Relevant bibliographies by topics / Euripides. Hippolytus

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Academic literature on the topic 'Euripides. Hippolytus'

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Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "Euripides. Hippolytus"

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Thury, Eva M., Gilbert Lawall, and Sarah Lawall. "Euripides Hippolytus." Classical World 83, no. 2 (1989): 114. http://dx.doi.org/10.2307/4350557.

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Willink, C. W. "Euripides, Hippolytus 732–75." Cambridge Classical Journal 53 (2007): 253–62. http://dx.doi.org/10.1017/s1750270500000130.

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The centrally-placed second stasimon of Hippolytus, following Phaedra's exit (to die) at 731, is one of the finest features of Euripides' finest play, with complex imagery. The wish to become a bird and to fly away to a mythical far-western paradise is in line with a familiar topos as an ‘out of this world escape-wish’, here vicarious – echoing (while also transmuting) the desires for concealment, escape and death expressed by Phaedra. ‘Bird-transformation’ and ‘flight to the far west’ are funereal motifs, notably developed (recently?) by Sophocles, and the image of Phaedra as a ‘vanished bird’ will recur at 828 . Then in the second pair of stanzas Phaedra's fate, with the predicted death by hanging, is integrally linked with the ‘white-winged Cretan ship’ that as a doubly bad ὄρνις brought her ‘through beating sea-waves’ from Crete to Athens, with ‘fastening of ropes’ for the ‘going ashore’ at the end of the voyage.Much has been sufficiently discussed (most recently by Halleran); but many points of detail, in both pairs of stanzas, invite further consideration. I give a modifed text, after Diggle, with modifications also of his apparatus.
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Mueller, Melissa. "Phaedra's Defixio: Scripting Sophrosune in Euripides' Hippolytus." Classical Antiquity 30, no. 1 (April 1, 2011): 148–77. http://dx.doi.org/10.1525/ca.2011.30.1.148.

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While readers of Euripides' Hippolytus have long regarded Phaedra's deltos as a mechanism of punitive revenge, I argue here that the tablet models itself on a judicial curse (defixio) and that its main function is to ensure victory for Phaedra in the upcoming “trial” over her reputation. In support of my thesis I examine three interrelated phenomena: first, Hippolytus' infamous assertion that his tongue swore an oath while his mind remains unsworn (612); second, Phaedra's status as a biaiothanatos; and third, Phaedra's claim that Hippolytus “will learn sophrosune” (731), a speech act that, I conclude, anticipates the silencing effect on Hippolytus of Phaedra's death and her writing.
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Gibert, John C. "Euripides′ Hippolytus plays: which came first?" Classical Quarterly 47, no. 1 (May 1997): 85–97. http://dx.doi.org/10.1093/cq/47.1.85.

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Halleran, Michael R. "Gamos and Destruction in Euripides' Hippolytus." Transactions of the American Philological Association (1974-) 121 (1991): 109. http://dx.doi.org/10.2307/284446.

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Willink, C. W. "Further critical notes on Euripides' Hippolytus." Classical Quarterly 49, no. 2 (December 1999): 408–27. http://dx.doi.org/10.1093/cq/49.2.408.

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29–33. Phaedra's ἒρως must at first (at Athens) have been without betraying symptoms, by contrast with the change at Trozen to symptoms of νόσος (still unexplained) as described in 34–40. We need to be told that explicitly, in preparation (μέν) for 34ff. (ἐπєὶδὲ…) and in conjunction with the potentially revealing foundation of a temple to Aphrodite. We therefore need not only Jortin's ὀνομάσουσιν for ὠνόμαζєν in 33, but also my ἂδηλον for ἒκδηλον (v.l. ἒκδηλον) in 32. The nearby ἒκδηλον in 37 will have played a part in the corruption.
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Иванова, Ирина, and Irina Ivanova. "Time and image of Phaedra in the works “Hippolytus” by euripides, “Phaedra” by Jean Racine and in the lyrics by Marina Tsvetaeva." Servis Plus 9, no. 3 (August 28, 2015): 70–79. http://dx.doi.org/10.12737/12542.

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The article tells about the transformation of a wandering ancient story about the passion of a mother to her stepson, shows how each era brings about changes in the depiction of the heroine, set in a boundary situation between happiness and duty. In the tragedy of Euripides "Hippolytus" the main character is the king´s son, and Phaedra is a performer of the will of the goddess Cypris. Without knowing, Hippolytus violated ethics law that prescribed to honor equally all the gods and goddesses: he loved to worship the goddess of the hunt Artemis and didn´t bring enough victims to Aphrodite. According to the mythological sources, the election of Phaedra as the instrument of revenge can be explained by the fact that Phaedra carries the burden of a tragic guilt for her grandfather, who told Hephaestus about the affair between Aphrodite and Ares. Euripides describes the suffering of Phaedra. His character brings her life as a gift to the children. The tragedy of the debt victory is displayed brighter by the Greek author than by the French one. But the image of Phaedra, made by Jean Racine, is nobler than it was made by Euripides. The heroine of Euripides sacrifices herself for the sake of duty and commits suicide, but makes a low act, leaving a note that slanders Hippolytus, but the queen by Racine, dying, emphasizes the innocence of her stepson. The stepson´s attitude to the passion of his stepmother changes too. For Hippolytus by Euripides the passion of Phaedra is the evidence of low-lying nature of women, for Hippolytus by Jean Racine it is the touching continuation of conjugal love at first, and then, when Phaedra separates him in her mind from the father, and emphasizes that loves Hippolytus, it is a horrible discover, but not the reason for the generalization, reasoning and discrimination against all women. The continuation of the incarnation of vagrant story about Phaedra we see in the poetry of Marina Tsvetaeva in the tragedy "Phaedra". Tsvetaeva simplifies antique tragedy, removing the problem of choosing between happiness and duty, but in the poem she returns to the tragic beginning of it, highlighting the theme of the sublime punishments with passion that is emphasized in the interpretation ofR. Viktyuk, who created a cinema play "Passion about Phaedra in four dreams of Roman Viktyuk" on the basis ofTsvetayeva´s texts.
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Lombard, Daniel В. "Hippolytus' πάθει μάθος - the lesson portrayed in the Hippolytus of Euripides." Antike und Abendland 34, no. 1 (January 1, 1988): 17–27. http://dx.doi.org/10.1515/anab-1988-0103.

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Beer, Josh. "The Athenian Plague and Eros as a Deadly Disease in Euripides’ Hippolytus." Mouseion 17, no. 3 (July 1, 2021): 465–90. http://dx.doi.org/10.3138/mous.17.3.002.

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This article argues that Euripides’ Hippolytus of 428 bc may be read as a metaphorical response to the first outbreak of the plague at Athens in 430–429 bc. Some Athenians attributed the plague to a divine cause, others to natural causes. Similarly, Hippolytus allows the audience to view Aphrodite either as an interfering deity or as a natural force in human lives. Thucydides describes the plague as a nosos, which is the main thematic term found in Hippolytus. Eros, a form of madness, is the disease Aphrodite inflicts on Phaedra to punish Hippolytus. This nosos primarily affects the mind; it is passed on to the other main characters by a kind of chain reaction and manifests itself in different forms of deranged speech. In this process the nurse provides a vital link through Aphrodite instilling, in her mind insidious notions of magic. In Hippolytus, sophrosyne, which etymologically means “safe-mindedness,” serves as an antonym to nosos. On stage, in two long episodes, the disease motif is presented visually, first through Phaedra’s sickbed and then through her deathbed. As Aphrodite is the source of the disease, the arrival of her enemy Artemis, appearing as a deus ex machina and representing, as she does, the pure air of the countryside, signifies that the plague is over, though its harmful after effects will long be remembered.
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Mitchell, Robin N. "Miasma, Mimesis, and Scapegoating in Euripides' "Hippolytus"." Classical Antiquity 10, no. 1 (April 1, 1991): 97–122. http://dx.doi.org/10.2307/25010943.

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Dissertations / Theses on the topic "Euripides. Hippolytus"

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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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Evans, Samantha Jane. "The self and ethical agency in Euripides' Hippolytus and Medea." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326624.

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Chartrand, Amy. ""What will you do?" : Phaedra's tragic desire and social order in the West." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116047.

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The Phaedra and Hippolytus myth is a frequently dramatized narrative of uncontrollable desire. This thesis examines two versions, Euripides' Hippolytus, first presented in 428 B.C. as part of the Athenian festival of Dionysus, and Sarah Kane's 1996 play, Phaedra's Love, first presented as part of the Gate Theatre of London's "new playwrights, ancient sources" series. In each play, Phaedra's desire is constructed according to sociohistorical conditions which are temporary in their cultural significance. Once the moment of creation has passed, so have the conditions in which each version of desire is originally understood. However, these constructions of Phaedra's desire also bear a simultaneously transhistorical quality as they complicate human notions of agency. In the West, therefore, Phaedra's desire is represented as a tragically constructed emotion. This thesis posits desire as transhistorically relevant in its ability to question modes of human subjectivity.
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Janka, Markus. "Dialog der Tragiker : Liebe, Wahn und Erkenntnis in Sophokles' Trachiniai und Euripides' Hippolytos /." München : K.G. Saur, 2004. http://catalogue.bnf.fr/ark:/12148/cb392346246.

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Silva, Fernando Crespim Zorrer da. "Os caminhos da paixão em Hipólito de Eurípides." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-26102007-154041/.

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A tragédia Hipólito de Eurípides é lida e analisada, sob o aspecto da paixão e sob as diversas perspectivas em que essa paixão se reflete e refrange. Hipólito incorre em hybris ao tratar a deusa Afrodite como a uma mulher mortal, pois não compreendeu que essa divindade deve ser respeitada e exige honras. Fedra apresenta-se como uma mulher que, dominada pela paixão por seu enteado Hipólito, incessantemente busca evitá-la e livrar-se dela; contudo, a rainha oscila nesse desejo amoroso, pois suas falas delirantes revelam desejos eróticos ocultos. Dotada de capacidade reflexiva e especulativa sobre a ação humana, ela é, no entanto, enganada pelo sofisticado discurso de sua aia. Examina-se ainda o longo discurso de Hipólito, que o mostra a odiar as mulheres e a desejar ora que não existissem, ora que não empregassem a linguagem verbal. A carta, deixada por Fedra ao suicidar-se, encontrada junto a seu cadáver, ganha, com a morte, ressonância como ponto de apoio da acusação contra Hipólito. Teseu comporta-se como um mau leitor desse documento e de seu contexto, ao pronunciar um injusto julgamento. A tradução, que acompanha o presente estudo analíticointerpretativo, serve-lhe tanto de fundamentação quanto de complemento e de esclarecimento, por ser-lhe simultânea na sua gênese e solidária na sua intenção.
The tragedy Hippolytus, by Euripide, is read and analysed, under the aspect of passion, and the different perspectives in which this passion reflects and refracts. Hippolytus incurs a hybris when he treats the goddess Aphrodite as a mortal woman, because he was not able to understand that this divinity must be respected and that she requires honors. Phaedra presents herself as a woman who, dominated by passion for his stepson Hippolytus, incessantly tries to avoid this feeling and get rid of it; however, the queen oscilates in this desire, since her delirious speeches reveal hidden erotic desires. Being able both to reflect and to especulate about human action, she is, however, cheated by the sophisticated discourse of her nurse. Hippolytus\'s long speech is examined, what shows him hating women, and, at the same time, desiring now that they don\'t exist at all, now that they couldn\'t use verbal language. The letter left by Phaedra when she commited suicide and which was found beside her corpse, assumes, with her death, the meaning of point of support for the accusation of Hippolytus. Theseus acts as a misreader of this document and its context, pronouncing an unfair judgment. The translation that follows the present analytic-interpretative study, works both as its basis and its complementation and explanation, since it is simultaneous to the study in its genesis and solidary in its intention.
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PFAU, OLIVER. "La tragedie grecque - architecture poetique. Une analyse formelle de la composition d'euripide dans les oeuvres hippolyte et medee." Paris, EPHE, 1998. http://www.theses.fr/1998EPHE4049.

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La tragedie grecque se constitue, sur le plan formel, d'elements fixes qui se succedent dans un ordre determine (prologue, parodos, episodes et stasima, exodos). La creation artistique du poete consiste alors a assortir les elements donnes de sorte que l'ensemble presente une composition harmonieuse et equilibree. Or, selon la conception grecque, la beaute reside dans l'ordre et le calcul,comme l'atteste la production artistique dans le domaine de l'architecture et des beaux-arts. Deux tragedies d'euripide, hippolyte et medee, sont analysees dans leur composition formelle afin de savoir si elle releve d'un calcul du poete. Pour etablir des quantites determinees, il convient de distinguer entre les deux formes de discours, le vers parle et le vers chante. Ainsi, les parties parlees se laissent mesurer par la simple addition des trimetres iambiques tandis que la composition des parties chantees demande une methode qui respecte la diversite des metres. En prenant les quantites etablies comme base, il est possible d'observer les rapports et les proportions des parties ainsi que l'agencement de l'ensemble. L'analyse strictement formelle conduit en meme temps a une lecture technique du texte qui permet de mettre en lumiere des liens thematiques, des references et des jeux de reprise et de variation. C'est la lecture technique qui donne acces a l'auto-commentaire par lequel l'auteur fournit des indications sur son travail technique. L'agencement des parties, le grand nombre de proportions interieures de meme que les rapports entre les parties et l'ensemble qui s'etablissent sans que l'on doive recourir a la suppression ou a la reconstitution de vers semblent enfin etayer la theorie d'une conservation extremement fidele du texte
As to its formal plan greek tragedy consists of a series of established elements following one another in a predetermined order (prologue, parodos, episodes and stasima, exode). The poet in his artistic creation has to arrange these elements so that the whole presents a harmonious and well-balanced composition. To the greek mind the idea of beauty is linked with that of regularity and calculated precision as it is attested by the architectural and artistic production of his time. Two euripidean tragedies, hippolytos and medea, are examined in view of their formal composition in order to find out if the latter is based on a calculated plan. For the establishment of measurable quantities it is necessary to distinguish between the two forms of text, spoken and sung verse. The spoken text can be measured by the simple addition of the iambic trimeters, whereas the sung parts require a method respecting the polymetric composition. Once the quantities are established, it becomes possible to observe their relations and proportions as well as their placement in the entire play. This strictly formal analysis also leads to a technical reading of the text illustrating thematic links and parallels or plays of repetition and variation. Furthermore, this technical reading reveals the author's commentary on his own art. The arrangement of the parts, the considerable number of proportions between the parts, as well as between the parts and the whole that appear without any deletion or addition of inauthentic or lost verse seem to confirm the theory of a highly faithful preservation of the text
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Marseglia, Rocco Rosario. "Le rôle dramatique de la vue et de l'ouïe dans la tragédie d'Euripide." Doctoral thesis, Paris, EHESS, 2013. http://www.theses.fr/2013EHES0074.

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Le problème du rapport entre la vue et l'ouïe a passionnément animé le débat intellectuel en Grèce durant le cinquième siècle avant notre ère, dans des domaines aussi différents que la philosophie, l'historiographie, la rhétorique et la médecine. Dans un tel contexte, l'expérience du théâtre représente un cas fort intéressant. La tragédie attique consistait en effet en un spectacle chanté, dans lequel la musique et la danse jouaient un rôle important et qui sollicitait à la fois la vue et l'ouïe des spectateurs. Ce travail analyse donc la dialectique de la vue et de l'ouïe et la façon dont elle devient un instrument dramatique dans les mains du poète. L'analyse porte sur cinq tragédies d'Euripide: Alceste, Hippolyte, Héraclès, Hélène, et Les Bacchantes. Tout en articulant, cas par cas, les modalités de dramatisation aux questionnements contemporains sur la valeur épistémologique de la vue et de l'ouïe comme moyens d'acquisition du savoir, l'étude se focalise sur la manière dont les perceptions visuelles et auditives déterminent les divers degrés de conscience et de connaissance des événements qu'ont les différents personnages sur la scène ainsi que sur la manière dont le dramaturge se sert de ce double appel sensoriel et de cette coprésence d'effets visuels et acoustiques dans la construction de ses drames, à travers des jeux de surprise, de reprise, de renversement ou de décalage, pour caractériser ses personnages et pour orienter la réponse émotionnelle du public
The question of the connection between seeing and hearing has been an important one in Greek intellectual debate during the fifth century before our era, in severa1 fields as different as philosophy, historiography, rhetoric and medicine. In such a context, the experience of drama represents a very interesting case. Attic tragedy consisted indeed in a sung spectacle, in which music and dance played un important role, and that appealed at the same time to seeing and hearing of the audience. This study aims to analyse the dialectical connection between seeing and hearing and the way it becomes a dramatic instrument in the hands of the poet. The analysis is about five tragedies of Euripides: Alcestis, Hippolytus, Heracles, Helen and Bacchae. While it links, case by case, dramatic details to contemporary debate about epistemological value of seeing and hearing as ways of acquiring knowledge, this study focuses on the way visual and auditory perceptions determine varying degrees of knowledge and of awareness of events in the characters on the stage. It focuses also on the way the dramatist uses this double sensorial appeal and this coexistence of visual and acoustic effects in the construction of his dramas, through e1ements of surprise, resumption, reversal or shifting in order to portray his characters or to direct the emotional response of the audience
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Wu, Yu-yun. "Euripides' Songs of Nether Darkness: Truth, Disunion, and Madness in Medea and Hippolytus." 2007. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0002-0502200718091500.

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Wu, Yu-yun, and 吳瑜雲. "Euripides’ Songs of Nether Darkness:“Truth,” Disunion, and Madness in Medea and Hippolytus." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/34931352652476872696.

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博士
淡江大學
英文學系博士班
95
This dissertation attempts to assert that Euripides poses as a poet to represent the topics of uncertainty, conflict, and madness. Here my study is to illustrate that Euripidean Medea and Hippolytus underscore a mostly intricate rendezvous of the Greek practice of parrhesia, the disturbing disunion on various potential possibilities, and the abiding occurrence of the female resistance and madness in a pallogocentric community as demonstrated in the plot development, central themes, and character portrayal. Foucault manifests parrhesia as the verbal activity of truth-speaking with the five major qualities of frankness, truth, criticism, obligation, and risk-taking. By discussing the concept and practice of the Greek notion of parrhesia, political or personal, I intend to investigate the word’s use in Hippolytus and Medea to shed new light on revealing the ambivalence of truth-telling and truth-hiding as well as the ambiguity of truth and falsehood in these two plays. In addition, by applying Hegelian concept of tragedy and the predominantly Greek gender protocols, I would demonstrate that Euripidean tragedy establishes the structure’s penchant: the tragic characters cling to the dominion of their fixed “pathos” (“the feeling soul”) from the outset in the confrontation of the painful Others, and entertain no absolute accommodation between the protagonist and the antagonist. Clearly, the obsessive natures of Medea and Jason or Phaedra and Hippolytus are formulated in irreconcilable opposition and hostile conforntations. Besides, by virtue of the Hegelian theory of madness, I would declare that the tragic heroine in madness is trapped between two centers of reality (the discord between the inner and outer worlds), and that the mad self disrupts herself to experience a double personality. Thus, we’ll see “a double doubleness”: a divided personality that compliments a divided world. Furthermore, in light of the polarized ideology of gender (the system of dualism), I argue that female public invisibility, negativity, suffering, and the Gestalt of despair in a definitively male-oriented world precipitate Medea’s and Phaedra’s desperate resistance against the cultural norms and their exerting the stratagem of passionate madness; it is a gesture of both protest and a healing recovery from the wounds and agonies of the spirit to articulate their demands for esteem and self-identity. The concluding part of this study suggests that Euripides has been both remote and contemporary. His eternal songs splendidly explore the radical disunion and darkening madness of female existence, which are elaborated with a timeless relevance of glorious struggle for survival and triumph.
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Combatti, Maria. "Somatic Landscapes: Affects, Percepts, and Materialities in Select Tragedies of Euripides." Thesis, 2020. https://doi.org/10.7916/d8-0ec6-b503.

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This study explores how in central plays of Euripides – namely, Alcestis, Hippolytus, Helen, and Bacchae – bodies, landscapes, and objects (both seen on stage and described in speeches, dialogues, and choral odes) serve as media for assessing affective states, materializing the characters’ feelings and sensations and hence enabling the audience to vividly perceive them. My focus is grounded in the ancient conceptions of bodies and the senses in material from the Pre-Socratic and the Hippocratic writings, including theories about how the surrounding environment influences bodily types. It is also underpinned by theoretical perspectives that have come to prominence in recent research in ancient literature and culture. First, it draws on insights from phenomenology, aesthetics, and affective theory that in ancient drama highlight embodiment, synaesthesia, and the circulation of affects among characters and spectators. Second, it engages with works inspired by the new materialisms, which have produced a new attention to the mutual and symbiotic relationship between humans and nonhuman entities. Finally, it is based on the “enactive” approach to cognition, which makes a compelling case for visualization (e.g., spectators’ imagination of the things sung, spoken, or narrated) as grounded in the active, embodied structure of experience. Building on such theories, I posit that Euripides’ plays illustrate how the characters’ feelings and emotions combine with sensory indicators (sight, taste, smell, and touch), so that they operate as visible marks of states usually conceived of as inner. These states are, I suggest, exteriorized not only on bodies but also in their surroundings, such that landscapes as mapped onto the dramatic stage and objects with which the characters interact function as supplements to embodied affective manifestations. In addition to onstage action, I focus on how Euripides’ language triggers a strong resonance in the spectators’ imagination. In this regard, my argument takes up the insights of ancient critics such as Longinus, who has praised Euripides’ ability to generate “emotion” (τὸ παθητικόν) and “excitement” (τὸ συγκεκινημένον) in the audience through “visualization” (φαντασία) and “vividness” (ἐνάργεια). Thus, I examine how references to onstage performance and visualizing language interact, giving the spectators a full picture of the dramatic action. In Alcestis, I explore how embodiment, sensorial phenomena, and physical interactions put the characters’ feelings of pain and grief on prominent display, eliciting the audience’s sensory reaction. In Hippolytus, I examine how the characters’ emotions blend into the surroundings, such that forms, colors, and textures of landscape and objects allow the spectators to perceive inner states more forcefully. In Helen, I investigate how material and nonhuman things, such as rivers, plants, costumes, weapons, statues, ships connect to the characters as parts of an affective entanglement that heightens the experiential appeal of the characters’ feelings and sensations. In the Bacchae, I regard Dionysus’ action as an affective force that spreads throughout the world of the play, cracks, and mutates things, including human and animal bodies, natural elements, and objects. This action creates an enmeshment between things, which is embodied by the thyrsus topped with Pentheus’ head (mask) that gives the spectators a keen sense of the multiple, productive, and transformative nature of Dionysus’ power. In conclusion, this study argues that bodies, landscapes, and objects represent the privileged sites for exploring the affective exchange between the characters and the audience, refining our understanding of the intensity, impact, and reception of the Euripidean theater.
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Books on the topic "Euripides. Hippolytus"

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Euripides : Hippolytus. London: Duckworth, 2002.

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Wertenbaker, Timberlake. Euripides' Hippolytus: A new version. London: Faber and Faber, 2009.

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Euripides and Williamson Margaret 1947-, eds. Euripides' Hippolytus: A new version. London: Faber and Faber, 2009.

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N, Lawall Sarah, and Euripides, eds. Euripides: Hippolytus : a companion with translation. Bristol: Bristol Classical, 1986.

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D, H. Hippolytus temporizes & Ion: Adaptations of two plays by Euripides. New York: New Directions Books, 2003.

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Euripides. Hippolytus. Studio City, CA: Players Press, 1998.

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Euripides. Hippolytus. Stutgardiae: Teubneri, 1994.

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Euripides. Hippolytus. Cambridge: Cambridge University Press, 2007.

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Euripides. Hippolytus. Bristol, [England]: Bristol Classical Press, 1986.

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The heroic muse: Studies in the Hippolytus and Hecuba of Euripides. Baltimore: Johns Hopkins University Press, 1987.

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Book chapters on the topic "Euripides. Hippolytus"

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Ebbott, Mary. "Hippolytus." In A Companion to Euripides, 107–21. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119257530.ch8.

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Schmidt, Hans W., and Heinz-Günther Nesselrath. "Euripides: Hippolytos Stephanēphoros." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7705-1.

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Prins, Yopie. "Hippolytus in Ladies’ Greek (with the Accents)." In Ladies' Greek. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691141893.003.0005.

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Abstract:
This chapter examines how women contributed to a major shift in the reception of Euripides by focusing on his tragedy Hippolytus. There was growing interest toward the end of the nineteenth century in the female tragic heroines of Euripidean tragedy and in its “feminine” lyricism. Hippolytus's highly eroticized, lyricized language appealed to British aesthetes such as John Addington Symonds, who engaged in an elaborate literary correspondence with the young Agnes Mary Francis Robinson and encouraged her to translate Hippolytus. The chapter begins with a reading of the letters of Symonds and Robinson (and Greek letters in their letters) and goes on to analyze Robinson's 1881 translation of Euripides in The Crowned Hippolytus. It shows how the metrical virtuosity of Robinson's translation made it possible to read Ladies' Greek “with” the accents and argues that the early work of Hilda Doolittle owes much to this late Victorian vision of Euripidean tragedy.
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"Hippolytus." In The Plays of Euripides. Bloomsbury Academic, 2016. http://dx.doi.org/10.5040/9781474233620.0009.

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"Hippolytus." In Brill's Companion to Euripides (2 vols), 121–38. BRILL, 2020. http://dx.doi.org/10.1163/9789004435353_008.

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Euripides, _. "Hippolytus." In Oxford World's Classics: Euripides: Medea; Hippolytus; Electra; Helen, edited by James Morwood, 39. Oxford University Press, 1998. http://dx.doi.org/10.1093/oseo/instance.00185903.

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Goldberg, Jonathan. "Hippolytus—Queer Crossings (Following Anne Carson)." In Queer Euripides. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350249653.ch-019.

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"13 Hippolytus." In Brill's Companion to the Reception of Euripides, 443–503. BRILL, 2015. http://dx.doi.org/10.1163/9789004299818_015.

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"20. Euripides, Hippolytus 145–50." In Collected Papers on Greek Tragedy, 268–71. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004182813.i-862.42.

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"51. Euripides, Hippolytus 732–75." In Collected Papers on Greek Tragedy, 706–17. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004182813.i-862.81.

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