki. "Τhe Presence of Dance in Female Deities of the Greek Antiquity". Mediterranean Journal of Social Sciences 8, № 2 (2017): 161–70. http://dx.doi.org/10.5901/mjss.2017.v8n2p161.

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Abstract According to philosophers and paedagogists, from antiquity until today, arts and dance in particular have played a determining role in shaping the human personality, as well as in helping people gain a positive perspective of their multi-aspect development in terms of knowledge, perception, creative ability, psychomotor actions, emotional and social elevation. This holistic and anthropocentric approach in antiquity set new ways for perceiving motion -particularly dance- through the dance education. The aim of this study is to provide a well-documented review of dance in religious even
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Spalva, Rita. "Dance in Ancient Greek Culture." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 9, 2015): 451. http://dx.doi.org/10.17770/sie2012vol2.523.

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The greatness and harmony of ancient Greece has had an impact upon the development of the Western European culture to this day. The ancient Greek culture has influenced contemporary literature genres and systems of philosophy, principles of architecture, sculpture and drama and has formed basis for such sciences as astronomy and mathematics. The art of ancient Greece with its penchant for beauty and clarity has been the example of the humanity’s search for an aesthetic ideal. Despite only being preserved in its fragments, the dance of ancient Greece has become an example worthy of imitation in
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Nektarios, Peter Yioutsos. "Order in ancient Greek dance rituals: The dance of Pan and the Nymphs." Dramaturgias, no. 5 (October 27, 2017): 211–34. http://dx.doi.org/10.26512/dramaturgias.v0i5.8439.

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 Dance maintained an important role in antiquity and was believed to be a ritual act that should be treated and performed with the outmost respect, regardless of its severe or ludicrous character. Despite the lack of adequate data, ancient sources now and again provide enough details on dance rituals, so as to be able to recognize and even more reconstruct the structure and order of an ancient performance, the so-called “τάξις” of Alkman. The cult of Pan and the Nymphs was deeply connected to dance and music. They were mostly celebrated in outdoor shrines and sacred grottos throughout t
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Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.

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This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The st
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Lee Ruyter, Nancy. "A View of Ancient Greek Dance from 1895." Congress on Research in Dance Conference Proceedings 2016 (2016): 333–36. http://dx.doi.org/10.1017/cor.2016.44.

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In 1895, the book Dancing, a broad survey of world dance history, was published in London. Mainly written by Mrs. Lilly Grove (later Dame Lily Grove Frazer) after five years of travel and intensive research, it also includes four short chapters by other authors. It was issued in later editions after 1895 and is still an important early source for information about dance history. Of the 454 pages in Dancing, twenty-six are devoted to ancient Greece. I discuss some of Grove's sources, statements, and conclusions in relation to those of more recent writings about dance in ancient Greece.
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Lazou, Anna. "Ο χορός ως αντικείμενο επιστημονικής έρευνας και φιλοσοφίας. Προλεγόμενα". Epistēmēs Metron Logos, № 3 (11 січня 2020): 60. http://dx.doi.org/10.12681/eml.22108.

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The art of dance is now studied in the sciences and philosophy. From the time of the ancient Greek thinkers to the modern era, dance has never ceased to be considered a way of expressing multiple potentialities of culture. The way that man danced in history is also a reflection on every era of man's relationship with nature, the universe and social structures.By selecting the most significant of all references to dance that the modern reader may encounter today, we locate the wealth and variety of information and approaches as well as the interdisciplinary nature of the studies provided. Howev
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Dorf, Samuel N. "Atossa’s Dream Yoking Music and Dance, Antiquity and Modernity in Maurice Emmanuel’s Salamine (1929)." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (2012): 27–34. http://dx.doi.org/10.7202/1012347ar.

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This essay explores the conflicting trends of tradition and modernism, unity and independence in Parisian musical and dance culture in the late 1920s through an analysis of Maurice Emmanuel’s (1863-1938) aesthetics of contemporary and ancient Greek music and dance. It begins by outlining and critiquing Emmanuel’s relevant scholarly contributions to ancient Greek dance history and music history before demonstrating how these tensions manifested in the 1929 production of Emmanuel’s opera Salamine based on Aeschylus’s The Persians. Exploring Emmanuel’s aesthetics of music and dance (ancient and m
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Smith, Tyler Jo. "Bodies in Motion." Greek and Roman Musical Studies 9, no. 1 (2021): 49–84. http://dx.doi.org/10.1163/22129758-12341377.

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Abstract Drawing on the combined approaches of ancient Greek iconography, dance history, and the archaeology of ritual and religion, this paper examines dance gesture as a mechanism of ritual communication in ancient Greek vase-painting. After presenting the problems and limitations of matching art and text with regard to dance, as both Classical scholars and practitioners of modern dance have attempted, the paper expands on various ways of showing dance on vases. Special attention is given to komast dancers on black-figure vases and to other types of dance scenes and figures. A rethinking of
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Laferrière, Carolyn M. "Dancing with Greek Vases." Greek and Roman Musical Studies 9, no. 1 (2021): 85–114. http://dx.doi.org/10.1163/22129758-12341378.

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Abstract As gods dance, women twirl in choruses, and men leap in kōmos revels on Athenian red-figure vases, their animate bodies must be made to conform to the rounded shape of the vessels. Occasionally, these vases are even included in the images themselves, particularly within the kōmos revel, where the participants incorporate vessels into their dance as props, markers of space, and tools to engage new dance partners. Positioning these scenes within their potential sympotic context, I analyze the vases held by the dancers according to the ancient viewer’s own possible use of these physical
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Barboussi, Vasso. "The Beginning of Dance Studies in Greece (1900–1974)." Congress on Research in Dance Conference Proceedings 2016 (2016): 15–20. http://dx.doi.org/10.1017/cor.2016.3.

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The educational system introduced in Greece during the liberation, a period known as the Bavarian Regency (1833–1862), had been, more or less, a copy of the corresponding German system of this period. Koula Pratsika (1899–1984), who established modern dance and professional dance studies in the country, participated in the Delphic festival in 1927 and was influenced by Eva Palmer. She also had been influenced by the 1930s Hellenistic ideology writers and artists. Pratsika was trying to find and develop a dance reflecting Greek tradition, revitalized and encouraged by the ancient spirit. She wa
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Venuso, Maria. "Zorba's Dance in Lorca Massine's Dancing Expression." Congress on Research in Dance Conference Proceedings 2016 (2016): 425–30. http://dx.doi.org/10.1017/cor.2016.56.

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In Nikos Kazantzakis’ novel, Zorba the Greek, dance has a great importance. The transposition of the novel into a ballet by Lorca Massine (1987) simplified the novel's complexity, thus “rejuvenating” the ancient world described by Kazantzakis. The contrast of Apollonian vs. Dionysian is entrusted to the style of the protagonists. They propose the modern heritage of traditional Greece, imposing a new dance tradition (syrtaki), based on ancient and popular reminiscences—a new myth. This contribution aims to analyze how dance becomes expressed thus revealing of collective identity, in the transpo
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Gianvittorio-Ungar, Laura. "Narratives in Motion: the Art of Dancing Stories in Antiquity and Beyond." Greek and Roman Musical Studies 8, no. 1 (2020): 174–89. http://dx.doi.org/10.1163/22129758-12341367.

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Abstract The purpose of the symposium “Narratives in Motion. The Art of Dancing Stories in Antiquity and Beyond” was to make original contributions to the thriving field of study on ancient Greek and Roman dance by tackling this issue from an angle which is both specific in that it narrows down the focus on dance narrativity across different performance genres, and inclusive in that it encompasses transcultural, transhistorical and practice-based approaches. With eleven talks by classical and dance scholars and two performances by dance artists, the symposium was able to shed light on a range
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Rocconi, Eleonora. "Before the Première: Recording the Performance of Ancient Greek Drama." Dramaturgias, no. 5 (October 27, 2017): 10–21. http://dx.doi.org/10.26512/dramaturgias.v0i5.8103.

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Ancient Greek theatre, a multimedia spectacle (originally conceived for a unique performance) which involved words, music, gestures, and dance, has always been a challenge for scholars investigating its original performance. This paper explores the possibilities of the performative elements of the plays to be recorded during their theatrical staging, that is, before their première. More in detail, it examines the probability that — given the rhythmic and melodic nature of ancient Greek language and the descriptive and/or perlocutionary character of the scenic information within the texts — th
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Portier-Young, Anathea. "Three Books of Daniel: Plurality and Fluidity among the Ancient Versions." Interpretation: A Journal of Bible and Theology 71, no. 2 (2017): 143–53. http://dx.doi.org/10.1177/0020964316688077.

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This essay demonstrates that the book of Daniel is not a fixed but fluid text, a collection of traditions that developed over centuries and locations. The three major extant ancient versions of Daniel, represented by the Hebrew/Aramaic Masoretic Text and the “Old Greek” and “Revised Greek” translations, together participate in a complex dance of genres as they move between legend, folk-tale, prayer and song, vision and apocalypse, novella and saint’s life. A greater appreciation of this multiplicity and fluidity complicates our understanding of biblical texts in ways that can enrich interpreta
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Zervou, Natalie. "Bodies of Silence and Resilience: Writing Marginality." Congress on Research in Dance Conference Proceedings 2015 (2015): 174–81. http://dx.doi.org/10.1017/cor.2015.27.

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Since 2009, the financial crisis in Greece has brought about a need to revisit the past and challenge previous historical assumptions in order to understand the socio-political present more effectively. Dance, and performing arts in general, have reflected this urge by giving voice to marginalized events and perspectives in Greek history, and by challenging the dominant rhetoric of ancient Greek lineage and continuity that often overlooked the significance of ethnic minorities. As such, the focus has shifted away from a sense of unity toward a fragmented understanding of Greek identity that is
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Bassi, Karen. "The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance edited by Fiona Macintosh; Modernism's Mythic Pose: Gender, Genre, Solo Performance by Carrie J. Preston." Dance Research Journal 45, no. 1 (2013): 111–17. http://dx.doi.org/10.1017/s0149767712000356.

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Perhaps the best-known dancer from Greek antiquity is Hippocleides, who was a suitor for the hand of the daughter of Cleisthenes, the tyrant of Sicyon in the sixth century BCE. According to Herodotus, Hippocleides was “the most outstanding man in Athens for his wealth and good looks,” and Cleisthenes preferred him for his son-in-law “because of his courage” (or “manly virtue,” andragathiê) and because he was related to the Cypselidae of Corinth (Histories 6.127–8). On the day Cleisthenes was to make his decision, however, things took a wrong turn (Histories 6.129.2–4; trans. Waterfield 1998):
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17

Hagel, Stefan. "A. P. David: The Dance of the Muses. Choral theory and ancient Greek poetics." Gnomon 81, no. 4 (2009): 294–97. http://dx.doi.org/10.17104/0017-1417_2009_4_294.

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18

Ley, Graham. "Sacred ‘Idiocy’ the Avant-Garde as Alternative Establishment." New Theatre Quarterly 7, no. 28 (1991): 348–52. http://dx.doi.org/10.1017/s0266464x00006047.

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Is there a postmodernist theatre – and if so, what was the modernist theatre? What qualifies as avant-garde – and for how long? And why does the ‘established’ alternative theatre lean so heavily on appropriation, whether of ancient myths or contemporary ideologies – such as postmodernism? Graham Ley uses analogies from dance and design to explore our perceptions of and attitudes towards those contemporary theatre practitioners who may once have broken boundaries, but now often head the queue for lavish corporate finance. Graham Ley has taught in universities in England, Australia, and New Zeal
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ALEXANDRAKIS, APHRODITE. "THE ROLE OF MUSIC AND DANCE IN ANCIENT GREEK AND CHINESE RITUALS: FORM VERSUS CONTENT." Journal of Chinese Philosophy 33, no. 2 (2006): 267–78. http://dx.doi.org/10.1111/j.1540-6253.2006.00352.x.

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20

Alexandrakis, Aphrodite. "The Role of Music and Dance in Ancient Greek and Chinese Rituals: Form Versus Content." Journal of Chinese Philosophy 33, no. 2 (2006): 267–78. http://dx.doi.org/10.1163/15406253-03302005.

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21

Najock, Dietmar. "Byzantinischer Tanz zwischen antiker Rhythmik und neuzeitlichen Volkstänzen." Das Mittelalter 23, no. 2 (2018): 383–408. http://dx.doi.org/10.1515/mial-2018-0020.

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AbstractBy tradition, Byzantine dance is linked with both classical antiquity and today’s folk dances of the southern Balkans. Turkish influence on the latter seems limited primarily to musical instruments and melody but does not appear to include rhythm. In antiquity, and in Byzantine times, the simple rhythmic foot was divided into arsis and thesis, the ‘up’ and ‘down’ of a step, and the ratio of their lengths (in time units) determined the rhythmic genus, 1:1 dactylic, 2:1 iambic, 3:2 paeonic and 4:3 epitrite. This implies measures of 2, 3, 4, 5 or 7 units and certain multiples. In addition
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22

Sampatakakis, George. "Samuel N. Dorf, Performing Antiquity: Ancient Greek Music and Dance from Paris to Delphi, 1890–1930." Dance Research 39, no. 1 (2021): 140–41. http://dx.doi.org/10.3366/drs.2021.0333.

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Leonhardmair, Teresa. "Leiturgía – Ort der musiké: Plädoyer für eine Perspektive auf Kirchen-Musik als heteromodales Ereignis." Review of Ecumenical Studies Sibiu 7, no. 3 (2015): 422–40. http://dx.doi.org/10.1515/ress-2015-0031.

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The meaning of music exceeds the mere acoustic noise. Liturgy clarifies that fact. Focusing aesthetic modes music is considered as defined by the ancient Greek term musiké, back then the union of movement/dance, sound, poetry. As performance musiké correlates with liturgy (performance as well) in a special way. The bodily and transcendent dimensions of musiké arise in liturgy – something performative, i.e. evolving from doing. Liturgy and music are connected with bodily presence (incarnation) and movement – the fundament of life. Both corporal actions and expressive dance in liturgy exist as a
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Shiflett, Campbell. "Performing Antiquity: Ancient Greek Music and Dance from Paris to Delphi, 1890–1930 by Samuel N. Dorf." Notes 76, no. 3 (2020): 433–36. http://dx.doi.org/10.1353/not.2020.0008.

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Frankenbach, Chantal. "Performing Antiquity: Ancient Greek Music and Dance from Paris to Delphi, 1890–1930 by Samuel N. Dorf." Notes 77, no. 2 (2020): 299–302. http://dx.doi.org/10.1353/not.2020.0108.

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Vajjhala, Rachana. "Performing Antiquity: Ancient Greek Music and Dance from Paris to Delphi, 1890–1930, by Samuel N. Dorf." Journal of the American Musicological Society 73, no. 3 (2020): 785–90. http://dx.doi.org/10.1525/jams.2020.73.3.785.

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Tyrnova, Oleksandra. "Somatic Phraseological Units with the Component“Heart” in Ancient Greek Tragedies of the Classical Age." Studia Linguistica, no. 12 (2018): 64–73. http://dx.doi.org/10.17721/studling2018.12.64-73.

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The article explores phraseological units with the somatic component “heart”, which serve to denote emotions, psychological states and feelings in the Ancient Greek language of the classical age. The authors analyze the meaning of the verbs, used in the structure of the somatic phraseological units and compound metaphors with the somatic word “heart”. It is determined that more than hundred somatic phraseological units with the component καρδία / κραδίη / κῆρ “heart” are used in Greek tragedies of Aeschylus, Sophocles and Euripides and 62 units of them serve to denote emotions, psychological s
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Meriani, Angelo. "Notes on the Prooemium in Musicam Plutarchi ad Titum Pyrrhynum by Carlo Valgulio (Brescia 1507)." Greek and Roman Musical Studies 3, no. 1-2 (2015): 116–36. http://dx.doi.org/10.1163/22129758-12341031.

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The Prooemium in Musicam Plutarchi ad Titum Pyrrhinum, written by Carlo Valgulio at the end of the 15th century and published in Brescia in 1507 as an introduction to his Latin translation of the Plutarchean De musica, was one of the first descriptions and re-evaluations of ancient Greek music in the Modern Age. It was an extremely important text for music theorists such as Franchino Gaffurio, Vincenzo Galilei and Gioseffo Zarlino. This text is based upon a wide range of Greek sources, almost all of which derive from Porphyry’s Commentary on Ptolemy’s Harmonics. On the basis of manuscripts tha
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Klavan, Spencer A. "SUNG POEMS AND POETIC SONGS: HELLENISTIC DEFINITIONS OF POETRY, MUSIC AND THE SPACES IN BETWEEN." Classical Quarterly 69, no. 2 (2019): 597–615. http://dx.doi.org/10.1017/s0009838820000075.

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Simply by formulating a question about the nature of ancient Greek poetry or music, any modern English speaker is already risking anachronism. In recent years especially, scholars have reminded one another that the words ‘music’ and ‘poetry’ denote concepts with no easy counterpart in Greek. μουσική in its broadest sense evokes not only innumerable kinds of structured movement and sound but also the political, psychological and cosmic order of which song, verse and dance are supposed to be perceptible manifestations. Likewise, ποίησις and the ποιητικὴ τέχνη can encompass all kinds of ‘making’,
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Ley, Graham. "The Rhetoric of Theory: the Role of Metaphor in Brook's ‘The Empty Space’." New Theatre Quarterly 9, no. 35 (1993): 246–54. http://dx.doi.org/10.1017/s0266464x00007971.

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In his discussion-piece for NTQ 28 (1991), Graham Ley raised questions about the self-determination of the avant-garde, drawing on analogies from dance and design to explore the problem of the post-modern in the theatre. He also outlined a critique of what he called an ‘alternative establishment in theatrical endeavour’: here, he extends that critique into an analysis of the techniques of persuasion to be found in one of the most influential texts in post-war theatrical theory, Peter Brook's The Empty Space, arguing for an enhanced attention to be given to the language and textuality of theory
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Jackson, Lucy. "(F.) Macintosh Ed.The Ancient Dancer in the Modern World. Responses to Greek and Roman Dance. Oxford: Oxford University Press, 2010. Pp xxii + 511. £90. 97801-99548101." Journal of Hellenic Studies 132 (September 17, 2012): 296–97. http://dx.doi.org/10.1017/s0075426912001152.

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Enemark, Nina. "Jane Ellen Harrison and a Ritual Aesthetic: The Early 20th Century Turn Towards Materiality, Embodiment and Performativity in the Arts." Literature and Theology 34, no. 1 (2019): 41–63. http://dx.doi.org/10.1093/litthe/frz040.

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Abstract This article considers the classicist Jane Ellen Harrison’s ritual theory of art as part of an intellectual, cultural and aesthetic zeitgeist occurring at the beginning of the 20th century. While centred on ancient Greek culture and art, Harrison’s work is directly connected to her concerns with religion and art in her own time. Her theory posits ritual as the forgotten origin of art and theology and sees in the modern period a return to this source in both religion and art. I argue that her theory implies a particular aesthetic which speaks to key shifts happening concurrently across
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West, M. L. "Literature - (A.P.) David The Dance of the Muses. Choral Theory and Ancient Greek Poetics. Oxford UP, 2006. Pp. xi + 284. £47. 9780199292400." Journal of Hellenic Studies 128 (November 2008): 182–83. http://dx.doi.org/10.1017/s0075426900000161.

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Jolles, André, and Peter J. Schwartz. "Legend: From Einfache Formen (“Simple Forms”)." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 728–43. http://dx.doi.org/10.1632/pmla.2013.128.3.728.

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Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his
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Warren, Vincent. "Yearning for the Spiritual Ideal: The Influence of India on Western Dance 1626–2003." Dance Research Journal 38, no. 1-2 (2006): 97–114. http://dx.doi.org/10.1017/s0149767700007403.

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Europeans have imagined India as a land of fabulous riches and exotic legends since the time of ancient Greece. In Greek mythology Dionysus, the god of passion and wine, was said to have come from India, and Alexander the Great's proudest achievement was arriving at the banks of the Indus. When, after 1498, explorers from Portugal, Holland, England, Denmark, and France began to establish trade links with the subcontinent, it seemed the legends were true; rare spices, silks, gold, and precious stones were transported to Europe and added fuel to already inflamed imaginations. The very name of th
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Borodovsky, Andrew P. "An Eastern Toreutics Item from Novosibirsk." Archaeology and Ethnography 20, no. 5 (2021): 96–104. http://dx.doi.org/10.25205/1818-7919-2021-20-5-96-104.

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Purpose. The article dwells upon the description and interpretation of a unique anthropomorphic Eastern toreutics item that was discovered by accident on the territory of Novosibirsk. This item comes from the traditional Ob river crossing site where a cult place with References to the Early Iron Age has already been identified. The study is aimed at attributing the imported item in terms of historical and cultural as well as material science aspects and establishing its relative chronology and possible intended purpose. Results. The functional purpose of the artifact is considered in terms of
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Giuseppetti, Massimo. "Choric Hexameters? - (A.P.) David The Dance of the Muses. Choral Theory and Ancient Greek Poetics. Pp. xii + 284. Oxford: Oxford University Press, 2006. Cased, £54. ISBN: 978-0-19-929240-0." Classical Review 60, no. 1 (2010): 6–7. http://dx.doi.org/10.1017/s0009840x09990102.

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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ". World Science 3, № 8(48) (2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.

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 Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his intere
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Collins, James Henderson. "Dancing the Virtues, Becoming Virtuous: Procedural Memory and Ethical Presence." Ramus 42, no. 1-2 (2013): 183–206. http://dx.doi.org/10.1017/s0048671x00000138.

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This paper is an exploration of the performance of Greek drama from the perspective of the performers, more specifically, of the chorus-in-training. The notion that khoreia constitutes an essential part of paideia and ethical instruction is an ancient one. And the notion persists, though in different forms, among scholars of the social and political context of these dramatic performances that to have participated in a chorus was in particular ways to have received training in essential perspectives and experiences of citizens: ‘the events and characters portrayed in tragedy are meant to be con
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Grosso, Michael. "Divine Mania: Alteration of Consciousness in Ancient Greece by Yulia Ustinova." Journal of Scientific Exploration 35, no. 3 (2021): 682–86. http://dx.doi.org/10.31275/20212127.

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What role did altered states of consciousness play in the life of ancient Greek society? With consummate skill and scholarship, Yulia Ustinova answers this question in her book, Divine Mania: Alteration of Consciousness in Ancient Greece. It appears that the secret of the extraordinary creativity of the ancient Greeks was their receptivity to, and approval of, a particular altered state of consciousness they cultivated. Mania is the name for this but it must be qualified as “god-given.” Mania is a word that touches on a cluster of concepts: madness, ecstasy, and enthusiasm, engoddedness, to us
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Eldridge, Hannah Vandegrift. "Towards a Philosophy of Rhythm: Nietzsche’s Conflicting Rhythms." Journal of Literary Theory 12, no. 1 (2018): 151–70. http://dx.doi.org/10.1515/jlt-2018-0009.

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Abstract In recent years, theories of rhythm have been proposed by a number of different disciplines, including historical poetics, generative metrics, cognitive literary studies, and evolutionary aesthetics. The wide range of fields indicates the transdisciplinary nature of rhythm as a phenomenon, as well as its complexity, highlighting the degree to which many of the central questions surrounding rhythm remain extraordinarily difficult even to state in terms that can traverse the disciplinary boundaries effortlessly transgressed by rhythm as a phenomenon. In particular, any theory of rhythm,
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Eichberg, Henning. "Efficiency Play, Games, Competitions, Production – How to Analyze the Configurations of Sport?" Physical Culture and Sport. Studies and Research 72, no. 1 (2016): 5–16. http://dx.doi.org/10.1515/pcssr-2016-0024.

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AbstractThe comparative, differential phenomenology of play and games has a critical political point. A mainstream discourse identifies – more or less – sport with play and game and describes sport as just a modernized extension of play or as a universal phenomenon that has existed since the Stone Age or the ancient Greek Olympics. This may be problematical, as there was no sport before industrial modernity. Before 1800, people were involved in a richness of play and games, competitions, festivities, and dances, which to large extent have disappeared or were marginalized, suppressed, and repla
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Diamond, Catherine. "The Floating World of Nouveau Chinoiserie: Asian Orientalist Productions of Greek Tragedy." New Theatre Quarterly 15, no. 2 (1999): 142–64. http://dx.doi.org/10.1017/s0266464x00012835.

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Criticism is increasingly being levelled at western directors who, in the name of a vague intercultural aesthetic, embark on experiments combining western texts with various kinds of oriental movement, costume, and music. In this article, Catherine Diamond raises the same issues in regard to productions of western drama in Asia, and offers a detailed analysis of three productions of ancient Greek tragedies to reveal how a new kind of non-specific orientalism has come to pervade the international stage, originating no less in Asia than in the West. Lavish productions, mounted to impress the int
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Davidson, John. "Portrait of an Archaic Lady." Antichthon 32 (November 1998): 1–11. http://dx.doi.org/10.1017/s0066477400001052.

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Much has been written about Herakles, one of the most significant figures in ancient Greek culture. However, despite the recent range of illuminating studies of various female mythical figures as reflected in both literary and pictorial sources, little attention has been paid to Alkmene, mother of the superhero. Alkmene stands, of course, alongside a number of other mortal women in Greek myth, including most notably Antiope, Danae, Europe, Io and Semele, who bear sons to Zeus. Despite her relationship with Zeus, however, and although undergoing more than her fair share of trials, she is never
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Harrop, Stephe, and David Wiles. "Poetic Language and Corporeality in Translations of Greek Tragedy." New Theatre Quarterly 24, no. 1 (2008): 51–64. http://dx.doi.org/10.1017/s0266464x08000055.

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The translation of ancient tragedy is often considered at a linguistic level, as if the drama consisted simply of words being written, spoken, and heard. This article contends that translation for the stage is a process in which literary decisions have physical, as well as verbal, outcomes. It traces existing formulations concerning the links between vocal and bodily expression, and explores the ways in which printed texts might be capable of suggesting modes of corporeality or systems of movement to the embodied performer; and sketches some of the ways in which the range of possible relations
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Wright, M. R. "R. M. Dancy: Two Studies in the Early Academy. (Suny Series in Ancient Greek Philosophy.) Pp. xii + 219. Albany, N.Y.: State University of New York Press, 1991. Paper, $14.95." Classical Review 42, no. 2 (1992): 457–58. http://dx.doi.org/10.1017/s0009840x00284953.

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Shapoval, Oksana. "Theory of communication in the space of philosophy and scientific thought as a determinant of the analysis of R. Wagner’s creative process." Aspects of Historical Musicology 16, no. 16 (2019): 52–76. http://dx.doi.org/10.34064/khnum2-16.03.

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Background. The knowledge about R. Wagner has now acquired the status of a significant component of not only music, but also philosophy, cultural studies, literary studies, and in studies the authors address to the intonation-conceptual and philosophical foundations of the artistic concepts of the German composer. Such universality has a basis in the substantial depths of Wagner’ works, which are the embodiment of myth-making, the conceptual ideas of Gesamtkunstwerk and Kunstreligion. Objectives. The purpose of the research is to determine the scientific basis for the implementation of the the
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Sunarto, Bambang. "Adangiyah." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 1 (2021): iii—iv. http://dx.doi.org/10.33153/dewaruci.v16i1.3601.

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This edition is the first issue of Dewa Ruci’s Journal, in which all articles are in English. We deliberately changed the language of publication to English to facilitate information delivery to a wider audience. We realize that English is the official language for many countries rather than other languages in this world. The number of people who have literacy awareness and need scientific information about visual and performing arts regarding the archipelago’s cultural arts is also quite large.The decision to change the language of publication to English does not mean that we do not have nati
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Melfi, Milena. "Ritual Spaces and Performances in the Asklepieia of Roman Greece." Annual of the British School at Athens 105 (November 2010): 317–38. http://dx.doi.org/10.1017/s0068245400000447.

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This paper attempts to investigate the existence of performative rituals—such as processions, songs, dances, dramatic enactments of divine myths and genealogies—in sanctuaries of Asklepios during the Roman Imperial period in Greece. Because of their long life and their well-documented ritual practice, the sanctuaries of Athens, Epidauros, and Messene have been selected as case studies. Archaeological, literary, and epigraphical sources are used to identify the nature of the ritual performed, and to assign to them a topographical space within the sacred precinct. The period under consideration
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Dunbar, Zachary. "Fiona Macintosh Oedipus TyrannusCambridge University Press, 2009. 220 p. £18.99. ISBN: 978-0-521-49782-4. - Fiona Macintosh, ed.The Ancient Dancer in the Modern World: Responses to Greek and Roman DanceOxford University Press, 2010. 480 p. £90.00. ISBN: 978-0-199-54810-1." New Theatre Quarterly 28, no. 1 (2012): 99. http://dx.doi.org/10.1017/s0266464x12000103.

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