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Dissertations / Theses on the topic 'Euripides'

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Published: 4 June 2021

Last updated: 23 November 2024

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1

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

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2

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

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3

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

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

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4

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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5

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

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6

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

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

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7

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

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

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8

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

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9

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

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10

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

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11

Porter, John R. "Studies in Euripides' Orestes /." Leiden : E. J. Brill, 1994. http://catalogue.bnf.fr/ark:/12148/cb357061093.

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12

Lloyd, Michael A. "The agon in Euripides /." Oxford : Clarendon press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35716213t.

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13

Rohdenburg, Rebecca. "Hero cult in Euripides." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0024686.

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14

Vella, John Arthur. "Nature, reason and philia in Euripidean drama /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3137212.

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15

Allan, William. "A study of Euripides' Andromache." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363480.

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16

Papanastasatos, Panayiotis. "The stagecraft of Euripides' Orestes." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429887.

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17

van, Emde Boas Evert H. "Linguistic studies in Euripides' Electra." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:dbecc2f8-f980-4a33-9fdc-20d8c1329dc5.

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Euripides’ Electra has long been one of the playwright’s most controversial works. This book offers a reading of the play concentrating on its language, which is analysed by applying a variety of modern linguistic approaches: conversation analysis, pragmatic theories of speech acts and inference, politeness theory, the study of the interplay of gender and language, paroemiology, and the study of discourse cohesion. The first three chapters argue for the Peasant, Electra and Orestes, respectively, that their linguistic behaviour constitutes a vital part of their characterisation. The Peasant’s (ch. 1) sturdy morality is established by the way his language becomes more forceful when he touches on ethical questions; it is then tested in his conversations with Electra, where his language is suggestive of a conflict between his morals and his desire to please his royal wife. Electra herself (ch. 2) is characterised initially by the inability to communicate successfully with those around her — a disconnect which is suggestive of the fundamental incongruity of her circumstances. This adds a dimension to her motivations, which, as a force driving Electra’s linguistic behaviour, remain highly stable throughout the play up until the matricide. Another consistent feature of Electra’s language is the way it is patterned by her gender. Orestes’ characterisation in the early part of the play is ingeniously kept to a minimum through his sustained disguise. Various aspects of his language, but particularly his use of gnomai, contribute to that disguise, which involves a suppression of emotion, an avoidance of self-reference, and the exertion of control over the flow and topic of his conversation with Electra. We can only interpret a dramatic text if we know what it says, and if we know who says what. In chapter 4, I argue that the linguistic approaches I adopt can also help us in making a determination about textual-critical problems, particularly concerning the issue of speaker-line attribution (two notorious cases are discussed: 671-84 and 959-87). The final two chapters deal with longer speeches. In the messenger scene (ch. 5), Euripides uses linguistic devices to create an ebb and flow of suspense, and to manipulate audience expectation. In the agon (ch. 6), differences in the way Clytemnestra and Electra structure their speeches, particularly their narrationes, reveal much about their different (and fundamentally irreconcilable) viewpoints and approaches.

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18

Voela, Angeliki. "Euripides' 'Ion' : a psychoanalytic reading." Thesis, University of Edinburgh, 1997. http://hdl.handle.net/1842/21591.

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This thesis offers a reading of a Classical Greek play, the "Ion" of Euripides, in terms of the psychoanalytic theories of S. Freud and J. Lacan. There are four chapters, each dealing with a particular aspect, or group of related aspects, of the play. Each chapter offers an exposition of the relevant psychoanalytic concepts, followed by an application of them to a particular aspect, or aspects, of the play. Chapter one introduces some basic Freudian and Lacanian concepts. The Freudian aspects are: the Oedipus complex and its mechanism, repression and its motives, and the unconscious. The Lacanian concepts are: the signifier and the signified, metonymy and metaphor in relation to desire, Lacan's view of the unconscious, and the function of the phallus in the economy of desire. In the light of these notions a psychoanalytic reading is offered of Ion's monody and his interview with Creusa. Chapter two begins with a discussion of the ego and the imaginary. The Freudian notions of the instincts and their vicissitudes, the imaginary ego, aggression and alienation are introduced. Lacan's optical schema of the imaginary is then outlined, together with the general lines, principles and first stage of psychoanalysis. Lacan's paradigmatic reading of Edgar Allan Poe's "The Purloined Letter" then sets the scene for structuralist overview of the play as presenting the child Ion as a piece of news addressed 'to whom it may concern'. These theoretical considerations are then brought to bear upon two matching developments in the play; Xuthus' acknowledgement of Ion as his son and the response to this challenge by his wife Cresua and her old servant. It is argued that both pairs are impelled by a unique opportunity to satisfy a desire and by a need to conceal their aims and their success from the other pair. The desire of the 'minor' characters is also discussed. It is argued that Xuthus, the old servant and the chorus all harbour impossible desires, the impossibility of which they pass on to Ion and Cresua. The space of the imaginary developments is considered as 'an apprenticeship in appearances'.

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19

Euripide, Preiser Claudia. "Euripides : Telephos : Einleitung, Text, Kommentar /." Hildesheim : G. Olms, 2000. http://catalogue.bnf.fr/ark:/12148/cb390895851.

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20

Mueller-Goldingen, Christian. "Untersuchungen zu den Phönissen des Euripides." Stuttgart : F. Steiner Verlag, 1985. http://catalogue.bnf.fr/ark:/12148/cb348331258.

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21

Irvine, James. "Euripides : Ion : commentary; II. 1-568." Thesis, University of Oxford, 1995. https://ora.ox.ac.uk/objects/uuid:aa555354-e8a0-442d-9539-182ae135ec9e.

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In this line by line commentary l have attempted to discuss all matters textual and linguistic on which a reader might resort to a commentary for aid. There is, naturally, a pronounced emphasis on textual criticism; literary comment is interwoven with my arguments as the play unfolds. I have endeavoured to cite Greek with sufficient generosity to enable the reader to form a different judgement from my own from the material I have furnished. Considerable space has also been devoted to matters mythological and religious, as the nature of the play demands. I conclude with an Endnote on the marginal annotations found in L. Three appendices follow: on the question of scenery, on alliteration in ancient poetry and poetic theory. and on a textual problem in the prologue to Euripides' Phrixus. As no new evidence has emerged either to enhance our knowledge of the paradosis or to indicate the date and general background of the play, I would prefer at this stage to direct the reader to A.S.Owen's introduction to his Clarendon edition of 1939 rather than burden this work further with a formal introduction. I conclude with a general bibliography of works often cited.

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22

Zylstra, Nicole. "The Bacchae of Euripides, ritual theatre." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20813.pdf.

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23

Jones, Jonathan Hew Cabread. "A literary commentary on Euripides' Medea." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307358.

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24

Hilton, I. "A literary study of Euripides' Phoinissai." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1322701/.

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My thesis aims to unite and elucidate the main themes of Euripides' Phoinissai, a late and highly sophisticated example of Athenian drama. After an introduction which establishes the main themes of the play and my general position on its substantial textual difficulties, the first chapter examines Phoinissai's rich intertextual background: Homer, fifth-century lyric, Sophocles, and in particular Aeschylus' Seven against Thebes. The second chapter focuses on Phoinissai's prominent political element, and how -and to what extent -the play reflects contemporary Athenian events. I analyse the play's relation to late fifth-century political and intellectual cultures, the nature and implications of power, the connections between the works of Euripides and Thucydides, and the extent to which the politics of the play can be considered allegorical or didactic. The third chapter is devoted to the city of Thebes, its functions and portrayals in tragedy, and especially to the scholarly contention that the city functions as an 'anti-Athens'. I see Thebes as functioning as any example of the 'other', and focus on the manner in which this examination of 'self' against 'other' reveals similarities as well as differences. , examine the presentation of Thebes specifically in Phoinissai as well as elsewhere in tragedy, such as Euripides' Supplices and Sophocles' Oedipus at Colonus. In the final chapter, on gender, I examine the unusually authoritative role of women in Phoinissai, which I see as being a good deal more complex than a simple inversion of male/female roles or stereotypes. I aim to show how the play's fractured gender dynamic is closely aligned with the theme of political upheaval and the conflict between private and public interests. Each chapter seeks to reach beyond the specific themes of the play and explore broader issues of the genre. Textual problems of the play are analysed in three appendices.

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25

Neumann, Uwe. "Gegenwart und mythische Vergangenheit bei Euripides /." Stuttgart : F. Steiner, 1995. http://catalogue.bnf.fr/ark:/12148/cb35741361c.

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26

May, Gina. "Aristophanes and Euripides : a palimpsestuous relationship." Thesis, University of Kent, 2012. https://kar.kent.ac.uk/47429/.

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Aristophanes allows Euripides to interrupt constantly. In Athenian comedy of the fifth century they are on stage together, both literally and figuratively. Despite Aristophanes’ comedies having a meaning of their own, Euripides’ lines are so clearly visible underneath them that they can only be described as the verbal equivalent of a palimpsest. The Oxford English Dictionary defines a palimpsest as a manuscript or piece of writing on which later writing has superimposed or effaced earlier writing, or something reused or altered but still bearing visible traces of its earlier form. It is clear that a palimpsest is the product of layering that results in something as new, whilst still bearing traces of the original. Dillon describes the palimpsest as " ... an involuted phenomenon where otherwise unrelated texts are involved and entangled, intricately interwoven, interrupting and inhabiting each other". Aristophanes takes texts, particularly those of Euripides, which may otherwise have been unrelated, and weaves them together to form something new. I will show that in a number of cases Aristophanes offers scenes that have already been performed in Euripides’ plays but lays his own plot over the tragedian’s, whilst at the same time drawing the audiences’ attention to the original. The nature of this borrowing overwrites Kristeva’s theory of ‘intertextuality’ and provides a new and more apposite name for the permutation of texts in which the geno-text corresponds to infinite possibilities of palimpsestuous textuality (and the pheno-text to a singular text, which contains echoes of what it could have been). The plurality of Euripides’ texts, whilst engendering those of Aristophanes, constantly interrupts them. Through the consideration of ancient and modern literary theory and by a close analysis of Aristophanes’ and Euripides’ plays, this thesis sets out to offer a new reading of the relationship between these two poets. It shows that they were engaged in a dialogue of reciprocal influence that came to a head at the end of the Peloponnesian War.

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27

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

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28

Darden, Katrina L. Londré Felicia Hardison. "An analysis of Euripides' play the Bacchae." Diss., UMK access, 2005.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2005.
"A thesis in theatre history." Typescript. Advisor: Felicia Hardison Londré. Vita. Title from "catalog record" of the print edition Description based on contents viewed June 23, 2006. Includes bibliographical references (leaves 61-67). Online version of the print edition.

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29

White, Richard Lloyd. "Nomos and physis, callicles and Euripides' Cyclops." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq24943.pdf.

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30

Fries, Almut. "[Euripides], Rhesus 565-996 : introduction and commentary." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496450.

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31

Adams, Alison. "Helen in Greek literature : Homer to Euripides." Thesis, Aberystwyth University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302020.

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32

Suthren, Carla. "Shakespeare and the Renaissance reception of Euripides." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21450/.

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This thesis investigates the Renaissance reception of Euripides, arguing that Greek tragedy had a direct and important influence on Shakespeare. Euripides, I demonstrate, was both more widely accessible and more culturally significant than has generally been recognized. Beginning with Erasmus and ending with Milton, I establish the foundation of a detailed and historically specific understanding of how Euripides’ works were being read and understood. Paying close attention to the materiality of Euripides’ textual appearances across a variety of dramatic and non-dramatic texts and contexts, I set Shakespeare’s relationship to Greek tragedy within a more precise framework. The first three chapters set the reception of Euripides in the context of sixteenth-century European humanism. Chapter 1 argues that Erasmus established modes of reading Euripides that were enduringly influential, examining Euripides’ place in humanist curricula and teaching materials, followed by the translations of Euripides by Erasmus and Buchanan. Chapter 2 considers the material forms in which Euripides appeared before the Renaissance reader, especially the paratexts which shaped (or attempted to shape) the reader’s experience of Euripides. Chapter 3 turns to look at the two surviving translations of Euripides into English. The next two chapters focus in on Shakespeare. Chapter 4 briefly surveys the critical landscape, examining parallels between specific plays, but also opening out the discussion to include genre. Chapter 5 examines Shakespeare’s most extensive engagement with Euripides, offering a fresh reading of The Winter’s Tale as a meaningful reception of Alcestis. Finally, Chapter 6 traces Milton’s receptions of Euripides in relation to sixteenth-century trends, arguing that Samson Agonistes stands on the brink of a turn towards Sophocles that was beginning to occur as Aristotle’s Poetics gained a new kind of dominance over the interpretation of tragedy. But Milton’s poetic instincts remain Euripidean, gesturing to a chain of receptions leading back to Erasmus.

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33

Karamanou, Ioanna. "A commentary of Euripides' Danae and Dictys." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1445602/.

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Euripides' Danae and Dictys belong to the Danae-myth, treating the earlier and subsequent phase of the legend, respectively. As far as the evidence allows, a cautious reconstruction of the plot of each play is attempted, based on interrogation of the fragmentary material and the testimonia. In this effort, Euripidean scene-construction, parallel thematic and structural patterns, parallel rhetoric and general rules of tragic practice are also taken into account as evidence for the dramatist's usage. As regards the generic affiliations of each play, the Danae may be paralleled to Euripides' Alope, Melanippe the Wise and Auge, all of which treated the clash of a royal daughter with her paternal oikos, due to the disclosure of her illicit motherhood resulting in most cases from her union with a god. The evidence for the Dictys indicates that it was probably built upon a central altar-scene (cf. E. Heraclidae, Andromache, Suppliant Women, Heracles, Helen) and that it had the features of a nostos-play, following the 'return- rescue-revenge' pattern (cf. the first part of the Heracles). The reception of both plays and their position in the transmission of Euripides are also explored, on the basis of the available evidence. This is the first commentary on Euripides' Danae and Dictys a detailed commentary on language, style, themes and values, aiming also to shed light on various aspects of Euripidean technique (e.g. his rhetoric, imagery, as well as staging directions, where possible). The exploration of issues raised by the fragmentary material seeks to complement our knowledge of Euripides' drama, as derived from surviving plays, which represent only a portion of the whole Euripidean oeuvre. Where appropriate, textual and philological matters are discussed, as well as questions of authenticity, such as a Danae 'hypothesis' and 'prologue' (the spurious fr. 1132 Kn.) transmitted in Euripides' manuscript P (Vaticanus Palatinus gr. 287, f 147v-148r).

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Graham, Theodore. ""These savage games of fortune": Euripides' Hecuba in the Renaissance." Thesis, Boston University, 2004. https://hdl.handle.net/2144/27657.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

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35

Coles, Liza Hermione. "Thinking with Helen : a reading of Euripides' 'Helen'." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299209.

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36

Choi, Mina. "Revision of Euripides' Tragedies by Contemporary Women Playwrights." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386041799.

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37

Euripide, Pechstein Nikolaus. "Euripides Satyrographos : ein Kommentar zu den Euripideischen Satyrspielfragmenten /." Stuttgart ; Leipzig : B. G. Teubner, 1998. http://catalogue.bnf.fr/ark:/12148/cb37761461b.

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38

Dubischar, Markus. "Die Agonszenen bei Euripides : Untersuchungen zu ausgewählten Dramen /." Stuttgart : J. B. Metzler, 2001. http://catalogue.bnf.fr/ark:/12148/cb390787378.

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39

Wheeler, Michael Ian. "Relationship of gender to interiors and exteriors in Euripides." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0011877.

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40

Riley, Kathleen. "Reasoning madness : the reception and performance of Euripides' Herakles." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413529.

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41

Troupi, Maria. "Menander, Euripides, Aristophanes : intertextual transformations of genre and gender." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436307.

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42

O'Neill, G. G. "A study of the major speeches in Euripides' Medea." Thesis, Queen's University Belfast, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252596.

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43

Skouroumouni, A. "Staging the female : studies in female space in Euripides." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1317801/.

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The words of Medea or Alcestis may be the only thing we are left with. Yet it was not the only means Euripides had at his disposal to render them onstage; his dramatic toolkit included spatial staging. This aspect of his dramaturgy provides the lens through which I explore Euripidean tragedy and Euripidean females. The tragic female has been studied in depth in past and more recent scholarship, with vital insights gained. Nevertheless, what previous scholarship has rarely considered in any detail is the physical representation of the female (the particularities of her postures, movement, physical action and interaction) in physical and imagined dramatic space (what I term ‘female space’). My focus, both performative and gendered, falls on the staging techniques defining the female, explored against the background of fifth-century cultural values of original spectators. By combining analysis of theatrical features with readings of Euripidean females and plays, the thesis engages in a process of visualising female physicality in interactive theatrical space and exploring its thematic significance in the construction of character, theme, and action. An introductory chapter delineates my conceptual and methodological framework (theoretical background, approach, terms). Three case studies constitute the three main chapters: Helen, Iphigenia Taurica, and Andromache. In each of the chosen dramas, the female is placed away from home and homeland: in Helen and IT the Greek woman is displaced in foreign lands, in Andromache the non-Greek is transported into Greece. Dislocation to alien environments is the extreme form of the theatrical challenge to the female spatial experience; hence the need (and the choice) for special investigation. The examination of the different ways in which aspects of female experience are (literally) played out allows us to evaluate Euripides’ skill as writer and director from a new perspective.

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Moodie, Glenn A. "Tragic beginnings and beginning tragedy in Sophocles and Euripides." Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269366.

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Sinha, Bijon. "The Crete and Cretans of Euripides : perceptions and representations." Thesis, Open University, 2017. http://oro.open.ac.uk/48912/.

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This thesis focuses on Euripides’ dramatic representations of Crete, famous from myth, geography, art, literature and philosophy. This thesis will attempt to address the following key questions: how is Crete represented in the extant Euripidean plays and fragments? How consistent are such representations between themselves? How are the Cretan mythological characters deployed? How are previous representations of Crete re-stated or adapted? What questions of association and identity appear to be raised? What kinds of multiple identities and their potential for interpretation are to be found in the plays? How do these relate to paradigms found in other sources? And finally, do Euripides’ representations of Crete as an island as constructed in these works contribute to a wider understanding of the relationship between the islands and Athens? Various themes emerge from detailed textual analyses which stress Crete’s distinct, isolated nature, including the portrayals of Minos, Cretan women, the Minotaur, Cretan gods and spirits and the location of Crete itself. Many of these themes are also deployed paradoxically to stress, instead, Crete’s links with the mainland. Overall, common themes emerge that can be usefully considered in terms of two contemporary, theoretical models - insularity and interconnectivity-, which offer insights into the complex relationships of difference and similarity between islands and the mainland. In terms of insularity, Crete is viewed as an ‘island’, distant and distinct from Athens. The model of interconnectivity, conversely, stresses links between Crete and other regions as suggested by the many travels undertaken by protagonists in these works. Insularity and interconnectivity, then, can be used to consider Euripides’ Crete as part of a continuum between complete independence from and complete integration with the outside world. By considering models of insularity and interconnectivity specifically in relation to drama, this thesis departs in new directions from previous studies. Chapter 1 outlines the research questions raised in the study of Cretanism and explains the structure of the thesis. Chapter 2 entails textual analyses of the references to Crete in Hippolytus. Chapter 3 involves textual analyses of the fragmentary The Cretans, illustrating how Cretans on Crete are represented. Chapter 4 considers emerging themes used to emphasize Cretanism, which, in turn, reinforce Crete’s distinctive, insular nature. Chapter 5 considers the evidence in terms of insularity and interconnectivity. These models highlight difference and separation, as well as similarity and interconnectivity between Crete, Athens and the rest of the Greek world. Chapter 6 reflects on the findings of previous chapters, arguing that certain models of insularity and interconnectivity can be usefully drawn out of Euripides’ representations of Crete to offer insights into the perceptions of islands in drama.

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Paschalis, Sergios. "Tragic palimpsests: The reception of Euripides in Ovid's Metamorphoses." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467245.

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The subject of this dissertation is the reception of Euripidean tragedy in Ovid’s Metamorphoses. In Chapter 1 I offer a general survey of the afterlife of Euripidean drama in the major mediating intertexts between Euripides and Ovid, namely Hellenistic poetry, Roman Republican tragedy, and Virgil’s Aeneid, as well as a review of the pervasive presence of the Greek tragedian in the Ovidian corpus. Chapter 2 focuses on the reception of Euripides’ Bacchae in the Metamorphoses. The starting point of my analysis is Ovid’s epic rewriting of the Euripidean play in the Pentheus episode. Next, I argue that Ovid makes use of the allusive technique of “fragmentation”, in the sense that he grafts elements of the Bacchae in the narratives of the Minyads and Orpheus. The final section examines Ovid’s portrayal of Procne, Medea, and Byblis as maenads and their evocation of the Virgilian Bacchants Dido and Amata. In Chapter 3 I begin by investigating Ovid’s intertextual engagement with Euripides’ Medea in the Medea narrative of Book 7, which is read as an epicized “mega-tragedy” encompassing the Colchian’s entire mythical career. In the second part of the chapter I discuss the Roman poet’s reworking of the Euripidean tragedy in other episodes of the Metamorphoses and argue that Procne, Althaea, and Deianira constitute “refractions” of Euripides’ Medea. Chapter 4 examines Ovid’s epic refashioning of Euripides’ Hecuba, which he merges with Virgil’s alternative variant of the Polydorus myth in Aeneid 3. The Roman poet reshapes the main plot components of the Greek play, but also makes subtle allusions to the Virgilian version of the story. Chapter 5 is devoted to the episode of Virbius in Metamorphoses 15. Ovid produces a novel version of the myth by melding together his Euripidean model with Virgilian and Sophoclean intertexts. The Roman poet adapts Virgil’s Virbius story in Aeneid 7 by altering its context from a catalogue of Latin warriors into an exchange between Virbius and the nymph Egeria. Moreover, the Ovidian narrative draws on Euripides’ two Hippolytus plays, the extant Hippolytos Stephanephoros and the fragmentary Hippolytos Kalyptomenos, as well as on Sophocles’ Phaedra.
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Riley, Kathleen. "The reception and performance of Euripides' Herakles : reasoning madness." Oxford [u.a.] Oxford Univ. Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199534487.001.0001.

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Holzhausen, Jens. "Euripides Politikos : Recht und Rache in "Orestes" und "Bakchen." München ; Leipzig : Saur, 2003. http://catalogue.bnf.fr/ark:/12148/cb390860779.

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Seeck, Gustav Adolf. "Unaristotelische Untersuchungen zu Euripides ein motivanalytischer Kommentar zur "Alkestis" /." Heidelberg : C. Winter, 1985. http://catalog.hathitrust.org/api/volumes/oclc/14133668.html.

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Origa, Valentina. "Le contraddizioni della sapienza sophia e sophos nella tragedia euripidia." Tübingen Narr, 2002. http://deposit.ddb.de/cgi-bin/dokserv?id=2778172&prov=M&dok_var=1&dok_ext=htm.

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