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Relevant bibliographies by topics / Euripides

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Academic literature on the topic 'Euripides'

Author: Grafiati

Published: 4 June 2021

Last updated: 23 November 2024

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Journal articles on the topic "Euripides"

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Torrance, Isabelle. "Writing and self-conscious mythopoiēsis in Euripides." Cambridge Classical Journal 56 (2010): 213–58. http://dx.doi.org/10.1017/s1750270500000336.

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Euripides uses a variety of strategies to draw attention to the novelties in his dramatic myth-creation ormythopoiēsis. He does so, for example, through multiple allusions to earlier poets, distinguishing himself from predecessors by acknowledging their influence while simultaneously producing something distinctive. Euripidean novelties are legitimized in several instances through cultic aetiologies. These aspects of Euripidean drama have long been acknowledged. More recently, Matthew Wright has shown how the characters in several Euripidean plays discuss their own myths in a self-conscious manner, a process he terms ‘metamythology’. A technique which has been less studied, however, is Euripides' exploration of the motif of writing and its connection to the act ofmythopoiēsiswithin his work. Scholars who discuss writing in Euripides have done so either within the general context of inherent tensions between oral and written communication in Greek tragedy (or Greek literature), or have focused on the use of letters as dramatic devices. This paper argues that Euripides exploits the motif of writing in a way which is entirely different from the other tragedians, and puts forward the central thesis that writing in Euripides is associated self-consciously and metapoetically with plot construction and authorial control.

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Lourenço, Frederico. "An interpolated song in Euripides? Helen 229–52." Journal of Hellenic Studies 120 (November 2000): 132–39. http://dx.doi.org/10.2307/632485.

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Euripides may not have been a darling of the ‘gallery’ during his lifetime, but once he was dead he became a classic, to be read, performed—and imitated. Aristophanes' half-serious attempts to show up the ‘depravity’ of Euripidean tragedy had no lasting effect: the many revivals of his plays from the fourth century onwards suggest that later audiences appreciated the purely sensuous appeal in Euripides' verbal dexterity, his rhetorical flourishes, his distraught characters on the brink of madness and self-destruction, no less than the iridescent beauty of his lyric imagery. In particular, the far-fetched melodramatic outpourings in his solo arias must have had a special appeal, their kaleidoscopic rhythms and lush phraseology blending in with the Euripidean monodist's stock in trade, self-pity. At the Athenian theatre of Dionysus, solo arias were felt to be so quintessentially ‘Euripidean’ that Aristophanes included monody in the ‘diet’ with which his ‘Euripides’ claims to have educated the audience's taste (Ran. 944). We have no way of knowing if Athenian theatre-goers really became the sophisticated connoisseurs of fine poetry whom Aristophanes' Euripides wished for. We may surmise, however, that by the early fourth century, as long as Helen and Iphigenia sang an aria which sounded loosely ‘Euripidean’, it did not matter that the said aria had not actually been written by Euripides.

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Zagari, Effie. "Euripides’ Hippolytos in Aristophanes." Pnyx: Journal of Classical Studies 3 (June 30, 2024): 24–46. http://dx.doi.org/10.55760/pnyx.2024.32876.

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Aristophanes’ paratragic and parodic relationship with Euripides has long been discussed in classical scholarship mainly due to the numerous references to Euripides and his tragedies in Aristophanes’ comedies. This article focuses on the use and re-use of the myth of Hippolytos in Aristophanes, as it is found in Euripides’ extant play. The references to Hippolytos found in Aristophanes’ extant and fragmentary plays will be discussed. One of the main purposes of this paper is to bring into attention not only the references to Euripides’ Hippolytus in the extant plays but also in the fragments, which have been rather interesting in terms of their scale and nature as they are very different to the ones found in the extant plays, where the focus of the parody is mainly the character of Phaidra. Aristophanes is donning Euripides’ costumes to serve his purposes and scenarios. The present essay navigates through how Aristophanes used the same Euripidean disguise not just to εὐριπιδαριστοφανίζειν but specifically to ἱππολυτίζειν within his oeuvre.

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Domenighini, Sara. "EURIPIDE: MISOGINIA O GINOFOBIA?." Revista Internacional de Culturas y Literaturas, no. 16 (2015): 86–95. http://dx.doi.org/10.12795/ricl.2015.i16.05.

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Ripercorrendo le origini della civiltà, è If we go back to the origins of civilization, possibile identificare un momento storico in we find an historic moment characterized by cui la società era matriarcale. Analizzando matriarchal society. Through the analysis of le figure femminili presenti nelle tragedie di the feminine figures of Euripides’ tragedies, Euripide, possiamo comprendere il timore we can understand he fears a hypothetic che prova l’autore di un ipotetico ritorno return to woman’s predominance on man al predominio della donna sull’uomo e and we can interpret his reasons. Moreover, interpretarne le ragioni. Euripide, poi, si serve Euripides makes use of catharsis to prevent della catarsi per scongiurare tale eventualità. this possibility.

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Nelson, Paul B. "EURIPIDES'ALCESTISAND THE APOLLONIUS ROMANCE." Classical Quarterly 66, no. 1 (February 26, 2016): 421–23. http://dx.doi.org/10.1017/s0009838816000057.

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In 1924The Classical Quarterlypublished a note by Alexander Haggerty Krappe titled ‘Euripides’Alcmaeonand the Apollonius Romance’. Drawing attention to the obscure origins of the ancient Greek and Roman novels in general and pointing out the scholarly agreement on the role love plays in both the ancient novels and Euripidean tragedy, Krappe observed that ‘Euripides was drawn upon for whole episodes in order to enrich the plot of the [ancient] novel’. Krappe then goes on in his note to attribute the plot of Euripides' lostAlcmaeonas a source of inspiration for one of the major episodes of theHistoria Apollonii Regis Tyri(to wit, the separation and reunion of Apollonius and his daughter, Tarsia). Today, this reliance of the ancient novels on Euripides is generally recognized, but, curiously, Krappe, while identifying an episode from the lostAlcmaeon, failed to identify a clear plot-borrowing from another extant Euripidean play, theAlcestis.

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Dimoglidis, Vasileios. "Plot-makers in Euripides’ Ion." Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos 32 (March 2, 2022): 115–34. http://dx.doi.org/10.5209/cfcg.77616.

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The aim of this paper is to examine the plot-makers in Euripides’ Ion, focusing in this way on an aspect of the Euripidean metapoetry. Ion’s four characters (Apollo, Xuthus, Creusa, and Ion) are transformed into plot-makers, with each of them trying to compose a plot. I have suggested that Apollo is the poet’s double, and thus his plot echoes that of Euripides. The fact that, despite the various deviations (unsuccessful sub-plots), the plot is redirected every single time to the god’s original plot, credits Apollo with the title of a successful theatrical writer (internal playwright), a title that finally Euripides himself assumes.

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CRAIK, E. M. "MEDICAL REFERENCE IN EURIPIDES." Bulletin of the Institute of Classical Studies 45, no. 1 (December 1, 2001): 81–95. http://dx.doi.org/10.1111/j.2041-5370.2001.tb00233.x.

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Abstract The relation between medical texts and Euripidean drama is explored through a multiplicity of examples drawn from the extant plays and fragments. Emphasis is placed on the problems and limitations, as well as the potential and rewards, of comparing material from these different genres. First, the overlapping character of metaphorical and technical language is addressed, and the testimony of the lexicographer Erotian adduced. Allusion to various aspects of medicine - therapy and regimen; pathology; anatomy and physiology - is then identified in Euripides' output. It is argued that, in addition to general familiarity with many medical ideas, Euripides may have had particular knowledge of the Hippocratic treatises Breaths and Articulations. Finally, linguistic trends in fifth century Greek usage are noted and aspects peculiar to Euripides' poetic technique isolated. Directions for further research are suggested.

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Denis, Iris. "Een dramatische selectie." Lampas 52, no. 4 (December 1, 2019): 473–84. http://dx.doi.org/10.5117/lam2019.4.006.dent.

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Summary This article sketches and critically discusses the scenarios that have been postulated for the establishment of a canon of Euripides´ tragedies in what is generally believed to be the second or third century CE. Although the establishment of the canon has received some critical attention over the years, criteria that fit all the canonical Euripidean tragedies are yet to be drawn up. This article discusses the difficulties in doing so, illustrated by an examination of several case studies on the basis of a set of possible criteria extrapolated from an article by Rafaella Cribiore (2001b) on Euripides´ Phoenissae.

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Wright, Matthew. "The tragedian as critic: Euripides and early Greek poetics." Journal of Hellenic Studies 130 (November 2010): 165–84. http://dx.doi.org/10.1017/s0075426910000066.

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AbstractThis article examines the place of tragic poetry within the early history and development of ancient literary criticism. It concentrates on Euripides, both because his works contain many more literary-critical reflections than those of the other tragedians and because he has been thought to possess an unusually ‘critical’ outlook. Euripidean characters and choruses talk about such matters as poetic skill and inspiration, the social function of poetry, contexts for performance, literary and rhetorical culture, and novelty as an implied criterion for judging literary excellence. It is argued that the implied view of literature which emerges from Euripidean tragedy is both coherent and conventional. As a critic, Euripides, far from being a radical or aggressively modern figure (as he is often portrayed), is in fact distinctly conservative, looking back in every respect to the earlier Greek poetic tradition.

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Cairns, Douglas. "THE DYNAMICS OF EMOTION IN EURIPIDES’ MEDEA." Greece and Rome 68, no. 1 (March 5, 2021): 8–26. http://dx.doi.org/10.1017/s0017383520000212.

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Medea's emotions loom large in a wide range of dramatic, literary, and philosophical sources from Euripides onwards. In focusing on aspects of the emotional texture of the original Euripidean play, all one can do is scratch the surface of an enormous subject, both in that play and in its reception in ancient literature and thought. Fortunately, we have the other articles in this issue of Greece & Rome to supplement this inevitably limited perspective. My procedure in this short paper is simply to highlight certain aspects of the dramatization of emotion in Euripides’ Medea that strike me as especially worthy of analysis in terms of ancient or modern emotion theory.

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Dissertations / Theses on the topic "Euripides"

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

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Chong-Gossard, J. H. Kim On. "Gender and communication in Euripides' plays : between song and silence /." Leiden [u.a.] : Brill, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016660540&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Syrový, Michal. "Euripides : Medeia." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79462.

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Greek drama defines the place in which the theatrical performances takes place, fave a birth to the basic genres - tragedy and comedy. The emergence of the dramatic genre is somehow associated with the initial magical beliefs of our ancestors, that will play when the story will help to the real implementation. Some of the myths that have for the psyche of the Greeks fundamental importance, have been demonstrated in the context of religious rituals on stage and later gave rise to the classic drama. The Tragedy has probebly its origin in ritual worship of the god Dionysus - in simpplified playing his myth. The Tragedy draws its themens from the history or myth. The tragedy sets apart current problems by a mythical mirror. Aristotle defines the essence of tragedy as: "Views of the storyline serious and comprehensive, which has a specific range, taking acting characters, not story, and operates through pity and fear, and purification of such emotions (Katharsis)." The Development of a Greek theater space was designed mainly by physical needs of the audience to hear well and see the actor and the Featured activities of the changing nature. Athens Theatre was a mass spectacle, accessible to all participants of the festival, including foreigners, slaves and women, if they paid for it. Initially, the ritual space is gradually turning to the theater, where is clearly defined audience and stage. The staging area is start to develope. The first scene was the "nature". The viewer has perceives the actor behind the open countryside. Human drama againts the backdrop of the Universe. Subsequent incorporation of the building as a theater space decorations departs from its religious - origins and ceremonial artefacts and becomes artifical. Painted frames coming into use later with a hint of perspective, and many theatrical machines, allowing flying, revealing. etc.Ancient drama was the beginning of the whole production of European theater which has spared later in its various forms all over the world. There is a practical part in the end - development and final version of stage design solutions of Euripides´s Medea.

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Hinkelman, Sarah A. "EURIPIDES’ WOMEN." Ohio University Art and Sciences Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouashonors1428872998.

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Bubel, Frank. "Euripides, Andromeda /." Stuttgart : F. Steiner, 1991. http://catalogue.bnf.fr/ark:/12148/cb354901017.

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Anderson, Lois Marjory. "Directing Euripides' Medea." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/12609.

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This thesis documents the directorial preparation and rehearsal process for the production of Euripides Medea, produced at the TELUS theatre, January 2009, as the thesis requirement for an MFA in Directing from the Theatre Department of the University of British Columbia. Included are a script analysis of the Kenneth McLeish translation of Medea, a rehearsal journal, and an essay examining the role and intervention of the gods in Euripides’ Medea. This production was framed as a re-enactment by the household staff of Jason and Medea. The appendix includes a storyboard script for the household characters written by the director. The bibliography includes sources used by the director for script analysis research. Challenges in staging Medea include the deus ex machina, the child actors and staging the Greek Chorus. An essential question explored in this production is the character of Medea and whether the audience is to consider her as a monster or as a human. This production explored the deus ex machina as an act of grace, signaling that the gods transcend societal codes of justice, and that Euripides offers the image of a complex woman, struggling and stumbling towards the divine.

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Kakkos, Athanasios Tommy. "Escapism in Euripides." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23219.

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This thesis explores the form, meaning and development of the escapist theme in Euripides' tragedies. The dramatist's corpus reveals an intense preoccupation with escapism and exhibits it in a wide range of escape wishes and escape choral odes. Most of these, because they fail of their objective, point to the inability of the tragic hero to escape his or her fate as determined by the dark forces of tragedy. Escapism intensifies the well-known Euripidean element of pathos, but in some of the plays its use becomes quite sophisticated evoking irony, ambiguity and paradox. In this way, it sheds light upon the tragic event from a different perspective. In the end, however, the Euripidean oeuvre betrays a strong affirmation of reality in spite of its escapist tendencies. Euripides' innovative use of escapism is, in fact, an ingenious modification and adaptation of older poetic, and as this thesis argues, ritual forms. Finally, the pervasive presence of escapism in Euripides is not irrelevant to the wider political and social atmosphere of late fifth-century Athens.

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Wright, Matthew. "Euripides' escape-tragedies." Thesis, University of Exeter, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251130.

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Black, Elaine. "The Euripidean priestess : women with religious authority in the plays of Euripides." Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343227.

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Papadopoulou, Thalia. "Studies in Euripides' 'Heracles'." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/272021.

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Books on the topic "Euripides"

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Paley, Frederick Apthorp, ed. Euripides. Cambridge: Cambridge University Press, 2009. http://dx.doi.org/10.1017/cbo9780511697418.

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Paley, Frederick Apthorp, ed. Euripides. Cambridge: Cambridge University Press, 2009. http://dx.doi.org/10.1017/cbo9780511697425.

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Paley, Frederick Apthorp, ed. Euripides. Cambridge: Cambridge University Press, 2009. http://dx.doi.org/10.1017/cbo9780511697432.

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Hermann, Gottfried, ed. Euripides. Cambridge: Cambridge University Press, 2010. http://dx.doi.org/10.1017/cbo9780511710728.

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Euripides. Euripides. Cambridge, Mass: Harvard University Press, 1994.

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Euripides. Euripides. Philadelphia: University of Pennsylvania Press, 1998.

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Euripides. Euripides. New York: Penguin USA, 2009.

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Judith, Mossman, ed. Euripides. Oxford: Oxford University Press, 2003.

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Euripides. Euripides. Chicago: The University of Chicago Press, 2012.

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Hughes, Ted. Euripides' Alcestis. London: Faber, 2000.

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Book chapters on the topic "Euripides"

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Schmidt, Hans W., and Heinz-günther Nesselrath. "Euripides." In Kindler Kompakt: Literatur der Antike, 75–81. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04363-4_9.

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Nesselrath, Heinz-Günther. "Euripides." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7701-1.

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Finsler, Georg. "Euripides." In Euripides Iphigenie bei den Taurern, 7–50. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-04289-7_2.

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Zimmermann, Bernhard. "Euripides." In Kleines Lexikon griechischer Autoren, 64–70. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05455-5_12.

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Sweeney, Seamus. "Euripides." In Meet the Philosophers of Ancient Greece, 93–96. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315249223-24.

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Wright, F. A. "Euripides." In Feminism in Greek Literature, 86–112. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003506447-8.

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Fuchs, Andreas. "Euripides, Elektra." In Dramatische Spannung: moderner Begriff — antikes Konzept, 223–303. Stuttgart: J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-02751-1_5.

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Schmalzriedt, Egidius, and Heinz-Günther Nesselrath. "Euripides: Alkēstis." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7702-1.

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Joerden, Klaus. "Euripides: Mēdeia." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7703-1.

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Kopperschmidt, Josef, and Heinz-Günther Nesselrath. "Euripides: Hērakleidai." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7704-1.

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Conference papers on the topic "Euripides"

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Daraklitsa, Elina. "THE SYMBOLISMS AND DRAMATURGIC NOTIONS IN THE TROJAN WOMEN UNDER JEAN PAUL SARTRE�S POLITICAL AND PHILOSOPHICAL VIEW." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s03.03.

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The present study examines the contemporary rewriting in the French language of Euripides' play The Trojan Women by Jean Paul Sartre. The French philosopher having the intention once more to deal with humanity�s big problems, he intensifies Euripides� text with elements drawn from modern society and era. The theme dealt with is war and suppression, along with their conviction, a pattern especially popular with the creator since it is the one he deals with in his debut drama Bariona ou le fils de tonnerre (1940). Also, The Trojan Women (1964) linguistic style matches that of Bariona and Nekrassov (1955), since the personalities of the main heroes in all three plays are governed by the same notions: self � denial, rebelliousness and a firm belief in the ideals. The element which distinguishes the abovementioned texts from the rest of the writer�s dramaturgic work is their abstinence from an existential and psychological � analytical spirit. Thus, the existentialist dramaturgist�s familiar speech with which so many scholars have been preoccupied is almost absent from The Trojan Women. The Sartre�s goal is to �shout out loud� Euripides� big truths and in order to achieve it, he instills into his heroes additional characteristics, thus giving them an even more rebellious and aggressive constitution than the already existing one, expressed by a modern glossolalia. In The Trojan Women, the pioneer writer also deals with the impaired place of woman in contemporary society, an idea also existing in current days.

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Zuidberg, H. M., and P. Vergobbi. "EURIPIDES, Load Tests on Large Driven Piles in Dense Silica Sands." In Offshore Technology Conference. Offshore Technology Conference, 1996. http://dx.doi.org/10.4043/7977-ms.

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Morgan, Neil, and Ian Finnie. "An Integrated Approach to Offshore Pile Axial Design in Sands and Clays." In 25th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/omae2006-92130.

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Most offshore pile axial design is currently carried out according to API RP 2A WSD, the recommendations of which we understand are due to change. As a result there are many new pile axial capacity calculation methods emerging which may become acceptable for use, each with its own particular site investigation requirements. For the same soil input these methods usually result in just as many different capacities and it is apparent that no single design method is applicable to all design situations and it would be unusual for a single method to be completely reliable for a single platform. We examine the sources of geotechnical uncertainty and concentrate on the transformation uncertainty which is principally due to the choice of pile design method. It would be a rational approach to use a single set of soil and pile input parameters and calculate the pile capacities according to all of the methods. This paper considers two major pile test sites that have had detailed site investigations (Pentre and Euripides) and uses the API, UWA, ICP, NGI, Fugro and Kolk pile design methods to compare the results. We examine the reliability of this combined approach with depth, which shows that our predictive ability varies between shallower (e.g. less than 20 metres) and deeper penetrations. It concludes with practical recommendations on how a rational pile design may be achieved. One such approach is to take the mean average of all the capacities calculated. Optimising pile design in this manner may help to identify and reduce unwarranted conservatism and conversely help to ensure that optimum pile capacity is achieved and to avoid installation difficulties associated with piles that are unnecessarily too long.

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