Relevant bibliographies by topics / Euripides. Hippolytus

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Academic literature on the topic 'Euripides. Hippolytus'

Author: Grafiati
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
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Mueller, Melissa. "Phaedra's Defixio: Scripting Sophrosune in Euripides' Hippolytus." Classical Antiquity 30, no. 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 c
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Gibert, John C. "Euripides′ Hippolytus plays: which came first?" Classical Quarterly 47, no. 1 (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 (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 (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
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Lombard, Daniel В. "Hippolytus' πάθει μάθος - the lesson portrayed in the Hippolytus of Euripides". Antike und Abendland 34, № 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 (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 i
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Mitchell, Robin N. "Miasma, Mimesis, and Scapegoating in Euripides' "Hippolytus"." Classical Antiquity 10, no. 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 desi
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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 sobr
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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 ell
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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 ell
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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<br>淡江大學<br>英文學系博士班<br>95<br>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
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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. I
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Books on the topic "Euripides. Hippolytus"

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Euripides : Hippolytus. Duckworth, 2002.

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

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

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

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

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Euripides. Hippolytus. Players Press, 1998.

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Euripides. Hippolytus. Teubneri, 1994.

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Euripides. Hippolytus. Cambridge University Press, 2007.

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Euripides. Hippolytus. Bristol Classical Press, 1986.

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The heroic muse: Studies in the Hippolytus and Hecuba of Euripides. 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. 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). 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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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). 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. 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. 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. 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. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004182813.i-862.81.

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