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

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Published: 4 June 2021

Last updated: 12 February 2022

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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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11

Aun, Ana Luiza Gontijo. "Diktyoulkoí – um drama satírico de Ésquilo." Nuntius Antiquus 4 (December 31, 2009): 82–91. http://dx.doi.org/10.17851/1983-3636.4..82-91.

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The satyr play was a small, comic play that closed a Greek tragic trilogy, placing the characters of the tragedy on a different setting where they meet satyrs and are mocked by them. The tragic tetralogy was common during the 5th and 4th centuries b.C., and all major tragedians such as Aeschylus, Sophocles and Euripides wrote satyr plays, being Aeschylus considered the best of them in this genre. Unfortunately, there are only fragments of his satyr plays and the Diktyoulkoi is the one with the largest numbers of verses preserved. The fragments were discovered separately and put together later.

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Gödde, Susanne. "Nach der Katastrophe: Exit-Strategien in der griechischen Tragödie." Poetica 51, no. 3-4 (2020): 248–75. http://dx.doi.org/10.30965/25890530-05102003.

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Abstract After briefly outlining the vocabulary of closure and endings in Greek tragedy, this article analyses three possible features of closure: (1) lament (kommos), (2) deus ex machina combined with an aetiological myth (almost exclusively in Euripides), and (3) a gnomic coda spoken by the chorus. All three types of ending remain external to the plot and do not resolve the dramatic conflict. The paper then looks at two case studies from dramas centered on the same myth, i.e. the campaign of the Seven against Thebes in Aeschylus’ play of the same name and in Euripides’ Phoenissae. The ending

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Aun, Ana Luiza Gontijo. "Diktyoulkoí – um drama satírico de Ésquilo." Nuntius Antiquus 4 (December 31, 2009): 82. http://dx.doi.org/10.17851/1983-3636.4.0.82-91.

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<p>The satyr play was a small, comic play that closed a Greek tragic trilogy, placing the characters of the tragedy on a different setting where they meet satyrs and are mocked by them. The tragic tetralogy was common during the 5th and 4th centuries b.C., and all major tragedians such as Aeschylus, Sophocles and Euripides wrote satyr plays, being Aeschylus considered the best of them in this genre. Unfortunately, there are only fragments of his satyr plays and the <em>Diktyoulkoi </em>is the one with the largest numbers of verses preserved. The fragments were discovered sepa

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14

Aboelazm, Ingy. "Africanizing Greek Mythology: Femi Osofisan’s Retelling of Euripides’the Trojan Women." European Journal of Language and Literature 4, no. 1 (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 mercenar

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15

Ley, Graham. "On the Pressure of Circumstance in Greek Tragedy." Ramus 15, no. 1 (1986): 43–51. http://dx.doi.org/10.1017/s0048671x0000343x.

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It is an unfortunate weakness of most of the standard textbooks on Greek tragedy that they fail to communicate the immediacy of pressure that is of its essence. This particular inadequacy has hardly been corrected by the recent spate of books on either staging or the visual presentation of plays, which suggest themselves now as the standard adjustment to existing handbooks for students with or without the language.One of the few certainties we have, in beginning the argument, is that tragedy is, if anything, about decisions and their consequences. This much is implied in Aristotle's intuition

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16

Lada-Richards, Ismene. "Staging the Ephebeia: Theatrical Role-Playing and Ritual Transition in Sophocles' Philoctetes." Ramus 27, no. 1 (1998): 1–26. http://dx.doi.org/10.1017/s0048671x00001910.

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The last two decades have seen a renewed emphasis on studies falling within the general area of Ritual and Drama. The majority of extant plays have been scrutinised in the search for ritual schemes and sequences, metaphors and allusions remoulded in their imagery and language, and some of the juiciest discussions of Greek theatre have emerged as a result. Nevertheless, compared to this proliferation of studies on particular aspects of ritual symbolism and ritual patterns, few scholars have attempted to investigate the ways in which ritual and theatre can interrelate and unfold in parallel at t

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17

Papadopoulou, Thalia. "Herakles and Hercules: The Hero's Ambivalence in Euripides and Seneca." Mnemosyne 57, no. 3 (2004): 257–83. http://dx.doi.org/10.1163/1568525041317967.

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AbstractMadness presents Herakles/Hercules in an unprecedented state of extreme vulnerability and becomes an apt device for dramatizing the fragility of life and the responses to tragic reversals of fortune. The present article compares the dramatic treatments of this theme by Euripides and Seneca not in terms of a strict adaptation of a source/model but in terms of the dramatic purposes underlying and determining both similarities and differences. It investigates the connotations of madness and explores the ways in which the associations of themes such as the reversal of fortune, the nature o

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18

Roselli, D. K. "The Work of Tragic Productions: Towards a New History of Drama as Labour Culture." Ramus 42, no. 1-2 (2013): 104–21. http://dx.doi.org/10.1017/s0048671x00000096.

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The study of the ancient world has often come under scrutiny for its questionable ‘relevance’ to modern society, but Greek tragedy has proven rather resilient. From tragedy's perceived value in articulating an incomplete but idealised state of political and ethical being in Hegel to its role in thinking through the modern construction of politics and gender (often through a re-reading of Hegel), tragedy has loomed large in modern critical inquiry into definitions of the political and the formation of the subject.’ This is another way of saying that the richly textured tragic text has in some r

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19

Worman, Nancy. "The Ties that Bind: Transformations of Costume and Connection in Euripides' Heracles." Ramus 28, no. 2 (1999): 89–107. http://dx.doi.org/10.1017/s0048671x00001739.

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Cependant, elle, qui croyait bien connaître Jacques, s'étonnait. Il avait sa tête ronde de beau garçon, ses cheveux frisés, ses moustaches très noires, ses yeux bruns diamantés d'or, mais sa mâchoire inférieure avançait tellement, dans une sôrte de coup de geule, qu'il s'en trouvait défiguré.Zola, La Bête HumaineIt may seem banal to note that in its original conception Greek tragedy depended for much of its force on costume and visual effect. The dramas themselves often make clear, however, that costume, as a central feature of a character's visible type, communicates essential aspects of how

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20

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 the

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21

Esteban Enguita, José Emilio. "Metafísica y política en El nacimiento de la tragedia." Theoría. Revista del Colegio de Filosofía, no. 8-9 (December 31, 1999): 35–49. http://dx.doi.org/10.22201/ffyl.16656415p.1999.8-9.219.

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This text aims at throwing light on the political thought which is implicit in The Birth of the Tragedy, and in the Posthumous Writings. Although politics appears not to be important in a work on aesthetics and metaphysics, the author shows that tragic experience is intimately related with the need for a tragic state. The ecstasies of the Dionysian experience form the ethos of the citizen, and nourish the political institutions which, in their turn, allow the artistic liberation of Dionysian forces. Furthermore, the author shows that, to Nietzsche, Euripides represents not only the decadence o

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22

Bryant-Bertail, Sarah. "The Trojan Women a Love Story: A Postmodern Semiotics of the Tragic." Theatre Research International 25, no. 1 (2000): 40–52. http://dx.doi.org/10.1017/s0307883300013948.

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Charles Mee, before turning to playwriting, authored several well-known political histories. To the last of these, from 1993, he gave the ironically portentous title of Playing God: Seven Fateful Moments When Great Men Met to Change the World. With this deconstructive final word after two decades as a historian, he did not in fact abandon history, but began to write it in the medium of theatre. In doing so Mee has come to share a view articulated by Roland Barthes, who was once a university student of theatre and actor in Greek tragedies: the view that theatre, and Greek tragedy in particular,

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Olechowska, Elżbieta. "Ancient Plays on Stage in Communist Poland." Keria: Studia Latina et Graeca 20, no. 3 (2018): 41–74. http://dx.doi.org/10.4312/keria.20.3.41-74.

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A recently published analytical register of all ancient plays and plays inspired by antiquity staged in Poland during communism, provided factual material for this study of ancient drama in Polish theatre controlled by the state and of its evolution from the end of WW2 to the collapse of the Soviet regime. The quasi-total devastation of theatrical infrastructure and loss of talent caused by the war, combined with an immediate seizing of control over culture by Communist authorities, played a crucial role in the shaping of the reborn stage and its repertoire. All Aeschylus’ plays were performed

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24

Swoboda, Sören. "Tragic Elements in Josephus." Journal of Ancient Judaism 8, no. 2 (2017): 257–70. http://dx.doi.org/10.30965/21967954-00802009.

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While the discussion on how to classify Josephus’ works within ancient historiography is not new and attention is increasingly being paid to the genre of “tragic history,” more recently there have been attempts to draw parallels between the Jewish War and Greek tragedy (e. g., Chapman and Feldman). Following a sociological definition of “Hellenism,” my paper argues not only that optimal conditions existed in Flavian Rome after 70 C. E. for Josephus to use in his account of the Jewish War certain elements of tragedy and that at least in reference to some aspects a bridge can be constructed from

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25

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 (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 d

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26

Seaford, Richard. "The Destruction of Limits in Sophokles' Elektra." Classical Quarterly 35, no. 2 (1985): 315–23. http://dx.doi.org/10.1017/s0009838800040192.

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Greek tragedy is full of rituals perverted by intra-familial conflict. To mention some examples from the house of Atreus: the funeral bath and the funeral covering, normally administered to a man's corpse by his wife as an expression of ɸιλία, have in Aeschylus' Oresteia become instruments in the killing of Agamemnon; the pouring of libations at the tomb, normally a θελκτήριον for the dead, becomes in the Choephoroi an occasion for his arousal; Euripides has Klytaimnestra ‘sacrificed’ while performing the sacrifice for her (fictitious) newly born grandchild. On the important question of why it

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Parush, Adi. "The Courtroom as Theater and the Theater as Courtroom in Ancient Athens." Israel Law Review 35, no. 1 (2001): 118–37. http://dx.doi.org/10.1017/s0021223700012103.

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To prevent any misunderstanding, I first would like to clarify that I am not a historian dealing with classical studies; my main disciplines are philosophy and law. However, following a seminar I gave dealing with several philosophical-legal aspects of Greek tragedy, and an article I wrote about the relationship between the concept of guilt in Oedipus Tyrannus and the principle of strict liability in modern criminal law, I have found myself in recent years becoming increasingly interested in the unique culture which emerged in Athens during the classical period, particularly in the 5th century

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28

Bihorac, Ahmet, and Kemal Dzemic. "THE MOTIVE OF MADNESS IN WORLD LITERATURE." Knowledge International Journal 29, no. 1 (2019): 83–88. http://dx.doi.org/10.35120/kij2901083b.

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The paper is based on the hypothesis that the motive of madness is very common in literary works starting from the literature of the old age to modern and postmodern literary production. Many famous world writers have worked on this motive in various literary epochs, genera and species. In antique comedy, man's insanity was portrayed in a witty, playful and humorous way, and the same poetic, approach to the treatment of this motive is also of later comedical works. In tragedy, madness is often the cause of starvation, but also the ability to get to know essential knowledge, truth and ideas. So

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29

Pradella, Geoffrey. "Substituting a Judgment of Best Interests: Dignity and the Application of Objective Principles to PVS Cases in the U.K." European Journal of Health Law 12, no. 4 (2005): 335–45. http://dx.doi.org/10.1163/157180905775088577.

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AbstractThe mêlée that surrounded the last days of Terri Schiavo's life was reminiscent of a classical Greek tragedy. Much like Antigone, Ms. Schiavo became enmeshed in irresistible and opposite forces, resolved to use her situation as an arena for the determination of political and legal issues as diverse as the exercise of states' rights, the extent of individual rights, the role of the judiciary, the re-opening of the abortion debate, and the regulation of stem cell research. As Europeans watched the drama unfold, the forces at play in the United States clashed head-on, in a rhetorically in

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Sá da Silva, Antonio. "O continuum de justiça e vingança na literatura oral do sertão: uma releitura da tragédia e do tratamento da controvérsia no cordel e na música caipira." Revista da Faculdade de Direito da UFG 42, no. 2 (2019): 198–221. http://dx.doi.org/10.5216/rfd.v42i2.55734.

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Frequentemente dada como evidente pela dogmática processual, a distinção entre justiça e vingança já era tema controvertido no teatro grego: na tragédia, a narrativa laudatória de Ésquilo, sobre o julgamento de Orestes, confronta-se com outra menos elogiosa, qual seja, a de Eurípides sobre a vingança de Hécuba contra o hóspede infiel. Em que pese o contributo civilizatório de Atena pela instituição do tribunal, a crônica judiciária não dá somente boas notícias sobre a obediência à tercialidade do direito; assim, resta em aberto a questão de saber se o selo do Estado por si mesmo garante que a

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Stewart, Edmund. "INTRODUCTIONS TO GREEK DRAMA - (L.) Swift Greek Tragedy. Themes and Contexts. Pp. xii + 125, ills. London and New York: Bloomsbury Academic, 2016. Paper, £14.99. ISBN: 978-1-4742-3683-6. - (A.F.) Garvie The Plays of Aeschylus. Second edition. Pp. x + 99. London and New York: Bloomsbury Academic, 2016 (first edition 2010). Paper, £14.99. ISBN: 978-1-4742-3327-9. - (A.F.) Garvie The Plays of Sophocles. Second edition. Pp. x + 96. London and New York: Bloomsbury Academic, 2016 (first edition 2005). Paper, £14.99. ISBN: 978-1-4742-3335-4. - †(J.) Morwood The Plays of Euripides. Second edition. Pp. x + 144, ills. London and New York: Bloomsbury Academic, 2016 (first edition 2002). Paper, £14.99. ISBN: 978-1-4742-3359-0." Classical Review 68, no. 1 (2018): 23–25. http://dx.doi.org/10.1017/s0009840x17002384.

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