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Relevant bibliographies by topics / Euripides Greek drama (Tragedy) State

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Academic literature on the topic 'Euripides Greek drama (Tragedy) State'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Euripides Greek drama (Tragedy) State"

1

Andújar, Rosa. "UNCLES EX MACHINA: FAMILIAL EPIPHANY IN EURIPIDES’ ELECTRA." Ramus 45, no. 2 (2016): 165–91. http://dx.doi.org/10.1017/rmu.2016.9.

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At the close of Euripides’ Electra, the Dioscuri suddenly appear ‘on high’ to their distraught niece and nephew, who have just killed their mother, the divine twins’ mortal sister. This is in fact the second longest extant deus ex machina (after the final scene in Hippolytus), and the only scene in which a tragedian attempts to resolve directly the aftermath of the matricide. In this article, I argue that Castor's and Polydeuces’ sudden apparition to Orestes and Electra constitutes a specialised point of intersection between the mortal and immortal realms in Greek tragedy: familial epiphany, a

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2

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

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3

Suthren, Carla. "Translating Commonplace Marks in Gascoigne and Kinwelmersh's Jocasta." Translation and Literature 29, no. 1 (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 Eur

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4

Fitzgerald, Gerald. "Textual Practices and Euripidean Productions." Theatre Survey 33, no. 1 (1992): 5–22. http://dx.doi.org/10.1017/s0040557400009571.

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This paper has two principal, though interrelated, objectives: to survey issues concerning the status of the texts of Greek Tragedy, particularly with respect to specific distinctions between a play as text-based and as audience experienced, between the “eye” of the reader of a play text and the eye of the theatrical spectator; and to consider some implications of these distinctions for Euripidean drama, above all with respect to The Bacchae, since its procedures, albeit more developed or extravagant than elsewhere, may be construed as characteristic for this drama. Much of what I shall say ha

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Donelan, Jasper F. "Some Remarks Concerning Night Scenes on the Classical Greek Stage." Mnemosyne 67, no. 4 (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 audien

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6

Perris, Simon. "Is There a Polis in Euripides’ Medea?" Polis: The Journal for Ancient Greek Political Thought 34, no. 2 (2017): 318–35. http://dx.doi.org/10.1163/20512996-12340130.

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Abstract The polis is a dominant force in scholarship on Greek tragedy, including Euripides’ Medea. This paper addresses the question of whether there is, in fact, a polis (i.e. a Greek-style city-state) in the play. The polis proper does not often feature in tragedy. Euripides’ Corinth, like many urban centres in tragedy, is a generic palatial settlement ruled by a king. It is not a community of citizens. Creon is a non-constitutional absolute hereditary monarch, and it is a commonplace of tragedy that absolute sole role is antithetical to the idea of the polis. Medea is exiled, not ostracise

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7

Mikalson, Jon D. "Unanswered prayers in Greek Tragedy." Journal of Hellenic Studies 109 (November 1989): 81–98. http://dx.doi.org/10.2307/632034.

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Moments before Euripides' Polyneices and Eteocles square off for their final, fatal battle in the Phoenissae, each prays for divine assistance (1359–76). Their prayers, though very brief, are by the standards of Greek drama rather formal. Polyneices, as Theban as his brother Eteocles, is leading a force of Argives against Thebes to recover the kingship he claims is rightfully his. As he prays he looks toward distant Argos and invokes ‘Lady Hera’, for, he says, ‘I am now yours, because I married Adrastus’ daughter and dwell in his land' (1364–6). He has left his homeland, married into an Argive

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8

Perris, Simon. "Our Saviour Dionysos: Humanism and Theology in Gilbert Murray's Bakkhai." Translation and Literature 21, no. 1 (2012): 21–42. http://dx.doi.org/10.3366/tal.2012.0045.

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This article analyses the 1902 translation of Euripides’ Bakkhai by the renowned scholar, internationalist, and popularizer of Greek drama, Gilbert Murray. In particular, Murray's syncretistic use of religious diction in the translation is contrasted with his secular humanist reading of the play: throughout the translation, pagan, Olympian polytheism is described in Christian terminology. I conclude that this apparent contradiction reflects the early twentieth-century literary-historical context in which Murray operated, and his own idiosyncratic, ritualist reading of the play and of Greek tra

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9

Billing, Christian M. "Representations of Greek Tragedy in Ancient Pottery: a Theatrical Perspective." New Theatre Quarterly 24, no. 3 (2008): 229–45. http://dx.doi.org/10.1017/s0266464x08000298.

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In this article, Christian M. Billing considers the relationship between representations of mythic narratives found on ancient pottery (primarily found at sites relating to the Greek colonies of south Italy in the fourth century BC, but also to certain vases found in Attica) and the tragic theatre of the fifth century BC. The author argues against the current resurgence in critical accounts that seek to connect such ceramics directly to performance of tragedies by the major tragedians: Aeschylus, Sophocles, and Euripides. Using five significant examples of what he considers to be errors of met

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10

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 ma

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Dissertations / Theses on the topic "Euripides Greek drama (Tragedy) State"

1

Geller, Grace. "Translations and adaptations of Euripides' Trojan Women /." Norton, Mass. : Wheaton College, 2010. http://hdl.handle.net/10090/15122.

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Griffiths, Emma Marie. "Trailing clouds of glory : a study of child figures in Greek tragedy." Thesis, University of Bristol, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286028.

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Wilson, Kristi M. "Euripideanism : Euripides, orientalism and the dislocation of the western self /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9951425.

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Powers, Mary Melinda. "A genealogy of corporeal culture in Bakchai." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383468101&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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5

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

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Hazel, Ruth Mary. "The mediation in late twentieth-century English theatres of selected ancient Greek tragedy texts and themes concerned with women and power." n.p, 1998. http://ethos.bl.uk/.

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7

Auer, Janette Slater William J. "Electra in context: an investigation of a character in fifth century B.C. Athenian tragedy in the social context of the ritual lament and revenge /." *McMaster only, 2005.

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8

Polyakov, Maxim. "The power of time : old age and old men in ancient Greek drama." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:2d238e6d-e040-479a-ae8f-dcf5ecd7e838.

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The study of old age in the humanities has developed significantly in the last few decades, but there is still much scope for progress. This thesis, therefore, seeks to contribute to the growing academic discourse in this area by considering ageing as it is represented in ancient Greek theatre. At the same time, it seeks to take its place within Classical Studies by developing new readings of the plays. To develop a context for its analysis, this study begins with consideration of the contemporary demographics, social position, and stage portrayal of old age, and following this dedicates a cha

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9

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

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10

Conser, Anna. "The Musical Design of Greek Tragedy." Thesis, 2021. https://doi.org/10.7916/d8-rk7p-hk69.

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The musical analysis of Greek tragedy has traditionally been limited to studies of meter and metatheatrical language. This dissertation seeks to establish a new approach to ancient dramatic song by demonstrating that the linguistic pitch accents of tragic lyrics often trace the melodic contours of their lost musical settings. In the papyri and inscriptions that preserve music notation alongside Greek lyrics, intonation and melody are often coordinated according to set principles, which are well established by previous scholarship. Through the creation of software that applies these historic

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Books on the topic "Euripides Greek drama (Tragedy) State"

1

Euripides. Euripides' Alcestis. University of Oklahoma Press, 2003.

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2

Euripides. The Alcestis of Euripides. E. Mellen Press, 2002.

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3

E, Luschnig C. A., and Euripides, eds. Euripides' Electra: A commentary. University of Oklahoma Press, 2011.

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4

Roisman, Hanna. Euripides' Electra: A commentary. University of Oklahoma Press, 2011.

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5

Euripides. Euripides Heraclidae. Clarendon Press, 1993.

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6

Euripides. Euripides' Heracles. Thomas Library, Bryn Mawr College, 1987.

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7

Euripides. Euripides Heracles. Aris & Phillips, 1998.

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8

Euripides. Euripides Heracles. Clarendon Press, 1988.

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9

Studien zum Chor bei Euripides. B.G. Teubner, 1990.

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10

Euripides. Euripides. Harvard University Press, 1994.

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Book chapters on the topic "Euripides Greek drama (Tragedy) State"

1

Leo, Russ. "Paul's Euripides, Greek tragedy and Hebrew antiquity in Paradise Regain'd." In Milton, Drama, and Greek Texts. Routledge, 2018. http://dx.doi.org/10.4324/9781315124353-4.

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2

Hubbard, Thomas. "Episodic tragedy, Antigone, and indeterminacy at the end of Euripides’ Phoenissae *." In Text and Intertext in Greek Epic and Drama. Routledge, 2020. http://dx.doi.org/10.4324/9780429024573-21.

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3

Fotheringham, Lynn. "Don Taylor, the ‘Old-Fashioned Populist’? The Theban Plays (1986) and Iphigenia at Aulis (1990): Production Choices and Audience Responses." In Ancient Greece on British Television. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412599.003.0007.

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This chapter explores the production contexts for and audience responses to The Theban Plays (BBC, 1986), a trilogy of plays by Sophocles, and Euripides’ Iphigenia at Aulis (BBC, 1990), the last productions of Greek tragedy that would be broadcast on British television for twenty years. These four plays were directed by Don Taylor at the end of a long career in television from 1960. Taylor’s commitment to studio-bound drama, shot as if live on multiple cameras, could be seen as old-fashioned by the mid-1980s, as could his ‘Reithian’ commitment to democratizing works from the dramatic canon via television. Nevertheless these productions garnered enthusiastic as well as critical comments from both newspaper reviewers and the audience sample surveyed by the BBC. This chapter demonstrates how various features of the productions, including an anti-realistic mise-en-scène and the uses made of the multiple cameras, align with and reflect Taylor’s published views on television drama. Close analysis of the wide variety of opinions expressed by those watching underline the complex social, political and aesthetic issues involved in judging attempts to put ancient drama before a modern television audience.

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