Relevant bibliographies by topics / Greek Dramatists

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Academic literature on the topic 'Greek Dramatists'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Greek Dramatists"

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Patsalidis, Savas. "Greek Women Dramatists: The Road to Emancipation." Journal of Modern Greek Studies 14, no. 1 (1996): 85–102. http://dx.doi.org/10.1353/mgs.1996.0014.

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Fletcher, David. "‘A Herd of snivelling, grinning Hypocrites’: Religious Hypocrisy in Restoration Drama." Studies in Church History 60 (May 23, 2024): 290–311. http://dx.doi.org/10.1017/stc.2024.12.

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This article explores the various manifestations of religious hypocrisy to be found in new plays written in England between 1660 and 1720. It shows how the dramatists used hypocrisy both as a polemical weapon at times of religious conflict, and as an engaging form of theatricality. Exploring hypocrisy through drama is apposite as many of the key characteristics of hypocrisy – masks, role-playing, disguise and dissimulation – have been features of the theatre since ancient Greek times. The post-Restoration dramatists created worlds of masquerade for their hypocritical characters to inhabit, while the plays themselves offer examples of unselfconscious casuists, disreputable clerics, predatory monsters, and those who dissimulate religious beliefs, or have none at all.
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Wright, Matthew. "POETS AND POETRY IN LATER GREEK COMEDY." Classical Quarterly 63, no. 2 (November 8, 2013): 603–22. http://dx.doi.org/10.1017/s000983881300013x.

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The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy.
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Easterling, P. E. "Anachronism in Greek tragedy." Journal of Hellenic Studies 105 (November 1985): 1–10. http://dx.doi.org/10.2307/631518.

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Anachronism-hunting has been out of fashion with scholars in recent times, for the good reason that it can easily seem like a rather trivial sort of parlour game. But given that Greek tragedy draws so heavily on the past, a close look at some examples may perhaps throw light on a far from trivial subject, the dramatists' perception of the heroic world.So long as anachronism was treated as an artistic failing the debate was bound to be unproductive; one can symphathise with Jebb's view (on Soph. El. 48 ff.) that Attic tragedy was ‘wholly indifferent’ to it. And one can see why later scholars have objected to the very idea of anachronism as irrelevant and misleading. Ehrenberg, for example, wrote in 1954: ‘It is entirely mistaken to distinguish between mythical and thus quasi-historical features on the one hand and contemporary and thus anachronistic on the other. There is always the unity of the one poem or play, displaying the ancient myth, although shaped in the spirit of the poet's mind and time.’
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Czerwinska, Jadwiga. "Mit grecki - jego modyfikacje, znaczenia i funkcje. Szkic problematyki." Collectanea Philologica 14 (January 1, 2011): 45–51. http://dx.doi.org/10.18778/1733-0319.14.04.

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The subject of the article concerns the issues of ancient Greek myth, its modifications and functions. The starting point for a such formulated problem is the Aristotle’s rules to which a myth is subject. The philosopher links these rules with the theory of tragedy’s poetics, that should be directed by probability. Following the standards, that were in force in Antiquity, a function, which had to be fulfilled by a myth, determined the way of using mythology by Greek dramatists. The modern culture reinterpret a Greek myth. A function, which a myth has to fulfil, as in ancient times, is its basis and determinant. The task of a myth is, first of all, indicated as an universalization of the values, that are inscribed in this myth.
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Nervegna, Sebastiana. "SOSITHEUS AND HIS ‘NEW’ SATYR PLAY." Classical Quarterly 69, no. 1 (May 2019): 202–13. http://dx.doi.org/10.1017/s0009838819000569.

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Active in Alexandria during the second half of the third century, Dioscorides is the author of some forty epigrams preserved in the Anthologia Palatina. Five of these epigrams are concerned with Greek playwrights: three dramatists of the archaic and classical periods, Thespis, Aeschylus and Sophocles, and two contemporary ones, Sositheus and Machon. Dioscorides conceived four epigrams as two pairs (Thespis and Aeschylus, Sophocles and Sositheus) clearly marked by verbal connections, and celebrates each playwright for his original contribution to the history of Greek drama. Thespis boasts to have discovered tragedy; Aeschylus to have elevated it. The twin epigrams devoted to Sophocles and Sositheus present Sophocles as refining the satyrs and Sositheus as making them, once again, primitive. Finally, Machon is singled out for his comedies as ‘worthy remnants of ancient art (τέχνης … ἀρχαίης)’. Dioscorides’ miniature history of Greek drama, which is interesting both for its debts to the ancient tradition surrounding classical playwrights and for the light it sheds on contemporary drama, clearly smacks of archaizing sympathies. They drive Dioscorides’ selection of authors and his treatment of contemporary dramatists: both Sositheus and Machon are praised for consciously looking back to the masters of the past. My focus is on Sositheus and his ‘new’ satyr-play. After discussing the relationship that Dioscorides establishes between Sophocles’ and Sositheus’ satyrs, and reviewing scholarly interpretations of Sositheus’ innovations, I will argue that Dioscorides speaks the language of New Music. His epigram celebrates Sositheus as rejecting New Music and its trends, and as composing satyr plays that were musically old fashioned and therefore reactionary.
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Vítek, Tomáš. "Greek Necromancy: Reality or Myth?" Acta Antiqua Academiae Scientiarum Hungaricae 60, no. 1-2 (June 24, 2021): 27–51. http://dx.doi.org/10.1556/068.2020.00004.

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SummaryThe article investigates the extent to which Greek necromancy fits into the wider eschatological, cultic and historical context of an epoch demarcated on the one hand by Homer and on the other by the Classical period. The oldest purported necromantic ritual, with the help of which Odysseus descended into the underworld, is a literary construct inspired especially by the heroic tomb-cults. Scenes depicting funereal necromancy, written by dramatists of the Classical period, were also drawn from this source. Ability, behavior and appearance of heroes were additionally ascribed to the so-called restless spirits and revenants and later came to include all the dead. The main cause of this was a change in eschatological ideas and especially heroization, which in the Roman period spread nominally to all the dead. Reports about necromancy include a high percentage of mythical and literarily-dramatized elements that simply do not correspond with contemporary ideas about the soul, the dead, the underworld and chthonic deities. It therefore appears almost certain that, at least to the end of the period described, necromancy was not carried out in reality but remained only the literary surmise of the possibility indicated by Homer.
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Gamage, Swarnananda. "Shakespeare Tragedy, Comedy and Historical Play." European Modern Studies Journal 8, no. 2 (April 19, 2024): 91–95. http://dx.doi.org/10.59573/emsj.8(2).2024.10.

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This particular research paper sheds light on common recognizable characteristics of Shakespeare tragedy, comedy and historical play. Shakespeare, the dramatist of all time, brought tragedy and comedy developed by classic Greek dramatists: Aeschylus, Sophocles, Euripides and Aristophanes to a new level in the Elizabeth period. Within his theatre life which expands for 22 years, he produced ten tragedies, seventeen comedies and ten historic plays, which are staged with diverse modification all over the world, being translated to almost all the languages that are spoken in very nook and corner in the world. Shakespeare whom quoted next to the Bible is undoubtedly a social reality; his tragedy, comedy and historical plays have become the most timeless and placeless plays which touch the hearts of the audiences irrespective of social political and geographical differences. His tragedy showcases the downfall of the hero/heroine of high socio standing due to a tragic flaw, which finally causes the death of the protagonist either by being killed or committing suicide. His comedy is much more different from one another, although almost all of then end in poetic justice. His historical plays are based on the English history from 12th century to 16th century (from 1399 to 1485) and actual kings who ruled Great Britain in the particular period. However, Shakespeare added more dramatic effects into these historical plays constantly reminding the fact that he is not a historian yet a dramatist.
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Showerman, Earl. "A Century of Scholarly Neglect: Shakespeare and Greek Drama." Journal of Scientific Exploration 37, no. 2 (August 11, 2023): 201–17. http://dx.doi.org/10.31275/20233109.

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In the late 19th and early 20th centuries, a number of Shakespeare scholars, including Israel Gollancz (1894), H.R.D. Anders (1904), J. Churton Collins (1904), and Gilbert Murray (1914) wrote convincingly of Shakespeare’s debt to classical Greek drama. However, in the century since, most scholars and editors have repeatedly held that Shakespeare was not familiar with Greek drama. In Classical Mythology in Shakespeare (1903), Robert Kilburn Root expressed the opinion on Shakespeare’s ‘lesse Greek’ that presaged this enduring dismissal: “It is at any rate certain that he nowhere alludes to any characters or episodes of Greek drama, that they extended no influence whatsoever on his conception of mythology.” (p. 6) This century-long consensus against Attic dramatic influence was reinforced by A.D. Nutall, who wrote, “that Shakespeare was cut off from Greek poetry and drama is probably a bleak truth that we should accept.” (Nutall, 2004, p.210) Scholars have preferred to maintain that Plutarch or Ovid were Shakespeare’s surrogate literary mediators for the playwright’s adaptations from Greek myth and theatre. Other scholars, however, have questioned these assumptions, including Laurie Maguire, who observed that “invoking Shakespeare’s imagined conversations in the Mermaid tavern is not a methodology likely to convince skeptics that Shakespeare knew Greek drama.” (p. 98) This near-universal rejection of Greek drama as Shakespeare sources have profound philological implications. Indeed, this essay argues that the proscription against recognizing the Attic canon as an influence in Shakespeare has been driven by the belief that Will Shakspere of Stratford had, at most, an education that was Latin-based. The examples show that the real author had to have been exposed to both the Greek language and the Greek dramatists. Evidence for alternative candidates, including Edward de Vere, shows that many were schooled in Greek and that some even collected and supported translations of Greek works. It is my contention that Shakespeare’s dramatic imagination was actually fired by the Greeks, and Shakespeare research has clearly suffered from a century of denial.
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Donelan, Jasper F. "Some Remarks Concerning Night Scenes on the Classical Greek Stage." Mnemosyne 67, no. 4 (July 1, 2014): 535–53. http://dx.doi.org/10.1163/1568525x-12341213.

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This paper examines ways in which the dramatists of the fifth century staged night scenes in an open-air, daytime theater, as well as how these scenes relate to the rest of their respective plays’ action. For want of archaeological evidence or treatises on dramatic production, the texts of the tragedies and comedies form the basis of the investigation, which aside from its focus on production techniques also has wider implications for the handling of time in Greek drama. A comparison of tragedy and comedy reveals differences in the two genres’ approaches to conveying ‘darkness’ to their audiences. This also holds true for the pseudo-Euripidean Rhesus, whose plot is set almost exclusively at night. Aristophanic comedy often uses props such as lanterns or torches to reinforce a verbally constructed nocturnal setting whereas tragedy, as far as we can tell, relies solely on spoken description.
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Dissertations / Theses on the topic "Greek Dramatists"

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Κολοβός, Θωμάς. "Πορτρέτα και αγάλματα αρχαίων Ελλήνων δραματικών ποιητών." Thesis, 2011. http://hdl.handle.net/10889/5030.

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Η παρούσα μελέτη αποτελεί προσπάθεια συλλογής και ανάλυσης των αρχαιολογικών μαρτυριών σχετικά με την εμφάνιση των αρχαίων Ελλήνων δραματικών ποιητών και των τρόπων με τους οποίους αυτοί απεικονίζονται τόσο στην αρχαία ελληνική όσο και στη Ρωμαϊκή τέχνη.
This study is an attempt to collect and analyse the archaeological finds related with the look of the ancient Greek dramatists and the way they were presented.
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Books on the topic "Greek Dramatists"

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Greek drama and dramatists. London: Routledge, 2002.

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Sommerstein, Alan H. Greek drama and dramatists. New York: Routledge, 2002.

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Delcourt, Marie. La vie d'Euripide. Bruxelles: Éditions Labor, 2004.

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Kovacs, David. Euripidea. Leiden: E.J. Brill, 1994.

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Kynaston, Herbert. Exercises in the composition of Greek iambic verse: By translation from English dramatists. London: Macmillan, 1991.

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Martini, Clem. The Greek playwright: What the first dramatists have to say to contemporary playwrights. Toronto: Playwrights Canada Press, 2009.

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Le tombeau d'Œdipe: Pour une tragédie sans tragique. [Paris]: Minuit, 2012.

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Sarinkoulē, Titika. Ho Gkormpatsōph kai to soi tou, ē, Ta tsimpouria: Kōmōdia. Athēna: [s.n.], 1991.

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Euripides, ed. Euripides: Mit einer Prosa-Übertragung der Medea. Amsterdam: Adolf M. Hakkert, 2002.

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10

Lignadēs, Tasos. Ho Chourmouzēs: Historia kai theatro. Athēna: Ekdoseis Ch. Boura, 1986.

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Book chapters on the topic "Greek Dramatists"

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Lever, Katherine. "Aristophanes, Comic Dramatist." In The Art of Greek Comedy, 110–34. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003273165-5.

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Raphael, D. D. "The Philosopher as Dramatist—Plato and the Greek Drama." In The Paradox of Tragedy, 71–89. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003262787-5.

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Robert-Murail, Constance. ""Smuggling in Accidental Poetry": Cognitive and Stylistic Strategies of a Stammering Teen in David Mitchell's Black Swan Green." In Powerful Prose, 231–48. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839458808-014.

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In this article, Constance Robert-Murail will explore the poetic »accidents« at work in two extracts of Black Swan Green (2006) by David Mitchell. The novel tells the trials and musings of Jason Taylor, a thoughtful 13-year-old growing up in a backwater town full of strange neighbours and middle-school bullies. Throughout the year 1982, the reader witnesses Jason mediating between the various personae of his fragmented identity: Unborn Twin, his faint-hearted alter ego; Eliot Bolivar, the nom-de-plume he uses to write poems for the local parish newspaper; and, most importantly, Hangman, a malignant personification of his stammer. According to Garan Holcombe, David Mitchell's own experience of stammering has provided the novelist with a particular »sensitivity toward the formal necessity of coherence and structure« (Holcombe, 2013). The extract I have decided to focus on dramatises the onset of Jason's speech impediment and acts as a »high emotional intensity passage« (Toolan, 2012) within the structure of the coming-of-age narrative. A close stylistic reading of this particular text highlights the juxtaposition of Jason's pathological speechlessness and his bustling, bubbling inner monologue. This opposition elicits a physical reaction within the reader, caught between frustration and delectation. I would argue that the multimodal nature of the extract generates what Pierre-Louis Patoine has called a »somesthetic« effect on the reader (Patoine, 2016). Stuttering, according to Professor Mark Onslow, is »an idiosyncratic disorder.« (Onslow, 2017). Word avoidance has led Jason to create his own grammar and lexicon: his youthful voice and palliative strategies allow Mitchell to smuggle in moments of »accidental« poetry. The cognitive exploration of Jason's stammer stands both at the core of the reader's response and at the centre of Mitchell's powerful poetics-and it is, last but not least, devastatingly funny.
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"CHRONOLOGY OF GREEK DRAMA." In Greek Drama and Dramatists, 87–96. Routledge, 2003. http://dx.doi.org/10.4324/9780203424988-9.

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"ANTHOLOGY OF TEXTS." In Greek Drama and Dramatists, 97–100. Routledge, 2003. http://dx.doi.org/10.4324/9780203424988-10.

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"Aristophanes’ Frogs." In Greek Drama and Dramatists, 101–2. Routledge, 2003. http://dx.doi.org/10.4324/9780203424988-11.

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"The Persians, ll. 796–831." In Greek Drama and Dramatists, 103–5. Routledge, 2003. http://dx.doi.org/10.4324/9780203424988-12.

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"Agamemnon, ll. 160–217." In Greek Drama and Dramatists, 106–7. Routledge, 2003. http://dx.doi.org/10.4324/9780203424988-13.

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"Choephoroi, ll. 869–930." In Greek Drama and Dramatists, 108–20. Routledge, 2003. http://dx.doi.org/10.4324/9780203424988-14.

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"Helen, ll. 437–482." In Greek Drama and Dramatists, 121–27. Routledge, 2003. http://dx.doi.org/10.4324/9780203424988-15.

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