Relevant bibliographies by topics / Classical Greek drama

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Classical Greek drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Classical Greek drama"

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Whitmarsh, Tim. "RADICAL COGNITION: METALEPSIS IN CLASSICAL GREEK DRAMA." Greece and Rome 60, no. 1 (March 12, 2013): 4–16. http://dx.doi.org/10.1017/s001738351200023x.

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The Hollywood movie Stranger than Fiction (2006) centres on a tax inspector, Harold Crick, who begins to hear a voice inside his head. This voice, he gradually realizes, belongs to the narrator of a book in which he is the central character. As the plot unfurls, the narrator begins to drop hints that Harold will die at the end of the story. Understandably disturbed by these intimations, Harold decides to confront a university professor, and between the two of them they identify the author as one Kay Eiffel. Harold then tracks down the author and begs her not to kill him off.
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Edwards, Anthony T., and Robert J. Forman. "Classical Greek and Roman Drama: An Annotated Bibliography." Classical World 84, no. 6 (1991): 496. http://dx.doi.org/10.2307/4350948.

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Constantinidis, Stratos E. "Classical Greek Drama in Modern Greece: Mission and Money." Journal of Modern Greek Studies 5, no. 1 (1987): 15–32. http://dx.doi.org/10.1353/mgs.2010.0273.

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Gvozdeva, Tatiana Borisovna. "Great Panathenaia in Greek drama." RUDN Journal of World History 10, no. 4 (December 15, 2018): 403–14. http://dx.doi.org/10.22363/2312-8127-2018-10-4-403-414.

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The works of the Greek playwrights of the classical period are an interesting source on the history of the panatheniac festival. The tragedies of Aeschylus, Sophocles, Euripides, and the comedies of Aristophanes contain information about both the sacred part of the Great Panathenaia and agones the Panathenaic games. Of the elements of the sacral part of the Panathenaic festival were most often mentioned holiday peplos for Athena, the participants of the Panathenaic procession, the night procession, sacrifi ce. Part of the Panathenaic games were both in agony, which is characteristic for the Panhellenic games available for the citizens of Greece and local competitions, participation in which was limited only to the citizens of Athens. The mention of agones inherent in the Panhellenic games can be found in many works of Greek playwrights, but nowhere is there a clarifi cation that we are talking about the Panathenaic games. But it is interesting to note that more mentioned in the tragedies, and especially in the comedies of Aristophanes local competitions, which were sacred.
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Drummen, Annemieke. "A constructionist approach to the potential optative in classical Greek drama." Glotta 89, no. 1-4 (September 2013): 68–108. http://dx.doi.org/10.13109/glot.2013.89.14.68.

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Damen, Mark. "French Scenes in Greek Tragedy: The Scenic Structure of Classical Drama." Theatre Journal 55, no. 1 (2003): 113–34. http://dx.doi.org/10.1353/tj.2003.0014.

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Suthren, Carla. "Translating Commonplace Marks in Gascoigne and Kinwelmersh's Jocasta." Translation and Literature 29, no. 1 (March 2020): 59–84. http://dx.doi.org/10.3366/tal.2020.0409.

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This essay locates the moment at which commonplace marks were ‘translated’ from printed classical texts into English vernacular drama in a manuscript of Gascoigne and Kinwelmersh's Jocasta, dated 1568. Based on a survey of the use of printed commonplace marks in classical drama between 1500 and 1568, it demonstrates that this typographical symbol was strongly associated with Greek tragedy, particularly Sophocles and Euripides, and hardly at all with Seneca. In light of this, it argues that the commonplace marks in the Jocasta manuscript should be read as a deliberate visual gesture towards Euripides. In this period, commonplace marks evoked printed Greek rather than Latin tragedy, and early modern readers might bring such associations to the English dramatic texts in which these marks also appeared, including the First Quarto of Hamlet (1603).
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Craik, Elizabeth M. "Greek Drama - Bernard Gredley (ed.): Essays on Greek Drama. (Bulletin of the Institute of Classical Studies, 34.) Pp. x+138. London: Institute of Classical Studies, 1987. Paper, £22.50." Classical Review 40, no. 1 (April 1990): 48–49. http://dx.doi.org/10.1017/s0009840x00252074.

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Pormann, Peter E. "Greek Thought, Modern Arabic Culture: Classical Receptions since the Nahḍa." Intellectual History of the Islamicate World 3, no. 1-2 (2015): 291–315. http://dx.doi.org/10.1163/2212943x-00301011.

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This article surveys the growing, yet largely understudied field of classical receptions in the modern Arab world, with a specific focus on Egypt and the Levant. After giving a short account of the state of the field and reviewing a small number of previous studies, the article discusses how classical studies as a discipline fared in Egypt; and how this discipline informed modern debates about religous identity, and notably views on the textual history of the Qurʾān. It then turns to three literary genres, epic poetry, drama, and lyrical poetry, and explores the reception of classical literature and myth in each of them. It concludes with an appeal to study this reception phenomenon on a much broader scale.
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Wiles, David. "Reading Greek Performance." Greece and Rome 34, no. 2 (October 1987): 136–51. http://dx.doi.org/10.1017/s0017383500028096.

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Simon Goldhill's Reading Greek Tragedy is a welcome publication – not for its originality but because it makes available an important and eclectic body of critical approaches to Greek texts. Goldhill gives no quarter to the idea that the Greekless reader cannot deal with complex theoretical arguments. The (post-)structuralist revolution in modern thought, associated with Derrida, Foucault, and above all Barthes, mediated for the most part through classical scholars such as J-P. Vernant, Froma Zeitlin, and Charles Segal, has here found its way into a book targeted at the undergraduate market. I welcome Goldhill's book as one which demonstrates, without mystification, both the complexity of Greek tragedy, and the contemporary relevance of the questions which Greek tragedy poses. At the same time, as one who teaches students of Drama, I cannot but feel frustration.
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Dissertations / Theses on the topic "Classical Greek drama"

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Meineck, Peter. "Opsis : the visuality of Greek drama." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/12117/.

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How were Greek plays viewed in the fifth century BCE and by deepening our understanding of their visual dimension might we increase our knowledge of the plays themselves? The aim of this study is to set out the importance of the visual (opsis) when considering ancient Greek drama and provide a basis for constructing a form of “visual dramaturgy” that can be effectively applied to the texts. To that end, this work is divided into five sections, which follow a “top-down” analysis of ancient dramatic visuality. The analysis begins with a survey of the prevailing visual culture and Greek attitudes about sight and the eye. Following this is an examination of the roots of drama in the performance of public collective movement forms (what I have called “symporeia”) and their relationships to the environments they moved through, including the development of the fifth century theatre at the Sanctuary of Dionysos Eleuthereus in Athens. The focus then falls on the dramatic mask and it is proposed here that operating in this environment it was the visual focus of Greek drama and the primary conveyer of the emotional content of the plays. Drawing on new research from the fields of cognitive psychology and neuroscience relating to facial processing and recognition, gaze direction, foveal and peripheral vision and neural responses to masks, movement and performance, it is explained how the fixed dramatic mask was an incredibly effective communicator of dramatic emotion capable of eliciting intensely individual responses from its spectators. This study concludes with a case study based on Aeschylus Oresteia and the raising of Phidias’ colossal bronze statue of Athena on the Acropolis and the impact that this may have had on the original reception of the trilogy.
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Hawley, Richard. "Women in Greek drama : speech, status and stereotype." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365565.

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Kampourelli, Vassiliki. "Space in Greek tragedy." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/space-in-greek-tragedy(bd3d0365-0a17-47b5-a2b0-e7739f9c0255).html.

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Salis, Loredana. "'So Greek with consequence' : classical tragedy in contemporary Irish Drama." Thesis, Ulster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421897.

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Plant, Irene Elizabeth. "Ancient drama : stagecraft and signcraft." Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/ancient-drama--stagecraft-and-signcraft(d99beb86-ebb2-4f7d-8f0d-10f923015ec9).html.

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Hanink, Johanna Marie. "Classical tragedy in the age of Macedon : studies in the theatrical discourses of Athens." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609148.

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Van, Essen-Fishman Lucy. "Character through interaction : Sophocles and the delineation of the individual." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:c23353ec-cc60-453e-8c58-b13d01840a19.

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In this thesis, I argue that Sophoclean characters take shape through a number of different kinds of interaction. On the most basic level, interaction occurs between characters; interactions between characters, however, provide a framework for interactions between those characters and a variety of more abstract concepts. These interactions, by allowing characters to situate themselves with respect to concepts such as, for example, the social roles which shape the society of the play, provide a more complex picture of the personalities depicted onstage; a fuller view of Antigone’s personality, for example, emerges both from her own interactions with the concept of sisterhood and from the differences between her interactions with that concept and Ismene’s. At the same time, these interactions involve the audience in both the construction and the interpretation of Sophoclean characters; as they watch figures interact with each other onstage, the audience, in turn, interact with their own prior knowledge of the concepts which drive the characters of a play. In my five chapters, I discuss five different areas of interaction. In my first chapter, I look at interactions between characters and myth, arguing that Sophoclean characters emerge out of a tension between novelty and familiarity. In my second chapter, I discuss the interactions between characters and their social roles, looking at the problem of appropriate role performance as it applies to Sophoclean characters. My third chapter deals with characters and their memories; I argue that Sophoclean characters shape and are shaped by their memories of past events depending on shifting present circumstances. In my fourth chapter, I discuss the interactions between characters and the passage of time and suggest that Sophoclean figures are characterized by the ways in which they move through time and respond to its passage. In my final chapter, I look at the use of general statements by Sophoclean characters, arguing that the ability of characters to generalize successfully provides a useful measure of their ability to function in the world of the play.
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Polyakov, Maxim. "The power of time : old age and old men in ancient Greek drama." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:2d238e6d-e040-479a-ae8f-dcf5ecd7e838.

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The study of old age in the humanities has developed significantly in the last few decades, but there is still much scope for progress. This thesis, therefore, seeks to contribute to the growing academic discourse in this area by considering ageing as it is represented in ancient Greek theatre. At the same time, it seeks to take its place within Classical Studies by developing new readings of the plays. To develop a context for its analysis, this study begins with consideration of the contemporary demographics, social position, and stage portrayal of old age, and following this dedicates a chapter to each of the four surviving fifth century dramatists. In Aiskhylos’ Agamemnon, old age emerges as a crucial element in choral self-identity, and an important component of the authority that they display. Following this, the thesis considers the chorus of Euripides’ Herakles, in particular its use of metadramatic language, and the impact this has on plot-development and the representation of their age. The next chapter, on Oidipous Koloneus, shifts to consideration of the protagonist. The old age of Oidipous emerges as a powerful driver of his mental and spiritual power, and forms a striking background to the exploration of his character. The final chapter of the thesis examines how mechanisms of renewal that old men undergo in Aristophanes’ comedies (Knights, Akharnians, Peace, Wasps, Birds) differ across the dramas, and the impact this difference has on their interpretations. Such reassessments of ancient dramatic texts through the lens of old age can provide significant insight into the complexity of old men’s characterisations and of their involvement in the dramas. At the same time (from a gerontological perspective), this thesis’ analysis contributes to the developing discussion of the history of ageing, and highlights the differences between the ancient and modern worlds in this respect.
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Brown, Mitch. "Menander Offstage." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1479817969256543.

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Hamilton, Christine Rose Elizabeth. "The Function of the Deus ex Machina in Euripidean Drama." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500421429824731.

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Books on the topic "Classical Greek drama"

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Performing oaths in classical Greek drama. Cambridge: Cambridge University Press, 2011.

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Classical Greek and Roman drama: An annotated bibliography. Pasadena, Calif: Salem Press, 1989.

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Rhetoric & Power: The drama of classical Greece. Columbia, South Carolina: The University of South Carolina Press, 2015.

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The Greek and Roman stage. Bristol: Bristol Classical, 1999.

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Bowie, Ewen, and Lucia Athanassaki. Archaic and classical choral song: Performance, politics and dissemination. Berlin: De Gruyter, 2011.

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John, Barsby, ed. Greek and Roman drama: Translation and performance. Stuttgart: J.B. Metzler, 2002.

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Greek tragedy: An introduction. London: Bristol Classical Press, 1989.

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Baldock, Marion. Greek tragedy: An introduction. Bristol: Bristol Classical Press, 1989.

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Performing Greek comedy. Cambridge: Cambridge University Press, 2011.

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Gordeziani, R. V. Berżnuli literatura: Elinuri epʻokʻis, eposi, lirika, drama. Tʻbilisi: Logosi, 2002.

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Book chapters on the topic "Classical Greek drama"

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Strong, Anise K. "Hypatia and Brian: Early Christianity as Greek Mythological Drama." In Classical Myth on Screen, 195–206. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137486035_17.

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Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga." In Filosofie jako životní cesta, 130–45. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-8.

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The Study Prometheus, for example loosely follows up the central theme of Hans Blumenberg’s theory of myth and mythology, the character of Prometheus and Promethean conceptions in scientific as well as imaginative literature (poetry and drama). The aim is not an elaborate reflection of all the variations on Promethean themes that were summarized in Blumenberg’s epochal book Work on Myth (1979). The author rather selects some themes from the works on the myth about Prometheus in Classical Greek literature (Hesiod, Aeschylus) and, at the turn of modernism, in German movement Sturm und Drang (Goethe). Most attention is paid to a fictional figure known as actio per distans (action at distance, with keeping a distance) and its variations from the distance between people and gods through the distance between people to the distance of an ageing poet from spirit of the age (Zeitgeist), to which he no longer belongs.
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Segal, Charles. "Tragic beginnings: narration, voice, and authority in the prologues of Greek drama." In Beginnings in Classical Literature, 85–112. Cambridge University Press, 1992. http://dx.doi.org/10.1017/cbo9780511933707.005.

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Harrison, Stephen, and Fiona Macintosh. "Introduction." In Seamus Heaney and the Classics, 1–13. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0001.

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The recent death of Seamus Heaney is an appropriate point to honour the great Irish poet’s major contribution to classical reception in modern poetry in English; this is the first volume to be dedicated to that subject, though occasional essays have appeared in the past. The volume comprises literary criticism by scholars of classical reception and literature in English, from both Classics and English, and has some input from critics who are also poets and from theatre practitioners on their interpretations and productions of Heaney’s versions of Greek drama; it combines well-known names with some early-career contributors, and friends and collaborators of Heaney with those who admired him from afar. The papers focus on two main areas: Heaney’s fascination with Greek drama and myth, shown primarily in his two Sophoclean versions but also in his engagement in other poems with Hesiod, with Aeschylus’ Agamemnon and with myths such as that of Antaeus, and his interest in Latin poetry, primarily in Virgil but also in Horace; a version of an Horatian ode was famously the vehicle of Heaney’s comment on 11 September 2001 in ‘Anything Can Happen’ (District and Circle, 2006).
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Ashbrook Harvey, Susan. "Guiding Grief: Liturgical Poetry and Ritual Lamentation in Early Byzantium." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0012.

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Early Byzantine church leaders regularly admonished against grief as a Christian response to death. Yet, mourning practices continued unabated, and church leaders also participated in the lavish mourning that attended the funerals of beloved church figures, whether bishops or holy men or women. Amidst such contradictory discourses, liturgical piety appears to have provided a constructive manner of engaging grief and negotiating such tensions. Early Byzantine liturgies in both Greek and Syriac abound in hymns and homilies that retold biblical stories in dramatic fashion. Often, these included searing depictions of anguish, grief, and lamentation over loss or death for biblical characters. The accounts show strong similarities with traditions from classical drama, with imagined speeches as well as dramatic narrative that linger closely on postures, gestures, and lyrical expressions of sorrow. This chapter argues that these presentations took on particular social significance in the context of liturgical setting and performance. Embedded within liturgy itself as an overarching narrative, such stories took on resolution within a higher process of grief turned to restoration. Biblical tragedy, articulated in homilies and hymns, offered congregations typological expressions of their own sorrows, even as people were ritually guided from bereavement to consolation.
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Holton, David. "The Tragic, the Comic and the Tragicomic in Cretan Renaissance Literature." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0021.

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Greek tragedy and comedy re-emerge in late sixteenth-century Crete, now based on Renaissance neo-classical prescriptions. Besides ‘pure’ examples of the genres we also find a tragedia di lieto fine (the biblical drama Abraham’s Sacrifice) and a pastoral idyll with a tragic outcome (The Shepherdess), while Kornaros’ verse romance Erotokritos plays with the possibility of a tragic ending before settling for the outcome proper to romance. This intermingling of the tragic and the comic – of tears and laughter – is common in Cretan Renaissance literature, and most fully realised in the new hybrid genre of tragicommedia pastorale, which seems to have been popular in Crete around 1600. Taking Panoria by Georgios Chortatsis as its main textual focus, this chapter explores the interaction of tears and laughter both at a textual level and in plot structure. While the theoretical bases of tragicomedy, as propounded by Guarini, clearly underpin works like Panoria, in the case of works belonging to other genres other factors are involved: Petrarchising tropes, which are common in Cretan literature, and the antithetical structures characteristic of the folk tradition. Panoria, set on Mount Ida, is thoroughly Cretan and at the same time thoroughly imbued with late-Renaissance poetics.
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McDonald, Marianne. "Seamus Heaney." In Seamus Heaney and the Classics, 121–46. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0009.

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This chapter considers Heaney’s work linked with Greek tragedy, the Sophoclean versions The Cure At Troy and The Burial At Thebes and the sequence ‘Mycenae Lookout’ in the collection The Spirit Level (1996). It argues that Heaney used classical Greek drama not only to touch on the Irish troubles but also to present his personal views and values, sometimes employing images from his background as the son of a Catholic father, and often influenced by his upbringing as an Irish Catholic. He depicted war and the lust for violence, but always expressed hope, and a desire for the fires of war to be cleansed by the waters of a miraculous healing well.
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Winter, Kathrin. "‘Now I am Medea’: Gender, Identity and the Birth of Revenge in Seneca’s Medea." In Revenge and Gender in Classical, Medieval and Renaissance Literature, 97–110. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414098.003.0005.

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In Greek and Roman antiquity, revenge is represented as a masculine duty, which is usually carried out by relatives or intimate friends. In Seneca’s drama, Medea adopts this masculine role by exacting revenge for her father and brother, which marks her as a transgressive woman. However, Medea also describes her revenge through language that aligns vengeance to the process of giving birth, a quintessentially female act; as Medea herself proclaims in the first act: parta iam, parta ultio est: peperi (‘My revenge is born, already born: I have given birth’). These birth metaphors contribute to Medea’s formulation of a new vengeful subjectivity, complicating Medea’s status as a transgressive woman and demonstrating how Senecan female characters can appropriate forms of self-definition that are often assumed to be male.
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Meister, Felix J. "Divine Happiness and Beauty in Wedding Songs." In Greek Praise Poetry and the Rhetoric of Divinity, 21–74. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847687.003.0002.

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This chapter argues that songs performed at archaic and classical weddings conventionally present the happiness of the bridal couple as similar to divine bliss, and the beauty (mostly) of the bride as similar to divine splendour. A first section is dedicated to the history and traditions of wedding songs and the nature of the sources. Subsequent sections examine the various explicit and implicit means by which bridal couples are likened to the gods, particularly in Sappho and wedding songs in drama, but also in later testimonies. Special attention is given to hymnic register, which is pursued and compared in wedding songs for mortal and immortal couples. The results are contrasted with aspects of the wedding ceremony and wedding iconography, where bridal couples are exalted in similar ways. The approximation of the bridal couple to the gods emerges as a fundamental aspect of the Greek wedding itself.
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West, Martin L. "Diminishing Returns and New Challenges." In Liddell and Scott, 339–52. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198810803.003.0019.

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This chapter considers the creation of a few works of intermediate character that combine the full and exact detail typical of the special lexica with coverage of a wider band of literature. An example is the vision of a Poetic Lexicon of Classical Greek, embracing epic, elegy, iambus, lyric, philosophical poetry, drama, and verse inscriptions of the pre-Alexandrian centuries. The chapter presents a few specimen entries: an interjection, an adjective, a verb, and a noun. The layout of the entries will remind the reader of Liddell and Scott (LSJ), and the model of LSJ has been followed in many respects. One difference is that where there is anything to say about etymologies it is put at the beginning.
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