Relevant bibliographies by topics / Bacchae (Euripides)

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Academic literature on the topic 'Bacchae (Euripides)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Bacchae (Euripides)"

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Whiteman, Bruce. "Bacchae by Euripides." Pleiades: Literature in Context 36, no. 2S (2016): 42–44. http://dx.doi.org/10.1353/plc.2016.0136.

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Markantonatos, Andreas. "Euripides’ Bacchae and Athenian Democratic Ideology: An Interpretation." CONCEPT 27, no. 2 (July 15, 2024): 3–13. http://dx.doi.org/10.37130/jpmdme23.

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In this article, I argue that in Bacchae, Euripides masterfully attempts to combine the essential qualities of the Dionysian cult, which seek to temporarily alleviate human suffering and drastically alleviate mental anguish, with the fundamental principles and values of the Athenian democratic city-state. These principles prioritise, inter alia, every possible celebratory occasion for the emotional relief and moral fortification of citizens. The gruesome dismemberment of Pentheus illustrates, in the most shocking way possible, the disastrous consequences that could arise in a city where, in the name of egocentric intellectuality and inflated narcissism, the ruling class stubbornly denies the populace’s inalienable right to enjoy the uplifting effect of religious enthusiasm and festive frivolity, including the subversive, prima facie, but essentially therapeutic Bacchic relaxation, which can sometimes culminate in celebratory defiance and dreamlike illusion.
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Perris, Simon. "Perspectives on Violence in Euripides’ Bacchae." Mnemosyne 64, no. 1 (2011): 37–57. http://dx.doi.org/10.1163/156852511x505024.

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Abstract This paper examines the treatment of violence in Euripides’ Bacchae, particularly in spoken narrative. Bacchae is essentially a drama about violence, and the messenger-speeches establish a dialectic between spectacle and suffering as different conceptions of, and reactions to, violence. The ironic deployment of imagery and allusion, particularly concerning Pentheus’ body and head, presents violence as ambiguous. The exodos then provides a model of compassion, in which knowledge of guilt does not preclude sympathy, nor does ambivalence towards violence. Finally, it is concluded that the paradoxical humanitas of this Dionysiac tragedy is grounded in its presentation of violence as a source first of pleasure, then of pain, allowing spectators to be both entertained and shocked.
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Moorton,, Richard F., and Francis Blessington. "Euripides/Aristophanes: "The Bacchae"/"The Frogs"." Classical World 88, no. 2 (1994): 142. http://dx.doi.org/10.2307/4351666.

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Davidson, John. "Euripides' Bacchae in New Zealand Dress." Antichthon 41 (2007): 97–108. http://dx.doi.org/10.1017/s0066477400001775.

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Euripides' Bacchae is a play which has intrigued, disturbed and challenged many spectators, readers, theatre practitioners and interpreters. Its spectacular and gruesome aspects in particular have also given rise over the years to notable anecdotes, such as that recorded by Plutarch (Crassus 33) to the effect mat the Roman general's severed head was carried by the Agave actor in a performance of the play at the Parthian court in 53 BC. At times, moreover, arguably on account of such a graphic portrayal of the elemental and destructive forces unleashed by the Dionysus principle, it has been regarded as ‘too hot to handle’. Thus, for example, as Karelisa Hartigan points out, it appears to have made no appearance on the American commercial stage during the first 60 years of the twentieth century.
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Fitzgerald, Gerald. "Textual Practices and Euripidean Productions." Theatre Survey 33, no. 1 (May 1992): 5–22. http://dx.doi.org/10.1017/s0040557400009571.

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This paper has two principal, though interrelated, objectives: to survey issues concerning the status of the texts of Greek Tragedy, particularly with respect to specific distinctions between a play as text-based and as audience experienced, between the “eye” of the reader of a play text and the eye of the theatrical spectator; and to consider some implications of these distinctions for Euripidean drama, above all with respect to The Bacchae, since its procedures, albeit more developed or extravagant than elsewhere, may be construed as characteristic for this drama. Much of what I shall say has reference also to the other—Aeschylean, Sophoclean—texts that we have of Greek Tragedy. But it is with Euripides that the terms of the relationship of text and play are most explicit, and controversial, and, it seems to me, most dislocated. We have “read’ Euripides sometimes very wrongly because we have been reading Euripidean texts.
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Anaya Ferreira, Nair María. "Wole Soyinka y Eurípides: una tumultosa celebración de la vida." Anuario de Letras Modernas 14 (July 31, 2009): 153–68. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.683.

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This essay explores Soyinka’s social, political and cultural concerns taking as point of departure his exploration of the role of myth in Yoruba culture and its repercussions in contemporary Nigerian society. In his rewriting of Euripides’ best known tragedy, Bacchae, Soyinka reflects on the impact of the colonial process and on the role of modernday dictatorship in many Third-World countries. Interestingly called The Bacchae of Euripides. A Communion Rite, Soyinka’s play takes the effects of intertextuality to the extreme, not only by taking the Greek tragedy as hypotext, but by relating Euripides’ subversive criticism of Greek imperialism to his own denunciation of colonization and tyranny. Because of its radical use of imagery —such as the fact that the blood which emanates from Pentheus’ head at the end of the play becomes wine and everybody drinks from it—the play was not well received in London in the 1970s, but has been recognized as one of Soyinka’s masterpieces after that.
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Friedrich, Enno. "Day and Night, Light and Darkness in the Bacchae of Euripides." ARYS. Antigüedad: Religiones y Sociedades, no. 21 (October 10, 2023): 15–40. http://dx.doi.org/10.20318/arys.2023.7511.

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In my paper, I am following the theme of light and darkness in the Bacchae of Euripides. Light and darkness is one of many threads of meaning in the Bacchae. It runs alongside the overall interpretation of the play. Light and darkness are present in the characterisations of Dionysus and Pentheus. More than that, the characterisations through light and darkness change in accordance with the story of the play. A close reading of Bacchae along the lines of light and darkness can, thus, help to determine which evaluations of Pentheus and Dionysus are inscribed in the play. The drama of light and darkness suggests an interpretation of the sparagmos as an expiating sacrifice and the restoration of harmony at the end of the play.
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Nikolopoulou, Kalliopi. "Parrhesia as Tragic Structure in Euripides’ Bacchae." Epoché 15, no. 2 (2011): 249–61. http://dx.doi.org/10.5840/epoche201015227.

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Barrett, James. "Pentheus and the Spectator in Euripides' Bacchae." American Journal of Philology 119, no. 3 (1998): 337–60. http://dx.doi.org/10.1353/ajp.1998.0029.

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Dissertations / Theses on the topic "Bacchae (Euripides)"

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Thumiger, Chiara. "Hidden paths : self and characterization in Greek tragedy: Euripides' Bacchae /." London : Institute of Classical studies, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016267112&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Zylstra, Nicole. "The Bacchae of Euripides, ritual theatre." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20813.pdf.

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Darden, Katrina L. Londré Felicia Hardison. "An analysis of Euripides' play the Bacchae." Diss., UMK access, 2005.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2005.
"A thesis in theatre history." Typescript. Advisor: Felicia Hardison Londré. Vita. Title from "catalog record" of the print edition Description based on contents viewed June 23, 2006. Includes bibliographical references (leaves 61-67). Online version of the print edition.
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Perris, Simon. "Literary Translation and Adaptation of Euripides' Bacchae in English in the Modern Era." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504156.

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Neher, Christopher Hart. "The Role of Pentheus from Wole Soyinka's The Bacchae of Euripides: A Communion Rite." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392393480.

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Thumiger, Chiara. "Character in Greek tragedy and the Greek view of man : with special reference to Euripides' Bacchae." Thesis, King's College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419932.

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Leary, Robert. "Women on the Mountain: Exploring the Dionysiac Mysteries." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1282940703.

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Jendza, Craig Timothy. "Euripidean Paracomedy." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1385998375.

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Delbar, David Carter. "Myths on the Move: A Critical Pluralist Approach to the Study of Classical Mythology in Post-Classical Works." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/7492.

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The Classical Tradition, now more commonly known as Classical Reception, is a growing sub-discipline in Classics which seeks to trace the influence of Greco-Roman culture in post-classical works. While scholars have already done much to analyze specific texts, and many of these analyses are theoretically complex, there has yet to be a review of the theories these scholars employ. The purpose of this study is to provide researchers with a theoretical tool kit which allows them greater scope and nuance when analyzing usages of classical mythology. It examines five different approaches scholars have used: adaptation, allusion, intertextuality, reception, and typology. Each theory is followed by an example from Spanish literature or film: Apollo and Daphne in Calderón's El laurel de Apolo, Orpheus in Unamuno's Niebla, Dionysus in Unamuno's San Manuel Bueno, mártir, Persephone in del Torro's El laberinto del fauno, and the werewolf in Naschy's Waldemar Daninsky films. This thesis argues that a critical pluralist approach best captures the nuance and variety of usages of classical mythology. This allows for both objective and subjective readings of texts as well as explicit and implicit connections to classical mythology.
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Foletti, Lisa Giulia. "The Intoxication of the Ground." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-172849.

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This is the first time I choose the play for my project of stage design and costumes and with this thesis there is a qustion I would like to answer to: which is my personal stagn ´s language? That´s why I need a play which helps me to solve this knot.
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Books on the topic "Bacchae (Euripides)"

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Gita, Wolf-Sampath, Roy Indrapramit, and Euripides, eds. Euripides' The Bacchae. Los Angeles: J. Paul Getty Museum, 2004.

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Mahon, Derek. The Bacchae: After Euripides. Oldcastle, Co. Meath: Gallery Books, 1991.

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Euripides, ed. Euripides Bacchae: A new version. London: Oberon, 2010.

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Euripides. The Bacchae of Euripides: A new version. New York: Farrar, Straus, Giroux, 1990.

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Euripides. The Bacchae of Euripides: A new version. New York: Noonday Press, 1990.

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Winnington-Ingram, R. P. Euripides and Dionysus: An interpretation of the Bacchae. Cambridge: University Press, 1987.

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Euripides. Euripides: Iphigenia among the Taurians, Bacchae, Iphigenia at Aulis, Rhesus. Oxford: Oxford University Press, 1999.

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Euripides. Bacchae. Warminster, Eng: Aris & Phillips, 1996.

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Euripides. Bacchae. 2nd ed. Oxford: Clarendon Press, 1986.

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Euripides. Bacchae. London: Nick Hern, 1998.

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Book chapters on the topic "Bacchae (Euripides)"

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Reitzammer, Laurialan. "Bacchae." In A Companion to Euripides, 298–311. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119257530.ch21.

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Bond, Robin. "(Re)inventing Euripides’ Bacchae." In Greek and Roman Drama: Translation and Performance, 49–57. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02908-9_4.

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Goff, Barbara. "All Aboard the Bacchae Bus." In A Companion to Euripides, 565–82. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119257530.ch36.

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Lamberto, Katie. "Sound effects: Aural aspects of Euripides’ Bacchae." In Pushing the Boundaries of Historia, 219–31. First edition. | London ; New York, NY : Routledge/Taylor & Francis Group, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315171487-20.

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Segal, Charles. "Female Mourning and Dionysiac Lament in Euripides’ Bacchae." In Orchestra, 12–18. Wiesbaden: Vieweg+Teubner Verlag, 1994. http://dx.doi.org/10.1007/978-3-663-12276-0_1.

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Seaford, Richard. "The politics of Euripides’ Bacchae and the preconception of irresolvable contradiction." In Dionysus and Politics, 18–31. Abingdon, Oxon ; New York, NY : Routledge, 2021. |: Routledge, 2021. http://dx.doi.org/10.4324/9781003050995-2.

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McIvor, Charlotte, and Ian R. Walsh. "Interculturalism." In Contemporary Irish Theatre, 295–325. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-55012-6_11.

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AbstractIn the past twenty-five years Ireland has experienced unprecedented diversification of its population. This led the Republic of Ireland to embrace a series of intercultural policies in the arts sector. The Northern Irish Arts Council also adopted intercultural arts policies, although the context in the North is defined by relations between Catholic/Republicans and Protestant/Loyalist communities in addition to the inclusion and integration of minority ethnic and/or migrant groups. This chapter presents the following three frameworks paired with relevant case studies for studying interculturalism in contemporary Irish theatre: Interculturalism’s Irish Historical Legacies (Conall Morrison’s The Bacchae of Baghdad (After Euripides)). Cross-Cultural Collaborative Relationships (Fabulous Beast Dance Theatre’s The Bull). Contemporary Minority-led interculturalisms (Terra Nova Productions, Arrivals Project: Arrivals 1, Arrivals 2, Arrivals 3D: Mi Mundo).
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Pearce, Howard. "The Dream of Ascent and the Noise of Earth: Paradoxical Inclinations in Euripides’ Bacchae, Shakespeare’s The Tempest, and Stevens’ “Of Modern Poetry”." In Metamorphosis, 399–417. Dordrecht: Springer Netherlands, 2004. http://dx.doi.org/10.1007/978-1-4020-2643-0_27.

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"Bacchae." In The Plays of Euripides. Bloomsbury Academic, 2016. http://dx.doi.org/10.5040/9781474233620.0022.

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"Euripides, The Bacchae." In The Serious Game, 171–82. Amsterdam University Press, 2015. http://dx.doi.org/10.2307/j.ctt1b9x1s8.15.

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