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Dissertations / Theses on the topic 'Greek drama (Tragedy) Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Kavoulaki, Athena. "Pompai : processions in Athenian tragedy." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:94049c7e-b93b-4d8a-a7e4-5e7d82adc7d1.

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This thesis investigates the significance of ritual movements in theatre and society of fifth-century Athens. The focus falls on processional movement, the definitive characteristics of which are drawn from the ancient Greek concept of pompe, i.e. a movement towards a defined destination, involving the conveyance of a ritual symbol (or an object or a person) between specific points of departure and arrival. The social contexts of divine and heroic cult, funerals and weddings prove to be the main occasions for the performance of such processional movements. In the world outside the theatre, pro

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2

Bees, Robert. "Zur Datierung des Prometheus Desmotes." Stuttgart : B. G. Teubner, 1993. http://catalogue.bnf.fr/ark:/12148/cb37096291b.

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3

Kampourelli, Vassiliki. "Space in Greek tragedy." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/space-in-greek-tragedy(bd3d0365-0a17-47b5-a2b0-e7739f9c0255).html.

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4

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

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5

Bardel, Ruth. "Casting shadows on the Greek stage : the stage ghost in Greek tragedy." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323009.

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6

Salis, Loredana. "'So Greek with consequence' : classical tragedy in contemporary Irish Drama." Thesis, Ulster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421897.

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7

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

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8

Wang, Zhi-Zhong. "UNDER ATHENIAN EYES: A FOUCAULDIAN ANALYSIS OF ATHENIAN IDENTITY IN GREEK TRAGEDY." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1050628367.

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9

Streeter, Joshua Aaron. "Greek Tragedy and Its American Choruses in Open Air Theaters from 1991 to 2014: The Cases of Gorilla Theatre Productions and The Classic Greek Theatre of Oregon." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155534000939454.

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10

Ahern, John N. "Conscience, the Other and the moral community: a study in meta-ethics and tragedy /." Burnaby B.C. : Simon Fraser University, 2006. http://ir.lib.sfu.ca/handle/1892/2676.

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11

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

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12

Hackett, Linda. "Into the hourglass: a teacher's retrospective study of a process-drama approach to Greek tragedy." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103484.

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Researchers are asking what drama teachers do in the classroom that promotes effective learning. Educational drama practitioner researchers O'Neill (1995) and Taylor (2006) suggest that theory informs practice and practice informs theory. This qualitative retrospective study examines a teacher's and students' reflections on a process-drama approach to Greek tragedy. Drawing on Schon's (1983, 1987) theory of reflective practice, my study examines my "reflections-in-action" with five secondary 5 adolescent students between 1997 and 2004, and "reflections-on-action" with the same adult students

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13

Silverblank, Hannah. "Monstrous soundscapes : listening to the voice of the monster in Greek epic, lyric, and tragedy." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:f66a7bb1-de17-46f2-b79f-c671c149c366.

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Although mythological monsters have rarely been examined in any collective and comprehensive manner, they constitute an important cosmic presence in archaic and classical Greek poetry. This thesis brings together insights from the scholarly areas of 'monster studies' and the 'sensory turn' in order to offer readings of the sounds made by monsters. I argue that the figure of the monster in Greek poetry, although it has positive attributes, does not have a fixed definition or position within the cosmos. Instead of using definitions of monstrosity to think about the role and status of Greek monst

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14

Hanink, Johanna Marie. "Classical tragedy in the age of Macedon : studies in the theatrical discourses of Athens." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609148.

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15

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

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16

Van, Essen-Fishman Lucy. "Character through interaction : Sophocles and the delineation of the individual." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:c23353ec-cc60-453e-8c58-b13d01840a19.

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In this thesis, I argue that Sophoclean characters take shape through a number of different kinds of interaction. On the most basic level, interaction occurs between characters; interactions between characters, however, provide a framework for interactions between those characters and a variety of more abstract concepts. These interactions, by allowing characters to situate themselves with respect to concepts such as, for example, the social roles which shape the society of the play, provide a more complex picture of the personalities depicted onstage; a fuller view of Antigone’s personality,

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17

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

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18

Salvador, Evandro Luis. "Tradução da tragédia As Fenícias, de Eurípides, e ensaio sobre o prólogo (vv. 1-201) e o primeiro episódio (vv. 261-637)." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269069.

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Orientador: Flavio Ribeiro de Oliveira<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-17T13:28:16Z (GMT). No. of bitstreams: 1 Salvador_EvandroLuis_D.pdf: 724657 bytes, checksum: 33f856b8879463095c8d1581fd848ecc (MD5) Previous issue date: 2010<br>Resumo: Destinada ao público não especializado na questão da poesia dramática grega, a pesquisa de doutorado tem como foco principal a tradução em prosa da tragédia As Fenícias, de Eurípides. Apresenta-se, também, um ensaio sobre o prólogo e o primeiro episódio, possi

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19

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

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

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20

Schmakeit, Iris Astrid. "Apollonios Rhodios und die attische Tragödie gattungsüberschreitende Intertextualität in der alexandrinischen Epik /." Groningen : [s.n.], 2003. http://catalog.hathitrust.org/api/volumes/oclc/62136010.html.

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21

Kennedy, Rebecca Futo. "Athena/Athens on Stage: Athena in the Tragedies of Aeschylus and Sophocles." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1053353618.

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Thesis (Ph. D.)--Ohio State University, 2003.<br>Document formatted into pages; contains viii, 204 p.; contains ills., map. Includes bibliographical references (p. 193-204). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 May 19.

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22

Lampaki, Eleni. "A comparative study of the manuscripts and early printed editions of the Cretan tragedy Erofili and its interludes." Thesis, University of Cambridge, 2014. https://www.repository.cam.ac.uk/handle/1810/246286.

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In this dissertation, I investigate the textual tradition of the Cretan tragedy Erofili by Georgios Chortatsis (16th century). The play, accompanied by a set of four Interludes, has survived in three manuscripts and two editions, all originating from the 17th century. All the witnesses are examined and presented thoroughly, both as autonomous texts and in comparison to each other. The examination of each witness separately sheds light not only on the history of the transmission of Erofili, but also to the production of manuscripts and printed books in Crete, the Heptanese and Venice in general

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23

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

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24

George, R. H. "Accommodation and coercion in comedy and tragedy : an analysis of the social and political implications of the development of classical Greek drama." Thesis, University of Essex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336945.

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25

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

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26

Gilchrist, Katie E. "Penelope : a study in the manipulation of myth." Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:ace5d5e9-520e-455a-a737-0f2ee162e1e1.

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Mythological figures play a number of roles in literature: they may, of course, appear in person as developed characters, but they may also contribute more indirectly, as part of the substratum from which rhetorical argument or literary characterisation are constructed, or as a background against which other literary strategies (for example, the rewriting of epic or the appropriation of Greek culture by the Romans) can be marked out. This thesis sets out to examine the way in which the figure of Penelope emerges from unknown origins, acquires portrayal in almost canonical form in Homer's Odyss

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27

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

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28

Roense, i. Simó Anna. "Ésser i tragèdia. Llegir les "Eumènides"." Doctoral thesis, Universitat de Barcelona, 2011. http://hdl.handle.net/10803/38357.

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Aquest treball s’insereix en una línia d’investigació en què la reflexió sorgeix de la confrontació amb el text, per aquesta raó els problemes de comprensió que han sorgit en el moment de posar-nos a llegir la tragèdia de les Eumènides han estat els que ens han permès una nova aproximació al que podria significar que quelcom fos tràgic, i per tant, a allò que podria ser una tragèdia. El treball d’exegesi del text grec, així com les dificultats de la seva traducció han posat de manifest la distància que separa Grècia de la Modernitat, en la mesura que el text només s’ha obert a la comprensió qu

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29

Scapin, Nuria. "'The flower of suffering' : a study of Aeschylus' Oresteia in the light of Presocratic ideas." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/9314.

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My PhD thesis, The Flower of Suffering, offers a philosophical evaluation of Aeschylus' Oresteia in light of Presocratic ideas. By examining several aspects of the tragic trilogy in relation to some of Aeschylus' near-contemporary thinkers, it aims to unravel the overarching theological ideas and the metaphysical and epistemological assumptions underpinning the Oresteia's dramatic narrative. My aim is to bring to relief those aspects of the Oresteia which I believe will benefit from a comparison with some ideas, or modes of thought, which circulated among the Presocratic philosophers. I will e

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30

Martínez, Garrido Valerià. "Παντοπόρος ἄπορος, el hápax sofocleo como aporía". Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/461382.

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Esta investigación trata de cómo Sófocles, a través de su magna obra Antígona, nos mostró que el hombre es pantopóros, es decir, un ser que dispone de todos los recursos, industrioso, pero que no posee ninguno, es áporos, pudiendo optar por todos los caminos aunque estos le sean impracticables. Sófocles, aquel que nos señaló que el sabio no puede conformarse con un solo camino, únicamente lo pronunciaría una vez a lo largo de su magna y extensa obra: pantopóros áporos. El carácter indigente del hombre quedaba así señalado a través de un hápax apórico que el Coro de Antígona iba a inmortalizar

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31

Masciadri, Virgilio. "Eine Insel im Meer der Geschichten : Untersuchungen zu Mythen aus Lemnos /." Stuttgart : Steiner, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016376984&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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32

Müller, Enrico. "Die Griechen im Denken Nietzsches." Berlin : De Gruyter, 2005. http://catalog.hathitrust.org/api/volumes/oclc/62900863.html.

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33

Romero, Rey Sandro. "Género y destino. La tragedia griega en Colombia." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/285678.

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En Colombia, un país entre dos océanos en el norte de la América del Sur, ha habido diversas manifestaciones del arte y la cultura en las que la presencia de la tragedia griega sigue siendo un recurso pertinente para hablar de las heridas de su realidad. Género y destino: la tragedia griega en Colombia es una reflexión enmarcada en sesenta años (entre 1954 y 2014) en los que las obras de Esquilo, Sófocles y Eurípides han estado presentes en sus escenarios, en sus letras o en sus nuevas tendencias audiovisuales. Por un lado, se estudian aquí los tres ejes a partir de los cuales el concepto de l

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34

Homar, Pérez Roser. "El πάθος com a motiu tràgic en els escolis i en les manifestacions artístiques d'època imperial: dansa i novel·la". Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/393725.

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El πάθος, entès com a emoció, com a afectació, està íntimament relacionat amb la teoria d'Aristótil a propòsit del que s'ha anomenat la catarsi tràgica. És així que en un context literari específicament tràgic aquest concepte ha estat assimilat tradicionalment amb la compassió i el temor, les emocions tràgiques per excel•lència. És una idea tradicional també associar la tragèdia amb esdeveniments desafortunats, dramàtics, com ara morts, guerres, desgràcies. i, de fet, Aristòtil en obres que no reflexionen sobre literatura defineix aquest concepte com una desgràcia, un patiment. D'aquesta maner

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35

Kessler, Eli Mikael. "One Hundred and Fifty Percent Elasticity." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/649.

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The sculptural environments I create immerse the viewer in a decrepit vaudevillian past. The sculptures allude to narratives within Community Theater as well as the Drag Show. Making becomes an act; manipulating materials such as synthetic hair and paint are associated with the guise of the makeup artist. Frantic rehearsal logic prevails as a dress is repurposed into a male giant's costume and window blinds are used to construct a boat's deck. This collusion asks the viewer to transgress the boundary of the stage, becoming a voyeur privileged to the world of exiled props and role reversal.

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36

Marinho, Cecilia Silva Furquim. "Gota d\'água: entre o mito e o anonimato." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-03102013-105036/.

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O trabalho investiga a feição dos versos que dão vida à peça Gota dágua de Chico Buarque e Paulo Pontes, escrita e encenada em 1975. Procura desvendar a maneira como os versos se compõem na formação da estrutura dramática da peça e os efeitos que produz no leitor ou no espectador. Como a peça dialoga intensamente com o momento cultural e político dos anos 1970, há uma busca do ponto de encontro entre a realização estética concebida e os projetos culturais ou outras motivações extra-textuais que tenham influenciado a sua composição. O estudo abrange a realização sonora que se dá (ou que se imag

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37

DeVoe, Lauren E. "Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2020.

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Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change

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38

Poulou, Angeliki. "La mise en scène de la tragédie grecque dans l’ère numérique." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA157.

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Il s’agit de l’emploi de la technologie numérique dans la mise en scène de la tragédie grecque antique, en d’autres termes, de la réception de la tragédie grecque au sein du théâtre digital. En tant que performance digitale la tragédie grecque semble fonctionner comme un kaléidoscope du temps ; tout à la fois comme une lentille ou un miroir écrasé, où se développent un jeu, un « aller-retour » entre les identités et les qualités : spectateur / citoyen, politique / religieux, espace-temps du mythe / temps actuel, présence / absence. Grâce à l’emploi de la technologie et d’équivalents digitaux,

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39

Hýl, Petr. "Slovinské národní divadlo v Lublani." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2009. http://www.nusl.cz/ntk/nusl-215582.

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40

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

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

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41

Widzisz, Marcel Andrew Hubbard Thomas K. "Ritual and civic temporalities in Greek tragedy." 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1774/widziszd51895.pdf.

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42

Widzisz, Marcel Andrew. "Ritual and civic temporalities in Greek tragedy." Thesis, 2005. http://hdl.handle.net/2152/1774.

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43

"Tragedy and philosophy: the problem of tuchê in Aristotle and Greek tragedy." 2001. http://library.cuhk.edu.hk/record=b5895861.

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Yeung Ka-chung, Lorraine.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2001.<br>Includes bibliographical references (leaves viii-xii (3rd gp.)) and index.<br>Abstracts in English and Chinese.<br>Chapter Chapter One: --- Introduction --- p.1<br>Chapter Chapter Two: --- Aristotelian Tragedy or Greek Tragedy? --- p.6<br>Chapter 1. --- Modern Criticism on Aristotle's Poetics --- p.6<br>Chapter 2. --- Aristotle's Theory of Greek Tragedy --- p.10<br>Chapter 2.1 --- Mimesis and Action --- p.11<br>Chapter 2.2 --- Plot-Structure --- p.12<br>Chapter 2.3 --- The Principle of Probability an

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44

Stathaki, Aktina. "Adaptation and Perfomance of Greek Drama in Post-Apartheid South Africa." Thesis, 2009. http://hdl.handle.net/1807/19235.

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In my dissertation I examine how adaptations of Greek tragedy in South Africa after the fall of apartheid (1994) address the transitional stage of the country and mediate in the formation and apprehension of post-apartheid national identities and the formation of a new communitas. Drawing particularly from Raymond Williams and Jean-Pierre Vernant, I approach tragedy as a paradigmatic model for analyzing the dialectical relationship between cultural text and social context. The examination of this paradigm in the context of post-apartheid South Africa is grounded in postcolonial theory defined

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45

Papoutsis, Natalie Anastasia. "An Ear for an Eye: Greek Tragedy on Radio." Thesis, 2012. http://hdl.handle.net/1807/42545.

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An Ear for an Eye: Greek Tragedy on Radio examines the dramaturgical principles involved in the adaptation of Greek tragedies for production as radio dramas by considering the classical dramatic form’s representational ability through purely oral means and the effects of dramaturgical interventions. The inherent orality of these tragedies and Aristotle’s suggested limitation of spectacle (opsis) appears to make them eminently suitable for radio, a medium in which the visual dimension of plays is relegated entirely to the imagination through the agency of sound. Utilizing productions from Canad

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46

Dixon, Dustin W. "Myth-making in Greek and Roman comedy." Thesis, 2015. https://hdl.handle.net/2144/16320.

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Challenging the common notion that mythological comedies simply burlesque stories found in epic and tragedy, this dissertation shows that comic poets were active participants in creating and transmitting myths and argues that their mythical innovations influenced accounts found in tragedy and prose mythography. Although no complete Greek mythological comedy survives, hundreds of fragments and titles reveal that this type of drama was extremely popular; they were staged in Greece, Sicily, and Southern Italy and make up about one-half of all comedies produced in some periods. These fragments, su

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47

Wise, Amanda Rae. "Ritual and reason : the sacrificial motif in Sophoclean tragedy : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in History in the University of Canterbury /." 2009. http://hdl.handle.net/10092/2903.

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48

"Convergence and divergence: a comparative study of myth and tragic in Jiuge and Agamemnon." 1999. http://library.cuhk.edu.hk/record=b5890040.

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49

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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Duchek, Libor. "Katharsis v řecké tragédii." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312942.

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This paper is focused on the concept of catharsis in classic Greek tragedy. In the first part, it traces historical context of this term particularly trough the work of Plato; and later, the main effort is devoted to Aristotle. It looks closely in Aristotle's Poetics and Politics, which are the only works where he mentions catharsis. After research of the Aristotle's texts, the study presents variety of interpretations that have arisen over centuries, examines them and derives an elementary understanding of catharsis. The second part of this work tries to trace catharsis in a sample of preserv

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