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Journal articles on the topic 'Classical Greek drama'
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1
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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Gilula, Dwora. "The First Greek Drama on the Hebrew Stage: Tyrone Guthrie's Oedipus Rex at the Habima." Theatre Research International 13, no. 2 (1988): 131–46. http://dx.doi.org/10.1017/s0307883300014437.
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On the Hebrew Stage, Greek and Roman drama was never a first priority, The Habima Theatre, from its inception in 1917 to the present day, staged only six classical productions (out of more than four hundred), the Cameri Theatre – four, the Haifa Municipal Theatre – five, the Ohel theatre, in all of its forty-four years of activity (1925–69), although it staged 163 plays, never found the need or drive to produce a Greek or a Roman drama, and the young Beer-Sheba Theatre, the last addition to Israel's theatrical establishment, although daring and innovative, has yet to venture into the classical world. The reasons are not far to seek, and there are weighty local reasons in addition to the general cultural factors, which have contributed to the scarcity of classical drama productions. Hellenism and Hellenization, according to the view held even today by some educated and secular Israelis, are not neutral entities. The terms themselves are polemic, connote cultural assimilation, and stand for departure from national Jewish values and the forfeit of cultural originality and independence. From the times of the Hebrew Enlightenment movement, however, classical languages and culture became an integral part of the curriculum of Jewish studies even in religious institutions of higher learning, such as the Bar-Ilan University. On the other hand, as a reaction to the classical culture becoming an embodiment of secular, anti-clerical Zionist renaissance, the extreme Orthodox establishment in contemporary Israel has continued to treat it as a dangerous desecration and even extended the derogatory use of the term ‘Hellenization’ to cover the entire Western cultural influence. As a result until today classical literature has only a marginal place in the high-schools' curriculum, it is not an immediate, and certainly not the most important source from which Hebrew writers and playwrights draw their inspiration, and even well educated spectators have at best only a very superficial knowledge of the classical heritage. The few classical plays produced on the Hebrew stage were chosen at random, chiefly because leading or popular directors insisted on directing a certain play, or because a play, which achieved success in Europe, was transplanted lock, stock and barrel to Israel, sometimes together with its director.
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Ringer, Mark. "Stage by Stage: The Birth of Theatre. By Philip Freund. London: Peter Owen, 2003; pp. 811. $79.95 cloth; Women and Humor in Classical Greece. By Laurie O'Higgins. Cambridge: Cambridge University Press, 2003; pp. xviii + 262. $70 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 321–24. http://dx.doi.org/10.1017/s0040557405260209.
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Both Philip Freund's The Birth of Theatre and Laurie O'Higgins's Women and Humor in Classical Greece deal with Ancient Greek drama. Freund, a theatre historian, attempts a fairly comprehensive survey of both Greek and Roman drama as well as its influence on postclassical theatre, with particular emphasis on the past century. O'Higgins, a classicist, offers what at first glance appears a far narrower exploration that might only be of interest to other classicists. Of the two writers, it is O'Higgins who crafts a readable study that resonates well beyond its ostensibly narrow subject, whereas Freund's book, geared toward a more general readership, is hampered by serious problems of presentation and organization that compromise his more ambitious work's usefulness.
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Donelan, Jasper F. "Some Remarks Concerning Night Scenes on the Classical Greek Stage." Mnemosyne 67, no. 4 (July 1, 2014): 535–53. http://dx.doi.org/10.1163/1568525x-12341213.
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This paper examines ways in which the dramatists of the fifth century staged night scenes in an open-air, daytime theater, as well as how these scenes relate to the rest of their respective plays’ action. For want of archaeological evidence or treatises on dramatic production, the texts of the tragedies and comedies form the basis of the investigation, which aside from its focus on production techniques also has wider implications for the handling of time in Greek drama. A comparison of tragedy and comedy reveals differences in the two genres’ approaches to conveying ‘darkness’ to their audiences. This also holds true for the pseudo-Euripidean Rhesus, whose plot is set almost exclusively at night. Aristophanic comedy often uses props such as lanterns or torches to reinforce a verbally constructed nocturnal setting whereas tragedy, as far as we can tell, relies solely on spoken description.
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Tiffany, Grace. "Shakespeare's Dionysian Prince: Drama, Politics, and the "Athenian" History Play." Renaissance Quarterly 52, no. 2 (1999): 366–83. http://dx.doi.org/10.2307/2902057.
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AbstractThis essay argues that Shakespeare drew on Plutarch's and Plato's representations of the Greek general Alcibiades in his representation of Prince Hal/King Henry V, and on classical and Renaissance representations of Socrates for his representation of Prince Hal's "tutor," Falstaff. Crucial to Shakespeare's adaption of these classical "characters" were the writings of Erasmus and Rabelais, which represented Socrates as both sophist and jovial Silenus. Shakespeare was also influenced by the association Symposium makes between Alcibiades and Dionysus, god of wine and of the theater. Consequently Hal/Henry emerges as a Dionysian Alcibiades, trained in sophistry by his Silenic Socrates, Falstaff, and able to dazzle his subjects with mystical rhetoric and to convert war to Dionysian play.
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Nervegna, Sebastiana. "SOSITHEUS AND HIS ‘NEW’ SATYR PLAY." Classical Quarterly 69, no. 1 (May 2019): 202–13. http://dx.doi.org/10.1017/s0009838819000569.
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Active in Alexandria during the second half of the third century, Dioscorides is the author of some forty epigrams preserved in the Anthologia Palatina. Five of these epigrams are concerned with Greek playwrights: three dramatists of the archaic and classical periods, Thespis, Aeschylus and Sophocles, and two contemporary ones, Sositheus and Machon. Dioscorides conceived four epigrams as two pairs (Thespis and Aeschylus, Sophocles and Sositheus) clearly marked by verbal connections, and celebrates each playwright for his original contribution to the history of Greek drama. Thespis boasts to have discovered tragedy; Aeschylus to have elevated it. The twin epigrams devoted to Sophocles and Sositheus present Sophocles as refining the satyrs and Sositheus as making them, once again, primitive. Finally, Machon is singled out for his comedies as ‘worthy remnants of ancient art (τέχνης … ἀρχαίης)’. Dioscorides’ miniature history of Greek drama, which is interesting both for its debts to the ancient tradition surrounding classical playwrights and for the light it sheds on contemporary drama, clearly smacks of archaizing sympathies. They drive Dioscorides’ selection of authors and his treatment of contemporary dramatists: both Sositheus and Machon are praised for consciously looking back to the masters of the past. My focus is on Sositheus and his ‘new’ satyr-play. After discussing the relationship that Dioscorides establishes between Sophocles’ and Sositheus’ satyrs, and reviewing scholarly interpretations of Sositheus’ innovations, I will argue that Dioscorides speaks the language of New Music. His epigram celebrates Sositheus as rejecting New Music and its trends, and as composing satyr plays that were musically old fashioned and therefore reactionary.
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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 the development of classical dance as well as the 20th century modern dance, inspired by the notions of antique dance by Isadora Duncan. Research in antique dance helps sunderstand the historical relationships in dance ontology, axiology and anthropology.
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Seidensticker, Bernd. "Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.
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Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.
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Denizot, Camille. "Impolite orders in Ancient Greek?" Journal of Historical Pragmatics 13, no. 1 (February 10, 2012): 110–28. http://dx.doi.org/10.1075/jhp.13.1.05den.
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In Ancient Greek, an impolite order can be uttered by means of a negative interrogative in the future tense (οὐκ ἐρεῖς; ‘Won’t you talk?’). The aim of this paper is to understand to what extent this type of utterance is impolite, and to explain how such a conventional and indirect order can frequently take on an impolite meaning. For this purpose, data are taken from classical drama (Aristophanes’ and Euripides’ plays). Drawing on criteria put forward by recent work on impoliteness, this study provides an accurate description of uses in discourse, in order to establish that this conventional order is never used with a polite intention, but regularly as an impolite order. Impoliteness can be explained by the locutionary form which gives an orientation to the interpretation of the utterance: an indirect and conventional expression cannot be polite if the locutionary meaning is opposed to it.
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MAGOULIAS, Harry J. "Andronikos I Komnenos: A Greek Tragedy." BYZANTINA SYMMEIKTA 21, no. 1 (December 23, 2011): 101. http://dx.doi.org/10.12681/byzsym.1032.
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<span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 12pt">The Annals of Niketas Choniates depict Emperor Andronikos I Komnenos (1183-1185) in certain aspects of his lifestyle as a mirror image of his first cousin, Emperor Manuel I Komnenos (1143-1180). The life and death of Andronikos I Komnenos provide us with a window into the aesthetic, moral, intellectual, religious, economic and emotional world of Byzantine society in the 12th century. It was thanks to the Byzantine empire that the ancient texts were preserved and transmitted. Ancient Greek culture and reason, in particular, continued to inform Christian values while, at the same time, both could be in radical conflict. The tragic reign of Andronikos as presented by Niketas Choniates conforms to Aristotle's principles of classical drama, but there is a fundamental disagreement between the author of the Poetics and the historian as to what constitutes tragedy, which underlines this conflict.</span>
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Devecka, Martin. "DID THE GREEKS BELIEVE IN THEIR ROBOTS?" Cambridge Classical Journal 59 (August 20, 2013): 52–69. http://dx.doi.org/10.1017/s1750270513000079.
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This paper investigates the ‘prehistory’ of automata in fourth-century Greece. It argues, first, that automata appear more frequently in the philosophy and drama of this period than has usually been recognised; second, that robots function in classical Greek literature as a utopian substitute for slavery or other forms of bound labour; and, finally, that the failure of Hellenistic automata to realise this utopia illustrates some basic constraints on the power of technology to disturb social institutions in the ancient world.
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Polesso, Paola. "Searching for a Satyr Play: the Significance of the ‘Parodos’." New Theatre Quarterly 4, no. 16 (November 1988): 321–25. http://dx.doi.org/10.1017/s0266464x0000289x.
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The parodos is the first appearance of the Chorus in a classical Greek drama, an occurrence common to tragedy, comedy – and that curious hybrid form, of which very few examples are extant, the satyr play. One of the two complete surviving, texts is the Ichneutai or Searching Satyrs of Sophocles: and in the following exercise in literary detection. Paola Polesso bases her investigation of the play not only on linguistic evidence but on clues which emerge from seeing the play in performance, to suggest the chronological context with in which the play may now be more precisely placed. Dr. Polesso, who presently teaches drama in the University of Bologna, has acted as assistant director to Luca Ronconi, and has been a contributor to numerous Italian theatre journals.
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Foley, Helene. "Classics and Contemporary Theatre." Theatre Survey 47, no. 2 (September 12, 2006): 239–44. http://dx.doi.org/10.1017/s0040557406000214.
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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associates Pantelis Michelakis and Amanda Wrigley—are at the forefront, along with Lorna Hardwick and her associates at the U.K.'s Open University, in organizing conferences and lecture series; these have already resulted in several volumes that aim to understand the recent explosion of performances as well as to develop a more extensive picture of earlier reception of Greek and Roman drama (above all, Greek tragedy, to which this essay will be largely confined).2 These scholars, along with others, have also tried to confront conceptual issues involved in the theatrical reception of classical texts.3 Most earlier work has confined itself to studies of individual performances and adaptations or to significant directors and playwrights; an important and exemplary exception is Hall and Macintosh's recent Greek Tragedy and British Theatre 1660–1914.4 This massive study profits from an unusually advantageous set of archival materials preserved in part due to official efforts to censor works presented on the British stage. Oedipus Rex, for example, was not licensed for a professional production until 1910 due to its scandalous incest theme. This study makes a particular effort to locate performances in their social and historical contexts, a goal shared by other recent studies of postcolonial reception discussed below.5 For example, British Medeas, which repeatedly responded to controversies over the legal and political status of women, always represented the heroine's choice to kill her children as forced on her from the outside rather than as an autonomous choice. Such connections between the performance of Greek tragedy and historical feminism have proved significant in many later contexts worldwide. Work on the aesthetic side of performances of Greek drama, including translation, is at an earlier stage, but has begun to take advantage of important recent work on ancient staging, acting, and performance space.6
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Giorgio, Jean-Pierre De. "Defining dialogue in ancient Rome." Dialogue and Representation 2, no. 1 (May 12, 2012): 105–21. http://dx.doi.org/10.1075/ld.2.1.06gio.
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This article investigates the process whereby Greek dialogue was reinvested in the Roman world, based on a study of Cicero’s De oratore. This work is considered in the light of classical theories of the literary genre developed in the 1st century BCE, under the influence of Hellinistic research, and in the light of the modern notion of interaction. Situated on the frontier between drama and the social practice of conversation, philosophical dialogue established itself as a legitimate constitutive discourse in the field of Roman literature.
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Sampson, C. Michael. "OATHS IN GREEK DRAMA - J. Fletcher Performing Oaths in Classical Greek Drama. Pp. xii + 277. Cambridge: Cambridge University Press, 2012. Cased, £60, US$99. ISBN: 978-0-521-76273-1." Classical Review 63, no. 1 (March 1, 2013): 35–37. http://dx.doi.org/10.1017/s0009840x12002235.
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Allan, Arlene L. "J. Fletcher Performing Oaths in Classical Greek Drama. Cambridge: Cambridge University Press, 2011. Pp. 288. £60. 9780521762731." Journal of Hellenic Studies 133 (2013): 176–77. http://dx.doi.org/10.1017/s0075426913000256.
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Muneroni, Stefano. "The Cultural Politics of Translation: The Case of Voltaire’s Mérope and Scipione Maffei’s Merope." TranscUlturAl: A Journal of Translation and Cultural Studies 4, no. 1 (April 9, 2013): 15. http://dx.doi.org/10.21992/t9x05j.
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In 1743, Voltaire writes to Scipione Maffei his intention to translate Merope, a drama the Italian playwright had composed thirty years before and that Voltaire deemed worthy of the French stage due to its treatment of the classic heroine and its adherence to classical norms. However, Voltaire later claims that due to flaws in Maffei’s work, he will write his own version of the play. This petty incident stirred a long-lived and animated debate over which dramatist had adhered more closely to the principles of classical theatre and whose country could claim its primacy in European theatre. In my paper, I use this episode to illustrate how translation shapes and is shaped by source and target cultures, and how it determines what is peripheral and what is central to intercultural debates. I argue that both Voltaire and Maffei struggle to assert their position as leading “translators” of classical Greek theatre and eminent interlocutors in the debate over form and content of modern drama. My paper will use Voltaire’s translational faux pas to reflect on the larger issues of how translation situates itself in the middle of cultural hierarchies and how it fashions national identity, cultural pertinence, national subordination, and notions of cultural peripheries and centers, all topics that lie at the heart of contemporary translation studies
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Rutter, Carol Chillington. "Harrison, Herakles, and Wailing Women: ‘Labourers’ at Delphi." New Theatre Quarterly 13, no. 50 (May 1997): 133–43. http://dx.doi.org/10.1017/s0266464x00008794.
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As well as being a widely published poet, Tony Harrison is well known as a dramatist for his reworkings of classical materials, from ancient Greek to medieval. When he was invited to contribute a play for the eighth International Meeting on Ancient Greek Drama, on the theme of ‘Crossing Millennia’, to be held at the European Cultural Centre of Delphi in August 1995, he chose to present a version of The Labourers of Herakles set on a building site – a building site the Greek sponsors specially ‘constructed’ for the event. In describing the single performance of the play, Carol Chillington Rutter, who teaches in the Department of English and Comparative Literary Studies at the University of Warwick, vividly evokes the theatrical forcefulness of the occasion: but she questions what she considers the ambivalence of Harrison's theatre work in its presentation and treatment of women – of which the decision to visualize the chorus of women in Labourers as cement mixers was most strikingly emblematic.
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Aboelazm, Ingy. "Africanizing Greek Mythology: Femi Osofisan’s Retelling of Euripides’the Trojan Women." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 87. http://dx.doi.org/10.26417/ejls.v4i1.p87-103.
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Nigerian writer Femi Osofisan’s new version of Euripides' The Trojan Women, is an African retelling of the Greek tragedy. In Women of Owu (2004), Osofisan relocates the action of Euripides' classical drama outside the walls of the defeated Kingdom of Owu in nineteenth century Yorubaland, what is now known as Nigeria. In a “Note on the Play’s Genesis”, Osofisan refers to the correspondences between the stories of Owu and Troy. He explains that Women of Owu deals with the Owu War, which started when the allied forces of the southern Yoruba kingdoms Ijebu and Ife, together with recruited mercenaries from Oyo, attacked Owu with the pretext of liberating the flourishing market of Apomu from Owu’s control. When asked to write an adaptation of Euripides’ tragedy, in the season of the Iraqi War, Osofisan thought of the tragic Owu War. The Owu War similarly started over a woman, when Iyunloye, the favourite wife of Ife’s leader Okunade, was captured and given as a wife to one of Owu’s princes. Like Troy, Owu did not surrender easily, for it lasted out a seven-year siege until its defeat. Moreover, the fate of the people of Owu at the hands of the allied forces is similar to that of the people of Troy at the hands of the Greeks: the males were slaughtered and the women enslaved. The play sheds light on the aftermath experiences of war, the defeat and the accompanied agony of the survivors, namely the women of Owu. The aim of this study is to emphasize the play’s similarities to as well as shed light on its differences from the classical Greek text, since the understanding of Osofisan’s African play ought to be informed by the Euripidean source text.
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Ley, Graham, and Michael Ewans. "The Orchestra as Acting Area in Greek Tragedy." Ramus 14, no. 2 (1985): 75–84. http://dx.doi.org/10.1017/s0048671x00003489.
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For some years past there has been a welcome change of emphasis towards the consideration of staging in books published on Greek tragedy; and yet with that change also a curious failure to be explicit about the central problem connected with all stagecraft, namely that of the acting-area. In this study two scholars with considerable experience of teaching classical drama in performance consider this problem of the acting-area in close relation to major scenes from two Greek tragedies, and suggest some general conclusions. The article must stand to some extent as a critique of the succession of books that has followed the apparently pioneering study of Oliver Taplin, none of which has made any substantial or sustained attempt to indicate where actors might have acted in the performance of Greek tragedy, though most, if not all, have been prepared to discard the concept of a raised ‘stage’ behind the orchestra. Hippolytus (428 BC) is the earliest of the surviving plays of Euripides to involve three speaking actors in one scene. Both Alcestis (438 BC and Medea (431 BC almost certainly require three actors to be performed with any fluency, but surprisingly present their action largely through dialogue and confrontation — surprisingly, perhaps, because at least since 458 BC and the performance of the Oresteia it is clear that three actors were available to any playwright.
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D’Alessio, Giovan Battista. "The Problem of the Absent I." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 42, no. 1 (November 12, 2020): 1–30. http://dx.doi.org/10.1163/17246172-40010032.
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Abstract One of the greatest paradoxes of ancient Greek lyric poetry is its fundamental tension between the vivid evocation of a performance communicative context and the capability of the text to transcend the context itself. A key aspect of this is the way in which language can exploit both poles of this tension: the presentness of the performance and the transcendence of the text. This is a source of crucial interpretative problems, as well as of complex expressive potentialities. The focus of this paper is to examine some of the ways in which the shift of the use of first person indexicals serves the dialogue between text and performance, proceeding through three stages. In the first place I briefly analyze some different genres of discourse (drama, epistle, lyric) that in Archaic and Classical Greek display a complex use of indexicality calling attention to the ‘mediated’ nature of the communication process (§ 2). In the second stage I revise some examples of ‘mediated’ indexicality in Greek lyric in general (§ 3) and in Pindaric poetry in particular (§ 4). In the third stage I locate these cases within a wider comparative approach, exploring a suitable theoretical explanation of this important feature (§ 5).
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Passmore, Oliver. "PRESENT, FUTURE AND PAST IN THEHOMERIC HYMN TO APOLLO." Ramus 47, no. 2 (December 2018): 123–51. http://dx.doi.org/10.1017/rmu.2018.11.
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Within Classics, there is growing interest in the nature of reperformance, particularly in relation to archaic and classical Greek poetry and drama. Developing out of the now well-established ‘performative turn’ in studies of early Greek song, and gaining impetus from a series of publications focussing on the contextual specificity of archaic lyric and drama, those interested in reperformance ask what it means for a song or a play, composed for a specific occasion, to be reperformed in another time and (potentially) another place. While interest in reperformance is certainly not new, the debate is now increasingly taking place in dialogue with parallel studies of reperformance in other disciplines. Research in performance studies has articulated a paradox at the heart of reperformance: since aperformanceis imagined as a singular event that exists only in that moment, and in a specific context,reperformance is an attempt to repeat the unique. Theorists and practitioners have in turn explored this paradox in relation to the restagings and re-enactments of one-time events and performances, such as battle re-enactments, the reconstruction of ballet choreographies before the days of film and live performance art. These examples reveal the complex temporalities involved in reperforming notionally one-time events, as an attempt to capture the ephemeral and collapse the present and the past (as well as the there and the not-there) in the ‘syncopated time’ of the reperformance.
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Lowe, N. J. "I Comedy: Definitions, Theories, History." New Surveys in the Classics 37 (2007): 1–20. http://dx.doi.org/10.1017/s0017383508000430.
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Comedy’, from Greek komoidia, is a word with a complex cultural history. Its modern, as opposed to its ancient, use covers all formally marked varieties of performed humour, whether scripted or improvised, group or solo, in any medium: theatre, film, television, radio, stand-up, and various hybrids and mutations of these. It is also, by extension, applied more loosely to novels and other non-performance texts that share recognizable features of plot, theme, or tone with the classical tradition of comic drama; and used more loosely still as a casual synonym for humour’. As a countable noun, however, the word is restricted to works with a narrative line; thus sketch shows, stand-up, and variety acts can be comedy’ but not comedies’.
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Słomak, Iwona. "Tragedy According to Jacobus Pontanus and the Tradition of Antiquity." Terminus 22, no. 3 (56) (2020): 187–208. http://dx.doi.org/10.4467/20843844te.20.011.12369.
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The aim of this study is to present the findings of a comparative analysis that covers—on the one hand—the theory of tragedy presented in Poeticarum institutionum libri III by Jakob Pontanus (Spanmuller), the classical and Renaissance poetics and commentaries on which he based his work, as well as the ancient tragedies that belonged to the literary canon in Jesuit colleges, and—on the other hand—Pontanus’s theoretical approach mentioned above and his tragedy Elezarus Machabaeus. The works of Pontanus have previously been discussed by Joseph Bielmann. However, Bielmann did not present them against the background of the Greek and Roman tragedies or the statements of the ancient theorists on drama, the Renaissance theoretical reflection on tragedies, or the playwriting practice resulting from this reflection. Consequently, his characterisation of the Elezarus Machabaeus is untenable, and his comments on Pontanus’s theory of drama need reviewing. Determining whether Pontanus respected the rules of ancient tragedy or whether he openly violated them is important because he was one of the most outstanding Jesuit humanists and a person of authority in his community. If we take into account the fact that Elezarus Machabaeus was the first tragedy printed by the Jesuits, the Poeticarum institutionum libri tres was one of the first printed Jesuit textbooks of this kind, and Pontanus himself was also the author of other books recommended for reading in Jesuit colleges and participated in the work of the committee for the evaluation and approval of the Jesuit school act, his views on the imitation of ancient models should be considered influential at least to a moderate degree and at least in some literary circles of his time. This matter is addressed in the introductory part of this paper. It also contains a short presentation of Pontanus’s textbook against the background of other Jesuit poetics, as well as of his main sources in the field of drama theory. Subsequently, the author presents Pontanus’s concept of drama and then discusses his piece taking into account the context of ancient and contemporary drama theory and practice of writing. In the light of this comparative reading, Eleazarus Machabaeus seems to be generally based on ancient models despite certain peculiarities, such as the composition and absence of choruses, which may be surprising at first. Both Pontanus’s tragedy and his theoretical approach should be regarded as classical in nature.
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Ares Ares, Álida. "Motivos clásicos en la novela Distintas formas de mirar el agua de Julio Llamazares." Lectura y Signo, no. 12 (February 6, 2018): 41. http://dx.doi.org/10.18002/lys.v0i12.5305.
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<p>En este artículo se analiza la novela de Julio Llamazares Distintas formas de mirar el agua (2015)1 estudiando los elementos característicos de la obra que guardan semejanza con los trenos y plantos del teatro griego. Para ello, en primer lugar, se señalan las similitudes en lo que se refiere a la estructura y a la función de los personajes, así como el contenido temático y los tópicos clásicos del género elegíaco. A continuación, se consideran las distintas funciones del paisaje en la literatura clásica, subrayando los paralelismos y los valores que este adquiere en la novela. Para concluir se hace una breve reflexión acerca del concepto ideológico de tragedia que se refleja en el drama contemporáneo y en la obra del autor.</p><p><br />This article analyzes the novel written by Julio Llamazares, Distintas formas de mirar el agua (2015), and takes into account characteristic elements of the work that are reminiscent of Greek Theatre threnodies (planto or treno). In order to do this, we underline in the first place the similarities linked to the structure and function of the characters and also the thematic content and topics of elegiac classical genre. Then we consider various landscape features in classical literature emphasizing parallels and values that it acquires in this novel. In conclusion, we make a brief consideration about the ideological concept of tragedy reflected in contemporary drama and in this work of Llamazares.</p>
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Mostafa Hussein, Wafaa A. "Freedom as the Antithesis of Commitment in Jean-Paul Sartre’s The Flies (Les Mouches)." International Journal of Linguistics, Literature and Culture 8, no. 2 (June 30, 2021): 1–17. http://dx.doi.org/10.19044/llc.v8no2a1.
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In the mid of the twentieth century, French Existentialism was a predominant doctrine that significantly enriched and influenced the literary scene in Europe during the Post-War area. Jean-Paul Sartre (1905-1980), the founder of Existentialism, is both a professional philosopher and a talented man of letters whose literary achievements represent a declarative embodiment of his Existentialist philosophy. In his 1943 drama, The Flies (Les Mouches), Sartre puts the Greek myth into a drastically innovative structure, where contemporary issues and values are presented through classical outlines. The current study aims to present a critical analysis of Sartre's depiction of the Electra/Orestes myth in The Flies through demonstrating how Greek mythology becomes an essential substructure of the play's Existentialistic framework, on the one hand, and questioning the credibility of the Sartrean concept of freedom and commitment, as illustrated in the play, on the other hand. The study utilizes the Existentialist philosophy as a theoretical framework in order to elucidate that the Sartrean conception of freedom and commitment is paradoxically antithetical. The research investigates how Orestes has been theoretically free and the extent to which he strives, throughout the drama, to transform this abstract freedom into a concrete experience by committing himself to a specific action: murdering Aegisthus and Clytemnestra. However, as the study proves, this Existentialist freedom becomes an illusion in the sense that Orestes' commitment to the Argives makes him a captive of society; by choosing commitment, he dismisses his freedom. The researcher has chosen "Freedom" and "Commitment" as the main topic of the present study in order to expose Sartre's existentialistic awareness of modern human beings' dilemma under the influence of all forms of aggression and highlight the discrepancy between theoretical philosophy and real-life experiences. The study adopts an interdisciplinary analytical approach where myth, philosophy, and drama are dovetailed and fused in order to expand the scope of the analysis.
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Weiss, Naomi. "Opening Spaces." Classical Antiquity 39, no. 2 (October 2020): 330–67. http://dx.doi.org/10.1525/ca.2020.39.2.330.
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This paper explores the construction of dramatic space in the prologues of classical Greek drama. Drawing from theater scholarship on the phenomenology of space, I show how tragedians and comedians alike experimented with how to shape their audience’s understanding of a play’s setting. I focus on opening scenes in plays by Sophocles and Aristophanes where a character sees with and for the audience, and demonstrate how these moments of staged spectatorship are not necessarily straightforward or seamless; they can facilitate the viewing of dramatic space but also, by laying it bare, reveal its complications. Sometimes there are multiple representational possibilities for physical space within and around the theater; sometimes physical and fictional space are to be seen simultaneously; sometimes the representational gap between physical and fictional space is kept open for a surprisingly long time. Such exposure of the process of theatrical representation, I argue, can draw the audience in as a co-participant in a drama’s production.
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Weiss, Naomi. "Opening Spaces." Classical Antiquity 39, no. 2 (October 2020): 330–67. http://dx.doi.org/10.1525/ca.2020.39.2.330.
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This paper explores the construction of dramatic space in the prologues of classical Greek drama. Drawing from theater scholarship on the phenomenology of space, I show how tragedians and comedians alike experimented with how to shape their audience’s understanding of a play’s setting. I focus on opening scenes in plays by Sophocles and Aristophanes where a character sees with and for the audience, and demonstrate how these moments of staged spectatorship are not necessarily straightforward or seamless; they can facilitate the viewing of dramatic space but also, by laying it bare, reveal its complications. Sometimes there are multiple representational possibilities for physical space within and around the theater; sometimes physical and fictional space are to be seen simultaneously; sometimes the representational gap between physical and fictional space is kept open for a surprisingly long time. Such exposure of the process of theatrical representation, I argue, can draw the audience in as a co-participant in a drama’s production.
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Bolmarcich, Sarah. "Fletcher, J. 2012. Performing Oaths in Classical Greek Drama. Cambridge/New York, Cambridge University Press. xi, 277 pp. Pr. $99.00. ISBN 9780521762731." Mnemosyne 66, no. 3 (2013): 489–92. http://dx.doi.org/10.1163/1568525x-12341439.
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Bryant Davies, Rachel. "The Figure of Mary Mother of God in Christus Patiens: Fragmenting Tragic Myth and Passion Narrative in a Byzantine Appropriation of Euripidean Tragedy." Journal of Hellenic Studies 137 (2017): 188–212. http://dx.doi.org/10.1017/s0075426917000155.
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AbstractThe Byzantine passion play Christus Patiens (Christ Suffering) is a cento: composed of quotations and borrowings from other sources, it takes Euripides’ tragedies as its main source for reworking the passion narrative. The genre, popular with Christian authors who usually transformed classical epics, enacts cultural exchange between canonical pagan literature and biblical narrative. Traditionally transmitted as the work of Gregory of Nazianzus, this drama showcases the tensions inherent in this reuse of Greek tragedy which threaten to collapse the original texts under the weight of their new meaning – or vice versa. While the afterlives of Classical texts, especially Greek tragedy, have been increasingly well explored, the scant attention afforded Christus Patiens has largely consisted of debating the disputed date and authorship. At the same time, scrutiny lavished on Virgilian centonic technique provides a helpful spring-board. This article focuses on the four tragedies most plundered in Christus Patiens: Rhesus, Medea, Hippolytus and Bacchae. It concentrates on interpreting the protagonist, Mary the Mother of God, through key passages which borrow most heavily from these plays. These stretch centonic conventions by almost exclusively reworking contiguous lines featuring the tragic mothers Medea, Agave and Musa; yet Mary is otherwise created from multiple conflicting voices. Analysis of these passages as frames for the cento author's own compositions and in the context of the prologue's invitation to identify specific Euripidean reworkings suggests that the author playfully flirts with creating a narrative of fragmentation through clashes between centonic form, tragic sources and Christian subject.
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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 (March 13, 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 of practices, genres and cultural aspects relating to narrative dance in the ancient and, to a lesser degree, modern world. The event took place on 22-23 June 2018 at the Department of Classics of the University of Vienna, and was sponsored by the FWF-Austrian Science Fund (Project V442-G25 “Aischylos’ diegetisches Drama”).
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De Pinho Santoro Lopes, Carolina. "DEVERES E QUERERES: CONFLITOS TRÁGICOS EM 'FILOCTETES' E 'O ZOOLÓGICO DE VIDRO' | DUTIES AND DESIRES: TRAGIC CONFLICTS IN 'PHILOCTETES' AND 'THE GLASS MENAGERIE'." Estudos Linguísticos e Literários, no. 55 (December 1, 2016): 80. http://dx.doi.org/10.9771/2176-4794ell.v0i55.17135.
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<p>O objetivo deste trabalho é explorar a permanência de elementos trágicos no teatro contemporâneo, tendo como base as obras <em>Filoctetes</em>, de Sófocles, e <em>O zoológico de vidro</em>, de Tennessee Williams. Embora a produção da tragédia grega tenha se limitado a um curto período da Antiguidade clássica, elementos dessa forma artística ainda perduram e têm influenciado obras teatrais de diversos lugares até os dias de hoje. As duas peças analisadas compartilham a temática de um dilema ético, retratando um conflito entre a vontade e o dever que se reflete nos embates entre os personagens. </p><p><strong>Abstract:</strong><em> </em><em>This article explores the permanence of tragic elements in contemporary drama by focussing on Sophocles's </em>Philoctetes<em> and Tennessee Williams's </em>The Glass Menagerie<em>. Although the production of Greek tragedies was limited to a short period of classical antiquity, some elements of this artistic form endure and have influenced drama in various places up until the current day. Both plays thematize an ethical dilemma by portraying a conflict between one's will and one’s sense of duty, which is reflected in the verbal disputes between characters</em>.</p>
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Boenisch, Peter M. "coMEDIA electrONica: Performing Intermediality in Contemporary Theatre." Theatre Research International 28, no. 1 (February 17, 2003): 34–45. http://dx.doi.org/10.1017/s0307883303000130.
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Although the concept of ‘intermediality’ recently has gained prominence within the discourse of Theatre Studies, still various contradictory definitions of that term circulate, none of which applies insight from the field of Media Theory to theatre. Rather than clinging to the banal formula ‘theatre + media = intermedial theatre’ and thus perpetuating the idea of medial specificity, an approach to intermediality informed by Media Theory stresses underlying strategies of processing all kinds of information, including the aesthetic, within a certain period. Consequently, theatre's genuine ‘mediality’ already implies its ‘intermediality’, which in fact can be traced back all the way to classical Greek drama. Within the present transformation from McLuhan's ‘Gutenberg Galaxy’ into an ‘electrONic culture’, theatre now trains its spectators in cognitive strategies of that emerging cultural paradigm. The performance Circulation Module by the Japanese group NEST reflects these significant repercussions of electrONic culture on theatrical performance at the turn of the twenty-first century.
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Seaford, Richard. "The tragic wedding." Journal of Hellenic Studies 107 (November 1987): 106–30. http://dx.doi.org/10.2307/630074.
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Wedding ritual in tragedy tends to be subverted. In explaining and arguing for this generalisation I hope also to shed new light on some of the passages deployed.My starting point is the actual wedding ceremony. How did the Athenians of the classical period imagine that it was celebrated? Our evidence derives largely from contemporary drama and vase-painting. The picture presented by this evidence coheres very well in certain respects with that derived from other periods and places: Sappho, Catullus' imitation of the Greek, the lexicographers, and so on. For example, one important element that is found in the Attic and the non-Attic evidence alike is the ambiguity, for the bride, of the transition. The abrupt passage to her new life contains both negative and positive elements. On the one hand it is like the yoking of an animal or the plucking of a flower. It means isolation, separation from her friends and parents. It is an occasion of resentment and anxiety, comparable to death.
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Adam, Klaus-Peter. "Nocturnal Intrusions and Divine Interventions on Behalf of Judah. David's Wisdom and Saul's Tragedy in 1 Samuel 26." Vetus Testamentum 59, no. 1 (2009): 1–33. http://dx.doi.org/10.1163/156853308x388129.
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AbstractA literary strand of narratives about Saul in 1 Samuel emerged in a process of rewriting Israelite-Judean history. 1 Sam 26* and a number of other episodes (1 Sam 10:8; 10:17-27; 13:7a-13a; 14:24-46; parts of 1 Sam 9; 1 Sam 16:1-13; 16:14-23; 17*; 1 Sam 28*, 31*; 2 Sam 1*) present the first Israelite king as a figure that was informed by Greek tragic heroism. More specifically, the themes and the formation of the characters in the story of David's nocturnal intrusion in 1 Samuel 26 are set side by side with the post-classical drama Rhesus. 1 Sam 26 is understood as a narrative comment on Saul's destiny in prophetic tradition. Saul's tragic heroism is described with skl “to act foolishly” 1 Sam 26:21b. Also, Qohelet's royal travesty in Eccl 1:12-2:26 alludes to this notion of Saul as a tragic king who acts foolishly (skl). He is contrasted with his glorious opponent David who succeeds (śkl) in all his endeavours.
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Tailor, Bhavini. "Rhetoric and Oracy in the Classics Classroom." Journal of Classics Teaching 17, no. 33 (2016): 14–21. http://dx.doi.org/10.1017/s2058631016000064.
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How many interactions do you have with students on a daily basis? In these interactions do you lead the conversation or do the students? Do students in your classes have the confidence to speak rather than listen? This is what this article is about: giving your students the ability to confidently assert their opinions and ideas. Classical subjects are some of the few subjects where students learn about rhetoric, what it is and how the ancients used it; yet they often do not necessarily know how to use rhetoric or employ rhetorical skills themselves. Most students, who have taken a Classical subject, will consider the term rhetoric to be connected with the sorts of rhetorical devices common in Cicero and speeches in Greek drama. However, rhetoric is used by everyone. Rhetoric is found everywhere in every type of communication, and it is almost impossible to escape from it. Rhetoric embodies everyday communication skills, how we speak, what we write, the debate in a discussion, how we present ourselves in meetings, how we teach and our online presences on Facebook, Twitter and Linkedin. Rhetoric is a useful skill and at the heart of the concept is the ability to express oneself effectively orally and in writing; what are more commonly known as communication skills. Oracy is part of everyday rhetoric: it encompasses how we are communicating with our intended audience and others around us through spoken language, body language and gestures.
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De Santis, Guillermo. "El Drama Satírico y el reverso de la Tragedia." CODEX – Revista de Estudos Clássicos 4, no. 2 (December 16, 2016): 4. http://dx.doi.org/10.25187/codex.v4i2.5318.
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<p class="normal">El presente artículo presenta el Drama Satírico como el reverso teatral de la Tragedia. Como forma teatral inserta en el “espectáculo trágico”, la función del Drama Satírico no puede ser analizada separadamente de la Tragedia y se propone que el contraste con esta última es un modo acertado de análisis dada la escasez de fuentes que se poseen.</p><p class="normal">A partir del análisis de las implicancias humorísticas del lenguaje, la <em>ópsis</em> y la gestualidad, este artículo propone que el Drama Satírico opera fundamentalmente sobre las emociones suscitadas por las tragedias que, en época clásica, lo antecedían en la representación. De esta manera, se afirma que distendiendo el poder emotivo de las emociones trágicas, el satirógrafo puede ofrecer un espacio de alivio risible en el que algunos tópicos trágicos son representados desde una perspectiva humorística.</p><p class="normal">De esta manera, el Drama Satírico muestra el carácter ficcional de la Tragedia, operación básica para promover una distensión que, sin negar los efectos emotivos de aquella, admite la posibilidad de otras emociones (como la risa) en el tratamiento del mito y de los héroes épicos presentes en la trama de las tragedias.</p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>Abstract</strong></p></div></div><div class="section"><div class="layoutArea"><div class="column"><p><span>This paper thinks the Satyr Drama as the theatrical reverse of the Tragedy. As a theatrical form inserted in the “Tragic Festivity”, the function of the Satyr Drama cannot be analyzed separately from the Tragedy and it is proposed that the contrast with </span>this major genre is a correct mode of analysis, given the scarcity of available sources.</p></div></div><div class="layoutArea"><div class="column"><p><span>Drawing from the analysis of the humorous implications of language, </span><span>ópsis </span><span>and gesture, this paper proposes that the Satyr Drama operates fundamentally on the emotions provoked by the tragedies that, in classical times, preceded it in the performance. This way, it is affirmed that, by distancing the emotional power of tragic emotions, the satirographer can offer a space of laughable relief in which some tragic topics are </span>represented from a humorous perspective. </p><div class="page" title="Page 2"><div class="layoutArea"><div class="column"><p><span>Finally, the Satyr Drama shows the fictional character of Tragedy, a basic operation to promote a distention that, without denying the emotional effects of Tragedy, admits the possibility of other emotions (such as laughter) in the treatment of myth and epic heroes </span>present in the plot of tragedies.</p></div></div><div class="layoutArea"><div class="column"><p><strong>Keywords: </strong><span>Satyr Drama; Greek Tragedy; language; </span><span>ópsis</span><span>; gesture </span></p></div></div></div></div></div></div></div><p class="normal"> </p>
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Leonard, Miriam. "TRAGEDY AND THE SEDUCTIONS OF PHILOSOPHY." Cambridge Classical Journal 58 (November 26, 2012): 145–64. http://dx.doi.org/10.1017/s1750270512000048.
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Since antiquity, Greek tragedy has continually preoccupied philosophers. From Plato and Aristotle, to Hegel and Nietzsche, many of the most interesting ideas in the history of thought have been developed through a dialogue with tragedy. This article explores the continuities and ruptures between Plato and Aristotle's reading of tragedy and the so-called “philosophy of the tragic” which emerged in the late eighteenth century. The influence of this modern tradition has been so profound that, even today, no reading ofAntigone, ofOedipusor of theBacchaeis not also, at least unconsciously, in dialogue with Hegel, with Freud and with Nietzsche. Although there is some recognition that the philosophical understanding of tragedy has historically shaped the discussion of ancient drama, classicists remain resistant to returning to its insights to further the study of classical texts. This article aims to redress the situation not only by revealing the persistent traces of the philosophy of the tragic in our modern critical vocabulary, but also by arguing that a renewed interest in this tradition will invigorate debates within our field. By looking at the examples of the French feminists Hélène Cixous' and Luce Irigaray's interpretations of Sophocles and Aeschylus, the article investigates the apparent tension between historicist and universalising readings of tragedy and argues that these two approaches are not necessarily incompatible.
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Lada-Richards, Ismene. "Neoptolemus and the bow: ritual thea and theatrical vision in Sophocles' Philoctetes." Journal of Hellenic Studies 117 (November 1997): 179–83. http://dx.doi.org/10.2307/632556.
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Much has been written in recent years on the ways in which ritual forms, patterns and sequences are remoulded into the imagery and action of classical Greek plays. A tragedy which offers exceptionally fertile ground for studies on ‘ritual and drama' is Sophocles’ Philoctetes, since theatrical and ritual strands are so intimately interwoven in its plot as to create an inextricable knot. In forthcoming work I explore in full both the ritual liminality of Philoctetes' and Neoptolemus' existence as well as the subtle ways in which the vital dramatic experiences of ‘acting’ and ‘viewing’ are inherently intertwined in this play with the initiatory strands of rites of maturation. The present note, conversely, is less ambitious in its scope, as its exclusive focus is one pivotal moment of the play's action, namely the dramatic exhibition of the bow to Neoptolemus' and the spectator's eyes. No matter how inherently interwoven with the action Philoctetes' bow is, Neoptolemus' close look, as he accepts it in his hands (Phil. 776), ‘theatricalises’ the object by converting it into a dramatic spectacle, a thea. But even before being formally delivered to Neoptolemus' custody (Phil. 762-78), the bow is prominently singled out as the prime focus of attention, becoming, as it does, a stage-prop uniquely capturing the boy's concentrated sight.
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Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle." SMART MOVES JOURNAL IJELLH 7, no. 10 (October 31, 2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.
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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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Hanink, Johanna. "(P.) O'Sullivan and (C.) Collard Eds. Euripides: Cyclops and Major Fragments of Greek Satyric Drama (Aris and Phillips Classical Texts). Oxford, Oxbow Books: 2013. Pp x + 528. £50. 9781908343772." Journal of Hellenic Studies 135 (2015): 195–96. http://dx.doi.org/10.1017/s0075426915000269.
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