To see the other types of publications on this topic, follow the link: Greek Dramatists.
Journal articles on the topic 'Greek Dramatists'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Greek Dramatists.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
Easterling, P. E. "Anachronism in Greek tragedy." Journal of Hellenic Studies 105 (November 1985): 1–10. http://dx.doi.org/10.2307/631518.
Full textAbstract:
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.’
5
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.
Full textAbstract:
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.
6
Nervegna, Sebastiana. "SOSITHEUS AND HIS ‘NEW’ SATYR PLAY." Classical Quarterly 69, no. 1 (May 2019): 202–13. http://dx.doi.org/10.1017/s0009838819000569.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Braund, Susanna. "TABLEAUX AND SPECTACLES: APPRECIATION OF SENECAN TRAGEDY BY EUROPEAN DRAMATISTS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES." Ramus 46, no. 1-2 (December 2017): 135–52. http://dx.doi.org/10.1017/rmu.2017.7.
Full textAbstract:
Did Sophocles or Seneca exercise a greater influence on Renaissance drama? While the twenty-first century public might assume the Greek dramatist, in recent decades literary scholars have come to appreciate that the model of tragedy for the Renaissance was the plays of the Roman Seneca rather than those of the Athenian tragedians. In his important essay on Seneca and Shakespeare written in 1932, T.S. Eliot wrote that Senecan sensibility was ‘the most completely absorbed and transmogrified, because it was already the most diffused’ in Shakespeare's world. Tony Boyle, one of the leading rehabilitators of Seneca in recent years, has rightly said, building on the work of Robert Miola and Gordon Braden in particular, that ‘Seneca encodes Renaissance theatre’ from the time that Albertino Mussato wrote his neo-Latin tragedy Ecerinis in 1315 on into the seventeenth century. The present essay offers a complement and supplement to previous scholarship arguing that Seneca enjoyed a status at least equal to that of the Athenian tragedians for European dramatists of the sixteenth and seventeenth centuries. My method will be to examine two plays, one in French and one in English, where the authors have combined dramatic elements taken from Seneca with elements taken from Sophocles. My examples are Robert Garnier's play, staged and published in 1580, entitled Antigone ou La Piété (Antigone or Piety), and the highly popular play by John Dryden and Nathaniel Lee entitled Oedipus, A Tragedy, staged in 1678 and published the following year.
12
Grigoriou, Rea. "The notion of the “foreigner” in contemporary Greek drama: “We” through the faces of the “others”." Historical Review/La Revue Historique 16 (April 1, 2020): 73. http://dx.doi.org/10.12681/hr.22835.
Full textAbstract:
This article explores the dramaturgy of modern Greek playwrights, among others Vassilis Katsikonouris, Giannis Tsiros, Michalis Reppas, Thanasis Papathanasiou and Lena Kitsopoulou. It looks at how these dramatists approach the theme of “alterity” when in their dramatic productions it acquires the meaning of a different ethnic, religious, social and cultural element. It mainly reflects on the roles of the dramatic characters within the multiculturalist environment as it manifested in Greek society in the 1990s and at the beginning of the twenty-first century. The notion of “different” is also examined by drawing on political views of racist and nationalistic ideologies that emerge in the dramatic situations. The dramaturgical analysis is also comparatively combined with the way theatre reviewers and the audiences have received the productions, since the plays’ various interpretations by contemporary directors is considered of the utmost importance.
13
Lowe, J. C. B. "Aspects of Plautus' Originality in the Asinaria." Classical Quarterly 42, no. 1 (May 1992): 152–75. http://dx.doi.org/10.1017/s000983880004266x.
Full textAbstract:
That the palliatae of Plautus and Terence, besides purporting to depict Greek life, were in general adaptations of Greek plays has always been known. Statements in the prologues of the Latin plays and by other ancient authors left no room for doubt about this, while allowing the possibility of some exceptions. The question of the relationship of the Latin plays to their Greek models was first seriously addressed in the nineteenth century, mainly by German scholars, under the stimulus of Romantic criticism which attached paramount importance to originality in art. Since then the question has been constantly debated, often with acrimony, and to this day very different answers to it continue to be given. Yet the question is obviously important, both for those who would measure the artistic achievement of the Latin dramatists and for those who would use the plays to document aspects of Greek or Roman life. It is not disputed that Plautus' plays contain many Roman allusions and Latin puns which cannot have been derived from any Greek model and must be attributed to the Roman adapter. What is disputed is whether this overt Romanization is merely a superficial veneer overlaid on fundamentally Greek structures or whether Plautus made more radical changes to the structure as well as the spirit of his models.
14
Jurak, Mirko. "William Shakespeare and Slovene dramatists (III): (1930-2010)." Acta Neophilologica 44, no. 1-2 (December 31, 2011): 3–34. http://dx.doi.org/10.4312/an.44.1-2.3-34.
Full textAbstract:
In the final part of my study I shall present Shakespeare's influence on Slovene dramatists from the 1930s to the present time. In this period an almost unbelievable growth in Slovene cultural activities took place. This is also reflected in a very large number of new Slovene playwrights who have written in this time, in their international orientation in dramatic art as well as in the constantly growing number of permanent (and ad hoc) theatre companies. Communication regarding new theatrical tendencies not only in Europe but also in the United States of America and % during the past decades % also in its global dimension has become much easiers than in previous periods and this resulted also in the application of new dramatic visions in playwriting and in theatrical productions in Slovenia. These new movements include new techniques in writing, such as symbolism, futurism, expressionism, constructivism, surrealism, political drama, the theatre of the absurd and postmodernism, which have become apparent both in new literary techniques and in new forms of production. In this period Classical drama still preserved an important role in major Slovene theatres. Plays written by Greek playwrights, as well as plays written by Shakespeare, Molière, Schiller etc. still constitute a very relevant part of the repertoire in Slovene theatres. Besides, Slovene theatres have also performed many plays written by modern playwrights, as for example by Oscar Wilde, L. N. Tolstoy, I. S. Turgenev, Henrik Ibsen, August Strindberg, G. Hauptmann, G. Büchner, G. B. Shaw, A. P. Chekhov, John Galsworthy, Luigi Pirandello, Eugene O'Neill and many other contemporary playwrights. In the period after the Second World War the influence of American dramatists has been constantly growing. This variety also resulted in the fact that direct influence of Shakespeare and his plays upon Slovene dramatists became less frequent and less noticeable than it had been before. Plays written by Slovene dramatists are rarely inspired by whole scenes or passages from Shakespeare's plays, although there are also some exceptions from this rule. It is rather surprising how quickly Slovene theatres produced works written by important foreign dramatists already in the period following the First World War not to mention how quickly plays written by the best European and American playwrights have appeared on Slovene stages during the past fifty years. The connection between Shakespeare's plays and plays written by Slovene playwrights became more subtle, more sophisticated, they are often based on implied symbolic references, which have become a starting point for a new interpretation of the world, particularly if compared with the Renaissance humanistic values. The sheer number of plays written by Slovene dramatists in this period makes it difficult to ascertain that all influences from Shakespeare's plays have been noticed, although it is hoped that all major borrowings and allusion are included. Slovene dramatists and theatre directors have provided numerous adaptations of Shakespeare's plays, which sometimes present a new version of an old motif so that it may hardly be linked with Shakespeare. Slovene artists, playwrights and 4 also theatre directors, have %rewritten%, %reset% the original text and given it a new meaning and/or a new form, and in a combination of motifs and structure they have thus created a %new play%, even stand-up comedies in which the actor depends on a scenario based on Shakespeare's play(s) but every performance represents a new improvisation. Such productions are naturally closer to the commedia dell'arte type of play than to a play written by Shakespeare. I briefly mention such experimental productions in the introductory part of my study. The central part of my research deals with authors in whose works traces of Shakespeare's influence are clearly noticeable. These playwrights are: Matej Bor, Jože Javoršek, Ivan Mrak, Dominik Smole, Mirko Zupančič, Gregor Strniša, Veno Taufer, Dušan Jovanović, Vinko Möderndorfer and Evald Flisar.
15
Gadberry, Glen W. "The Black Medeas of Weimar and Nazi Berlin: Jahnn-Straub and Straub-Grillparzer." Theatre Survey 33, no. 2 (November 1992): 154–66. http://dx.doi.org/10.1017/s0040557400002386.
Full textAbstract:
While earlier dramatists treated Medea as a dramatic character, it was Euripides who gave her enduring theatrical prominence. Beyond crafting a timely attack upon a treacherous Corinth to appeal to Athens at the start of the Peloponnesian War, Euripides developed Medea to question the social role of women within a proudly patriarchal society. And he may have been the first to make Medea a non-Greek, a Colchian, a “barbarian”—a term that had become more derisive in the fifth century. In the Golden Age, a female foreigner was marginalized by gender and by heritage/race/ethnicity; a justified or sympathetic Medea challenged Athenian prejudices about both. Yet this Medea is problematic: a seriously aggrieved wife is driven to horrible acts against Greeks—Jason, his sons, the king of Corinth, and as a complicating fillip of multi-gender vengeance, the female rival. Our sympathies are subverted: a wronged Medea could also be a bloody figure of feminine and alien power, fatal to men and women, public and domestic order.
16
Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.
Full textAbstract:
Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writers and its different kinds in the Sixteenth and Seventeenth centuries. The author has also presented the chief features and characteristics of tragedies. The novelty of the article is the study of Spanish tragedy and its influences on revenge tragedies written by Shakespeare and other tragedy writers. Throughout the article, the author has also included some of the most important dramatists and tragedy writers of these periods including Thomas Kyd, William Shakespeare, John Marston, George Chapman, Tourneur and John Webster.
17
Jocelyn, H. D. "The Annotations of M. Valerivs Probvs, III: some Virgilian Scholia." Classical Quarterly 35, no. 2 (December 1985): 466–74. http://dx.doi.org/10.1017/s0009838800040301.
Full textAbstract:
Most of the commentaries on Greek authors which circulated in the towns of Egypt during the late Ptolemaic and early Imperial periods ignored the critical and colometrical problems which had engaged the attention of the great Alexandrian grammarians. A few, however, based themselves on texts equipped with signs, included the signs in their lemmata and offered explanations. Such commentaries must be the source of the scattered references to signs in the older marginal scholia in Byzantine manuscripts of Homer, Hesiod, Pindar and the Attic dramatists. The only Byzantine manuscript to transmit a pagan text still equipped with a large number and a variety of signs, namely cod. Venice, Bibl. Marc. gr. 454, is also the only one to transmit scholia with lemmata retaining prefixed signs. Just as texts and scholium-lemmata lost their signs in the course of transmission, so too did references to signs within scholia either disappear or become garbled. At best, a statement about the reasons for affixing a sign would turn into one about the content or style of the verse in question. The few mentions made of the great Alexandrians give no cause for thinking that we ever have a verbatim quotation of anὑπόμνημαwritten by one of them in order to explain his own signs. Time and again it is demonstrable that an explanation of a sign's presence against a particular verse goes back to some writer like Aristonicus.What survives of the ancient discussion of Latin literature is exiguous in comparison with the Greek material.
18
Seidensticker, Bernd. "Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.
Full textAbstract:
Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.
19
Roisman, Hanna M. "A. H. Sommerstein: Greek Drama and Dramatists (Revised version of Θέατρον. Teatro greco [Bari, 2000]). Pp. ix + 192. New York: Routledge, 2002." Classical Review 53, no. 1 (April 2003): 247–48. http://dx.doi.org/10.1093/cr/53.1.247-a.
Full text
20
FINN, MARGOT C. "Colonial Gifts: Family Politics and the Exchange of Goods in British India, c. 1780–1820." Modern Asian Studies 40, no. 1 (February 2006): 203–31. http://dx.doi.org/10.1017/s0026749x06001739.
Full textAbstract:
In August 1851, James Russell travelled to London from his estate on the banks of the Tweed. As a young man decades earlier, Russell had served as a cavalry officer in India, and he was anxious to exploit this visit to the metropolis to renew his acquaintance with the men who had formed his social circle years ago in Hyderabad. Having arrived in London, James Russell called on Charles Russell (no relation) at the latter's residence in Argyle Street. Chairman of the Great Western Railway, Charles Russell too had passed his youth in India, serving as a lieutenant in the Company's army and as an assistant to the diplomatic Resident at Hyderabad—his older brother, Henry. In a letter to his brother—now Sir Henry and (thanks to his Indian fortune) the proprietor of an extensive landed estate in Berkshire—Charles described James Russell as ‘still a great oddity, almost mad I think’, but conceded that ‘all his feelings are those of [a] gentleman and his pursuits have always been intellectual’. To substantiate this assessment of his old friend's sensibilities, he instanced James Russell's retention and use of a dictionary given to him by Charles in Hyderabad. ‘He gratified me by telling me that he still retained “a handsome Greek Lexicon” which I gave him, when he resumed the study of Greek’, Charles informed his brother Henry. ‘On his way home [from India] he followed the retreat of the ten thousand with Xenophon in his hand; and he has since worked hard, he tells me, at the Greek historians, poets & dramatists’. Having reminisced in London with Charles, James Russell journeyed to Berkshire to visit Sir Henry Russell, who read excerpts from Charles's letter aloud to his guest. ‘I always liked him’, Sir Henry wrote to his brother upon James Russell's departure, ‘and when I read to him your reference to early days, his eyes filled with tears’.
21
Balaji, K., and M. Narmadhaa. "Recrimination of Shikandi in Devdutt Pattanaik’s Shikhandi and Other Tales They Don't Tell You." Shanlax International Journal of English 11, no. 3 (June 1, 2023): 22–25. http://dx.doi.org/10.34293/english.v11i3.6211.
Full textAbstract:
Indian Writing has turned out to be a new form of Indian culture and voice in which idea converses regularly. Indian writers-poets, novelists, essayists, and dramatists have been making momentous and considerable contribution to world Literature since pre-Independence era, the past few years have witnessed a gigantic prospecting and thinking of Indian English writing in the global market. Sri Aurobindo stands like a huge oak spreading its branches over these two centuries. He is the first poet in Indian writing English who was given the re-interpretation of Myths. Tagore is the most eminent writer he translated many of his poems and plays into English who wrote probably the largest number of lyrics even attempted by any poet. The word “myth” is divided from the Greek word mythos, which simply means “story”. Mythology can refer either to the study of myths or to a body or a collection of myths. A myth by definition is “true” in that it. The same myth appears in various versions, varies with diverse traditions, modified by various Hindu traditions, regional beliefs and philosophical schools, over time. Devdutt Pattanaik is an Indian Mythologist who distinguishes between mythological fiction is very popular as it is fantasy rooted in familiar tradition tales. His books include Myth =Mithya: A Handbook of Hindu Mythology, Jaya: An illustrated Retelling of Mahabharata; Business Sutra: An Indian Approach to Management; Shikandi: And other Tales they Don’t Tell you; and so on.
22
Adebayo, Mojisola, Valerie Mason-John, and Deirdre Osborne. "‘No Straight Answers’: Writing in the Margins, Finding Lost Heroes." New Theatre Quarterly 25, no. 1 (February 2009): 6–21. http://dx.doi.org/10.1017/s0266464x09000025.
Full textAbstract:
Mojisola Adebayo and Valerie Mason-John are two distinctive voices in contemporary writing and performance, representing an Afro-Queer diasporic heritage through the specific experience of being black, British, and lesbian. Creating continuities from contorted or erased histories (personal, social, and cultural), their drama demonstrates both Afro-centric and European theatrical influences, which in Mason-John's case is further consolidated in her polemic, poetry, and prose. Like Britain's most innovative and prominent contemporary black woman dramatist, debbie tucker green, they reach beyond local or national identity politics to represent universal themes and to centralize black women's experiences. With subject matter that includes royal families, the care system, racial cross-dressing, and global ecology, Adebayo and Mason-John have individually forged a unique aesthetic and perspective in work which links environmental degradation with social disenfranchisement and travels to the heart of whiteness along black-affirming imaginative routes. Deirdre Osborne is a lecturer in drama at Goldsmiths College, University of London, and has published essays on the work of black British dramatists and poets, including Kwame Kwei-Armah, Dona Daley, debbie tucker green, Lennie James, Lemn Sissay, SuAndi, and Roy Williams. She is the editor of Hidden Gems (London: Oberon Books, 2008), a collection of plays by black British dramatists.
23
Zabotin, Daniil V. "In Search of Lost Realities: Alan Bennett’s “The Uncommon Reader’’ through Russian Reader’s Eyes." Literary Fact, no. 4 (30) (2023): 279–302. http://dx.doi.org/10.22455/2541-8297-2023-30-279-302.
Full textAbstract:
The article is dedicated to the critical reflection of the original and translated version of Alan Bennett’s “The Uncommon Reader,” whose main character is unnamed, but easily recognizable Queen Elizabeth II. Consequently, the entire different cultural context of this pseudo-biographical narrative creates certain difficulties for the translator, because she has to understand and reproduce with maximum accuracy what English speakers read without any hindrance. So, the main approach of the translation of “The Uncommon Reader” into Russian is considered to be a domesticating strategy, which means the need to adapt the story by simplifying or replacing (renaming) historical and everyday realities, when they are transplanted from one worldview to another: for example, “Alsatian — German Shepherd” or “Dame Commander — Court Lady.” It should be emphasized that the nomination problem plays an important role in Bennett’s work: while his characters dive into the depths of fiction, they seem to start to get know to themselves anew with the help of found “second names” that are foreign words of Greek (“opsimath”) and Latin (“amanuensis”) origin. The study of the author’s reading philosophy leads us to the conclusion about the uniqueness of the original title of the story, reflecting the idea of the ambivalent nature of the image of Her Royal Majesty. After a long journey from a novice reader to a writing reader, she still decided to enter the circle of the independent Republic of Letters, which blossoms with tens of names of novelists, poets, and dramatists of the present and the past on the pages of “The Uncommon Reader.” Such a literary union demanded from the translator to create a separate and well-thought commentary, which can be interpreted as a secondary attempt at “reverse translation” (A.V. Mikhailov).
24
Drakakis, John. "Money makes the world go round: Shakespeare, commerce and community." Sederi, no. 26 (2016): 7–29. http://dx.doi.org/10.34136/sederi.2016.1.
Full textAbstract:
In early modern England money was of central importance to areas of social life that are in the modern world separate from the study of economics. The demand for liquid capital and the practical problems associated with the devising of a monetary system that was reliable exercised the minds of philosophers, social commentators, and dramatists. The template for discussion was laid down by Aristotle, who perceived financial activity as part of the larger community and its various modes of social interaction. Copernicus wrote a treatise on money, as had Nicholas of Oresme before him. But in the sixteenth century dramatists turned their attention to what we would call “economics” and its impact on social life. Writers such as Thomas Lupton, Christopher Marlowe, Ben Jonson, and Shakespeare all dealt with related issues of material greed, usury, hospitality and friendship and the ways in which they transformed, and were transformed by particular kinds of social and economic practice. These concerns fed into the investigation of different kinds of society, particularly turning their attention to their strengths and weaknesses, and in the case of dramatists providing imaginative accounts of the kinds of life that these innovations produced.
25
Nazar, Dr Shabana, and Dr Ghulam Ahmad. "Tawfiq Al-Hakim, The Pioneer of Introduction of Literature into Dramatics." International Research Journal of Management and Social Sciences 2, no. 2 (September 20, 2021): 246–54. http://dx.doi.org/10.53575/irjmss.v2.2(21)21.246-254.
Full textAbstract:
In ancient prehistoric times of the beginning of 20th century, Arabic world in general and Egypt in particular was thought to be the hub of knowledge and political practices. The basic political approach was to prevent foreign invaders from getting into Arab world and to maintain their own national sanctity. In this regards, one of the most prominent literary figures in Arab world is Tawfiq al-Hakim. This paper is a literature review of Al Hakim' literary contribution and thus, the main conclusion obtained from this is that Tawfiq al-Hakim has a significant position in maintaining true quintessence of literature in terms of tragedy because he kept the religion alive in his dramas and literary figures. He denied the fact that Islamic cultural civilization has to be ignored in order to understand the essence of Greek mythology. Only if there was a bond developed between the cultures of Islam and Greeks, it would have enriched not only Arabic but European cultural boundaries as well. He also went against the concept of the fact that Islam cannot sustain the tragic events because they believe in the concept of predestination.
26
Lowe, Christopher. "THE STRUCTURE OF PLAUTUS’ MENAECHMI." Classical Quarterly 69, no. 1 (May 2019): 214–21. http://dx.doi.org/10.1017/s0009838819000260.
Full textAbstract:
Widely different views have been held concerning the structure of Plautus’ Menaechmi. On the one hand, the sequence of misunderstandings arising from the presence in the same city of a pair of identical twins with the same name has been likened to clockwork and attributed in essentials to an unknown Greek dramatist. On the other hand, E. Stärk has stressed features of the play which are typical of improvised comedy and put forward the bold theory that it was constructed by Plautus himself, following traditions of pre-literary Italic drama but using stock motifs of Greek New Comedy. I wish to suggest that the truth lies between these extreme positions.
27
Rutter, Carol Chillington. "Harrison, Herakles, and Wailing Women: ‘Labourers’ at Delphi." New Theatre Quarterly 13, no. 50 (May 1997): 133–43. http://dx.doi.org/10.1017/s0266464x00008794.
Full textAbstract:
As well as being a widely published poet, Tony Harrison is well known as a dramatist for his reworkings of classical materials, from ancient Greek to medieval. When he was invited to contribute a play for the eighth International Meeting on Ancient Greek Drama, on the theme of ‘Crossing Millennia’, to be held at the European Cultural Centre of Delphi in August 1995, he chose to present a version of The Labourers of Herakles set on a building site – a building site the Greek sponsors specially ‘constructed’ for the event. In describing the single performance of the play, Carol Chillington Rutter, who teaches in the Department of English and Comparative Literary Studies at the University of Warwick, vividly evokes the theatrical forcefulness of the occasion: but she questions what she considers the ambivalence of Harrison's theatre work in its presentation and treatment of women – of which the decision to visualize the chorus of women in Labourers as cement mixers was most strikingly emblematic.
28
D’Angour, Armand. "The Music of Tragedy: Implications of the Reconstructed Orestes Papyrus." Arethusa 57, no. 1 (January 2024): 7–24. http://dx.doi.org/10.1353/are.2024.a925536.
Full textAbstract:
Abstract: Evidence for the musical and dance elements of Attic tragedy is extremely scarce. However, a papyrus fragment dating from around 300 bc contains a section of a chorus from Euripides’ Orestes with musical notation (possibly the dramatist’s own); it may be analysed, both in its lacunose state and in a proposed reconstruction for performance, to throw light on these very elements. The papyrus markings and associated commentary offer clues to the melodisation of Greek poetry, performance effects in choral song, the nature of dochmiac rhythm, and the kind of dance movements that might have accompanied vigorous passages in tragic lyric.
29
Marazopoulos, Petros. "European unity, modern Greek identity and historicization of the Past : the 'Greek crisis' as perceived in contemporary literary texts." Neograeca Bohemica, [1] (2022): [49]—62. http://dx.doi.org/10.5817/ngb2022-1-2.
Full textAbstract:
The aim of this article is to examine the Greek and international aesthetic reaction to the phenomenon of the economic crisis. By examining Greek and international literary texts that depict Greece during the era of austerity, I attempt to explain how crisis is perceived in the literary field. Thus, I aspire to analyse the way in which this literature negotiates the terms economy, crisis, Europe, power and past. At the same time, I discuss contemporary literary images of the Greek Other; through a comparative study of Greek and international relevant texts, I aim to highlight the political and ideological rhetoric of the texts under examination, as well as the perception of crisis as a global issue, rather than a 'Greek adventure'. In that sense, the authors under examination do not simply dramatise the traumatic events of the recession, but they also suggest a broader definition of crisis, as a global phenomenon, discussing aspects of the contemporary European South and its balance with the European North.
30
Evans, Curtis J. "The Religious and Racial Meanings of The Green Pastures." Religion and American Culture: A Journal of Interpretation 18, no. 1 (2008): 59–93. http://dx.doi.org/10.1525/rac.2008.18.1.59.
Full textAbstract:
AbstractMarc Connelly's The Green Pastures play was one of the longest running dramas in Broadway history. Responses to the play by blacks and whites demonstrate its contested nature. Whites generally lauded the drama for its simplicity and its childlike depiction of black religion in the rural South. African Americans, though hopeful that its allblack cast would lead to more opportunities for blacks on stage, were divided between a general appreciation of the extraordinary display of talent by its actors and worries about the implications of a play that seemed to idealize the rural South as the natural environment of carefree overly religious blacks. Connelly's widely popular drama became a site of cultural debates about the significance of black migration to the urban North, the nature and importance of religion in black communities, and the place of blacks in the nation. Precisely when black social scientists were urging rural black Christians to abandon an otherworldly and emotional religion, white dramatists and literary artists were making more widely available what they saw as a picturesque and deeply rooted aspect of black folk culture.
31
.V, Praveen S. "Shakespeare-The Brand." International Journal of Emerging Research in Management and Technology 6, no. 8 (June 25, 2018): 179. http://dx.doi.org/10.23956/ijermt.v6i8.135.
Full textAbstract:
William Shakespeare is known to the world as one of the greatest dramatist in the history of English Literature. It is unusual to attribute either Shakespeare or his works in the world of marketing, yet it is the fact that, even after 450 years, Shakespeare is still a recognizable and powerful brand in the world of today. Shakespearean festival was still being celebrated all over the world. Royal Society of Shakespeare still performs Shakespearean dramas every year, in more than twenty languages. It shows the brand image of Shakespeare, having in the world today. Aristotle, a Greek Philosopher, in his attempt to understand poetry and drama, expressed his view in his famous work Poetics that, both drama and poetry appeals to the emotions of a reader and spectators. The success of a drama, depends on the extent to which, a dramatist can able to capture the emotions of the audience. It is necessary for writers to have a unique brand personality to market their art. Every writer has their own set of target audience and follows various strategies to satisfy them. This paper deals with, how Shakespeare employed different strategies to create his own brand image, that helped him positioning his art among his target audience, thus ending up creating one of the greatest and powerful brand image in the History.
32
Gjesdal, Kristin. "Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life." Text Matters, no. 7 (October 16, 2017): 71–86. http://dx.doi.org/10.1515/texmat-2017-0004.
Full textAbstract:
Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tradition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler—a play about love lost and lives unlived—I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play.
33
Wang, Yuan. "An Analysis of Hamlet from the Perspective of Aristotle's Tragedy Theories." Region - Educational Research and Reviews 3, no. 3 (October 2, 2021): 48. http://dx.doi.org/10.32629/rerr.v3i3.453.
Full textAbstract:
With profound tragic significance, Hamlet is an enduringly popular tragedy by the famous British dramatist William Shakespeare. The complex characters, as well as the various artistic techniques for the creation of the tragic story in the play, especially its application of the ancient Greek philosopher Aristotle's tragedy theories, have received extensive attention from academia. This paper intends to conduct a study on the application of Aristotle's tragedy theories in Shakespeare's Hamlet. On the basis of the analysis of Aristotle's tragedy principles related to tragic plots and characters, "Error and Frailty", "Fear and Pity" and "Purification", the paper discusses the tragedy Hamlet and its application of Aristotle's guidance, in order to help readers untie the reasons of the design for some important parts of this tragedy.
34
Raeburn, David. "The Significance of Stage Properties in Euripides Electra." Greece and Rome 47, no. 2 (October 2000): 149–68. http://dx.doi.org/10.1093/gr/47.2.149.
Full textAbstract:
Stage properties in Greek tragedy are used economically, a fact which enhances the significance of their dramatic function. Oliver Taplin has amply demonstrated how their appearance on stage is not an adventitious means of lending life to a character or situation but rather a device by which the dramatist underlines some essential aspect of the scene in which they occur or theme in the play as a whole. Economy of props in tragedy is in marked contrast with their multiplicity in Aristophanic comedy. When it comes, therefore, to interpreting the poet's artistic intention in a particular tragedy, the props list may prove a useful critical instrument, as I hope will be evident from this study of their use in Euripides' Electra.
35
Kwei-Armah, Kwame. "‘Know Whence You Came’: Dramatic Art and Black British Identity." New Theatre Quarterly 23, no. 3 (August 2007): 253–63. http://dx.doi.org/10.1017/s0266464x07000152.
Full textAbstract:
Kwame Kwei-Armah's play Elmina's Kitchen was a landmark in British theatre history as the first drama by an indigenous black writer to be staged in London's commercial West End. The play's success since its premiere at the Royal National Theatre included a national tour and a season at Center Stage, Baltimore, directed by August Wilson's director Marion McClinton. In this interview with Deirdre Osborne, Kwei-Armah testifies to Wilson's considerable influence and the inspiration he derives from Wilson's project to account for the history of black people's experience in every decade of the twentieth century. Deirdre Osborne is a lecturer in drama at Goldsmiths College, University of London, and has published essays on the work of black British dramatists and poets including Kwame Kwei-Armah, Dona Daley, debbie tucker green, Lemn Sissay, SuAndi, and Roy Williams.
36
Prus, Robert. "Kenneth Burke’s Dramatistic Pragmatism: A Missing Link between Classical Greek Scholarship and the Interactionist Study of Human Knowing and Acting." Qualitative Sociology Review 13, no. 2 (April 30, 2017): 6–58. http://dx.doi.org/10.18778/1733-8077.13.2.01.
Full textAbstract:
The term “rhetoric” often has been maligned by those lacking familiarity with classical Greek and Latin scholarship. However, a more sustained, historically-informed examination of persuasive interchange is of fundamental importance for the study of human knowing and acting across the humanities and social sciences, as well as all other realms of community life.
While acknowledging several contemporary scholars who have reengaged aspects of classical Greek and Latin rhetoric, this statement gives particular attention to the works of Kenneth Burke and the linkages of Burke’s writings with Aristotle’s Rhetoric, as well as American pragmatist thought and the ethnographically, conceptually-oriented sociology known as symbolic interactionism (Blumer 1969; Strauss 1993; Prus 1996; 1997; 1999; 2015; Prus and Grills 2003).
Because scholarship does not exist as isolated instances of genius, even the productions of highly accomplished individuals such as Kenneth Burke are best understood within the context of a horizontal- temporal, as well as a vertical-historical intellectual community. Accordingly, Burke’s contributions to the human sciences more generally and pragmatist social theory (along with its sociological extension, symbolic interaction) more specifically are best comprehended within this broader, historically-enabled scholarly context.
Kenneth Burke’s dramatistic pragmatism is not the only missing link between classical Greek thought and symbolic interactionism, but Burke’s work on rhetoric represents a particularly important medium for extending the conceptual and analytic parameters of contemporary symbolic interaction. Indeed, Kenneth Burke’s scholarship has important implications for the fuller study of community life as implied in the most fundamental and enabling terms of human knowing and acting.
37
Bąbiak, Grzegorz P. "Poeta tłumacz w czasie wielkiej wojny. Przekłady Jana Kasprowicza w latach 1914–1918 ." Poradnik Językowy, no. 10/2022(799) (September 5, 2022): 237–51. http://dx.doi.org/10.33896/porj.2022.10.14.
Full textAbstract:
The text presents Jan Kasprowicz’s translation work during the First World War. It discusses the War’s contribution to the concentration on this form of literary activity and to the selection of the works by the most distinguished Greek tragic dramatist, Euripides. The author presents the view that the fact that Kasprowicz took up the ambitious project of translating all works by Euripides resulted from the Academy of Learning’s commission on the one hand and from the translator’s conscious decision on the other hand. By going back to antiquity, Kasprowicz endeavoured to answer the questions that were fundamental during the War: about its sense and price. Apart from presenting the timeline of Jan Kasprowicz’s translations in detail, the author mentions the key facts from his biography during the War. He also quotes the translator’s statements about the translation techniques and positions them in the context of contemporary theories of translation.
38
Henao Castro, Andrés Fabián. "Slavery in Plato's Allegory of the Cave: Alain Badiou, Jacques Rancière, and the Militant Intellectual from the Global South." Theatre Survey 58, no. 1 (January 2017): 86–107. http://dx.doi.org/10.1017/s0040557416000703.
Full textAbstract:
In this article I argue that Plato's allegory of the cave dramatizes democracy's dependency on slavery. Plato's cave forces the theatre, the political space of ancient Greek representation, to confront its material dependency upon a space from which it is otherwise visually and territorially separated: the mines where intensive use was made of slave labor. As many have argued, the most salient aspects of Plato's allegory of the cave are the complete absence of lexis (speech) and praxis (action), the evacuation of the acoustic and the distortion of the visual. These are also the most decisive features when delimiting the border between the free and the unfree in Greek antiquity:Do you think these prisoners have ever seen anything of themselves and one another besides the shadows that the fire casts on the wall of the cave in front of them? … And if they could engage in discussion with one another, don't you think they would assume that the words they used applied to the things they see passing in front of them?
39
Poe, Joe Park. "WORD AND DEED: ON 'STAGE-DIRECTIONS' IN GREEK TRAGEDY." Mnemosyne 56, no. 4 (2003): 420–48. http://dx.doi.org/10.1163/156852503769173048.
Full textAbstract:
Taking its departure from the generally-accepted opinion that (almost) all important movements and gestures of the actors in Greek tragedy are indicated in the text itself, this essay asks how the generic, and aesthetic, character of tragedy is affected by the verbal communication of so much visual detail. Do the passages that refer to movement advance the dialogue— that is, the dramatic action? If many of them seem to convey much the same information as the movement itself, this raises a question about just how dramatic Greek tragedy is. Undertaking a detailed, albeit not exhaustive, survey of utterances indicating actors' movements, the study shows that a majority of such utterances are followed by a specific response, either verbal or visual, and a number of others may be said to contribute otherwise to the progress of the dialogue. A relatively small but not insignificant number, however, clearly are external to the mimesis of communication among the dramatis personae . The final section of the essay argues that verbal indications of movement have an aesthetic value that is independent of the mimesis of actor/actor dialogue. For a number of utterances take notice of movements which—either because they are ancillary to what is said or because they are 'entailed' movements—do not of themselves contribute to the dramatic action.
40
Nagy, Gregory. "Authorisation and Authorship in the Hesiodic Theogony." Ramus 21, no. 02 (1992): 119–30. http://dx.doi.org/10.1017/s0048671x00002599.
Full textAbstract:
Much has been written about the question of oral poetry in the earliest attested phases of Greek literature, but not enough attention has yet been paid to the existing internal evidence concerning the authority of actual poetic performance. This essay is meant to highlight this authority and its role in authorisation, that is, in the conferring of authorship. Since the first attested identification of an author in Greek literature takes place in the Hesiodic Theogony, where the figure of Hesiod names himself as the poet of this colossal poem (Hēsiodon, Th. 22), it seems fitting that this very act of self-identification should serve as the focus of inquiry. Further, since the poet defines himself in terms of a dramatised encounter with the Muses, who are represented as giving him the two gifts of a sceptre of authority and poetic inspiration itself, it also seems fitting to take with utmost seriousness the actual wording that describes this encounter. The poet's precisely-worded claim to have received from the Muses the power of telling the absolute truth is key, I shall argue, to his authorship.
41
Korkoi Bonku, Lucy, Confidence Gbolo Sanka, and Philomena Yeboah. "Understanding The Mad Heart: A Deconstructionist Approach To Efua T. Sutherland’s Edufa." Advances in Language and Literary Studies 9, no. 2 (April 30, 2018): 160. http://dx.doi.org/10.7575/aiac.alls.v.9n.2p.160.
Full textAbstract:
Myths constitute an important part of human development. Life enduring values are embedded in these myths and the adaptation of some of these archetypal myths from culture to culture ensures shared virtues and opinions on human experience. This paper investigates, using the theories of myth and deconstruction, the relationship between Euripedes’ Alcestis myth and the Edufa myth written by Afua Sutherland. A comparative analysis of the two myths indicates that Sutherland adapted the Greek myth to the Ghanaian context. However, due to the fluid and unstable nature of language and meaning in general and due to same qualities of the discourse in Edufa, a deconstructionist approach has been used in this paper to derive a powerful message on the responsibility of the mother cum wife. The findings reveal that Sutherland does not endorse the kind of love exhibited by Ampoma; rather, she proscribes it. The dramatist’s adept use of language and the text’s leaning on lessons from the African concept of marriage is what makes this deconstructionist’s reading possible.
42
Li, Ruoqi. "The Complex Relation of Self-determination to Destiny in Oedipus Tyrannos." English Language and Literature Studies 5, no. 4 (November 30, 2015): 115. http://dx.doi.org/10.5539/ells.v5n4p115.
Full textAbstract:
<p>Oedipus Rex, one of the three famed Theban tragedies by the Greek dramatist Sophocles, vividly portrays the complex and often troubling theme of humanity’s relationship to fate. By detailing the way in which Oedipus, king of Thebes, is reduced by the cruelty of predestination into a puppet with no semblance of control over the course of his own life, Sophocles seems to cast doubt on, not only the effectiveness, but also the meaning of self-control. Thus, freedom of choice, humanity’s final assertion of independence, appears to dissolve into hollow mockery. But even then, Sophocles confirms the fundamental significance of the self-knowledge and dignity that comes from struggling against tyrannical destiny. It is this dignity that sustains king Oedipus through his terrible ordeal so that he comes out of it tortured but not destroyed. It is also this elevation that adds to a tale of endless victimization a whole new dimension of complexity and imbues the words with a touch of tragic and transfiguring sublimity.</p>
43
Rojo, Roseli. "Una Antígona para tiempos de supervivencia: Lo heroico y lo sucio en Antígona del dramaturgo cubano Yerandy Fleites." Latin American Theatre Review 56, no. 2 (March 2023): 21–44. http://dx.doi.org/10.1353/ltr.2023.a919118.
Full textAbstract:
Abstract: This essay analyzes Antígona (2008) by Yerandy Fleites to show how the author tackles the current Cuban political situation by rewriting the Sophoclean tragedy. Fleites adjusts the Greek myth to the Cuban context by means of parody and an intertextual dialogue with both Jean Anouilh's Antigone (1944) and Peruvian poet José Watanabe's Antígona (2000). The study then unpacks the idea of dirtiness and Fleites' depiction of the female heroine to demonstrate how the dramatist proposes hybris as the main psychological driver behind the Cuban Antígona (and that, to an extent, of the generation she represents) to suggest possible avenues for sociopolitical change. At the same time, this study considers the interpretations of Fleites' Antígona that Cuban directors Pedro Franco and Julio César Ramírez respectively brought to the stage in 2013 and 2020. Ramírez's reading in particular provides an understanding of Antígona in the context of the protests that occurred on November 27, 2020, when intellectuals, writers, and artists demanded that the Cuban Ministry of Culture recognize their rights and their freedom as citizens.
44
D. Harris, Dr Rachelle. "Shakespeare’s Othello: The Esteemed, Reviled, Shunned, and Integrated?" IJOHMN (International Journal online of Humanities) 3, no. 5 (October 25, 2017): 14. http://dx.doi.org/10.24113/ijohmn.v3i5.36.
Full textAbstract:
In Shakespearean literature, one can find themes that challenge the Elizabethan conventional way of thinking and life, and the tragedy of Othello is no exception. In a dramatic presentation, Shakespeare challenges the way in which Black people are seen in Elizabethan society by placing a Moor in the context of Venice, Italy who is both hated and respected in his place in a racist society. There is no doubt that there is racism in Elizabethan society. According to Eldred Jones, during the era in which Othello is composed, Queen Elizabeth enacts legislation that calls for all Black people to leave the country (Jones, 1994). Racism is not the core theme of the dramatic piece; however, the existence of racism is illustrated and expressed via Shakespeare’s artistic medium. Just as feminism, greed, jealousy, hubris, and varying other matters dealing with the human spirit do not seepage Shakespeare’s consideration, nor do race matters. Furthermore, just as he dramatizes human issues, he dramatizes race matters. There are fictional elements in Othello that are intertwined with nonfictional matters of human behavior and racial unrest. In the middle of racial unrest, Shakespeare composes a theatrical production with a Black character who is esteemed, reviled, shunned, and integrated into such a society, capturing the complicated nature of communal racism itself. Keywords: Shakespeare, Othello, Integration, Racism Section 1.0
45
Henderson, John. "Hanno's Punic Heirs: Der Poenulusneid des Plautus." Ramus 23, no. 1-2 (1994): 24–54. http://dx.doi.org/10.1017/s0048671x0000237x.
Full textAbstract:
I accept chaos. I'm not sure whether it accepts me.If you like a right mess, then Plautus' Poenulus (‘The Little Carthaginian’) is the play for you. When it is not being slatered, it is konstanly passed by, rarely translated [& then only for completeness' sake: one series or another] and left out of the chiefest recuperations of the oeuvre, of the chicest innovations of the genre (viz. Konstan, 1983; Slater, 1985: but do see Endnote). Poen. gets written off as ‘One of the least successful…’. [Only successful, it may be, in getting waves of Orientalist experts to brush up our Mediterranean languages. If that counts: little Latine, lesse Greek—and now beginners' Punic.] Otherwise, study of Poenulus has centred on two projects: ‘logical’ analysis of the unacceptabihty of the structuring of the plot and ‘archaeological’ dialysis of the text as botched, contaminated, interpolated miscegenation. That is, in both cases, everything that can hardly be dumped on the Greek dramatist Alexis, if it was his lost ‘Karkhēdónios' play that first Plautus mauled and meshed, then in succession his theatre-companies thrashed and threaded and through time his scribes sliced and stitched. Even its warmest admirers must hack Poenulus to bits, for a start, in order to suture some sort of text to admire (Maurach 1975, Zwierlein 1990). And the finicky pundits of this play impugn away with impunity, their fun the display of pungent finesse. Try reading them for laughs—and smile through the Poen.
46
Prawdzik, Brendan. "“Till Eyes and Tears Be the Same Things”." Explorations in Renaissance Culture 41, no. 2 (December 1, 2015): 202–24. http://dx.doi.org/10.1163/23526963-04102004.
Full textAbstract:
This article describes a Marvellian spirituality that remains generally continuous despite an evolving theological outlook. It contends that Marvell’s poetry dramatizes the persistence of Original Sin within vulnerable and impermanent green enclosures; thus, the subject must always return to an inexorable history and materiality in which spirituality is grounded. The article considers Marvell’s skepticism and unusual conception of eschatological time, these being informed by the Book of Ecclesiastes. For Marvell, meditation on history remains bound up not only with spirituality but also with sensory perception — in particular, with the optical and tactile senses of water. The article concludes with a comparative analysis, of Marvell’s “Eyes and Tears” and Richard Crashaw’s “The Weeper,” that redefines Marvell as a deliberately anti-metaphysical poet.
47
Traylor, Sarah. "Towards an Ecological Catholicism: Marian Pilgrimage in the Anthropocene." Religions 9, no. 12 (December 15, 2018): 416. http://dx.doi.org/10.3390/rel9120416.
Full textAbstract:
This article analyzes how the author and environmental activist Carl Amery draws together the topics of Catholicism and ecological criticism in the pilgrimage novel Die Wallfahrer, or The Pilgrims (1986). The novel depicts the journeys of four pilgrims to the Marian shrine at Tuntenhausen in Bavaria. In their journeys towards the surprising and unorthodox Virgin Mary of Tuntenhausen, the pilgrims anticipate their ultimate journey towards Gaia, the earth goddess in Greek mythology, and the inspiration for the Gaia Hypothesis, which proposes that the Earth evolves as a system in which organisms are an active, fundamental component. This article explores how the novel recasts the pilgrim journey as a journey towards an ecological consciousness of humans’ creatureliness and increasingly detrimental impact on the web of life. Particular focus is placed on the way Amery dramatizes the connection between salvation history and the Gaia theory that has lately received renewed interest in the context of the Anthropocene debate.
48
WOHL, VICTORIA. "HOW TO RECOGNIZE A HERO IN EURIPIDES' ELECTRA." Bulletin of the Institute of Classical Studies 58, no. 1 (June 1, 2015): 61–76. http://dx.doi.org/10.1111/j.2041-5370.2015.12002.x.
Full textAbstract:
Abstract Why were the heroes of Greek tragedy all elite? Why in the premier genre of democratic Athens should the action always be performed by noblemen and not by, say, a poor farmer? Euripides' Electra raises this question and dramatizes its stakes. It poses the possibility of a non-elite hero – in fact, a farmer – only to show how and why this radical premise fails to pan out. The famous recognition scene compels the audience to recognize Orestes as the play's hero based on literary allusions and theatrical conventions, and in the process to disavow the egalitarian reality the play itself has staged. Electra does not ultimately answer the question why the tragic protagonist has to be elite, but it does reveal the consequences, political and dramatic, of accepting that necessity. In so doing, it exposes both the utopian potential of tragedy and its limits, and challenges us in the audience to acknowledge our role in both.
49
Comunetti, Marco. "Homer and Euripides: Remarks on Mythological Innovation in the Scholia." Athens Journal of Philology 9, no. 2 (May 25, 2022): 161–80. http://dx.doi.org/10.30958/ajp.9-2-4.
Full textAbstract:
This paper analyses two exegetical strategies adopted by ancient scholars to explain Euripides’ mythological innovations and variations with respect to Homer through a selection of scholia. The first approach considers Euripides a (mis-) reader of Homer. The dramatist regards an epic passage as the reference text, but fails to understand its wording correctly: therefore, he uncritically reproduces the model, even though inspired by a genuine impulse to emulate; this circumstance de facto equates the tragedian with a sort of exegete and represents his deviation from the epic text as the locus of an implicit (erroneous) interpretation. The second approach evaluates the work of Euripides, comparing it with the Homeric poems, by means and in the light of concepts of literary criticism. The tragedian creates a good or bad product depending on whether his innovation achieves a certain poetic result: an implausible or unrealistic description of a character is contested, whereas a strategy to enhance the emotional impact of the dramatic moment is recognised and perceived as a careful and conscious artistic operation, hence possibly praised. Keywords: ancient scholarship, exegetical activity, Greek scholia, literary comparison, literary criticism
50
Korovchinskiy, Ivan Nikolayevich. "Inception of the ‘cult’ of ball game ‘stars’ in Hellenistic Athenes." RUDN Journal of World History 14, no. 3 (December 15, 2022): 257–66. http://dx.doi.org/10.22363/2312-8127-2022-14-3-257-266.
Full textAbstract:
Absract. Nowadays ball games are the most popular types of sport in the world including Russia. This fact contrasts sharply with the almost total absence of research in the field of ancient Greek ball games in Russian historical science. The aim of this article is to fill that gap at least on a small scale. The history of Greek ball games in the Hellenistic period is especially interesting because of the rise of their significance at that time. Τhe method of historicism and the comparative method are applied in this article. The most important sources for our article are the fragments of Athenaios’ Deipnosophistai (I, 26, 34) related to playing ball in Hellenistic times. We reconsidered the fragment by Damoxenus, the 3rd century BC writer of comedies, quoted by Athenaeus and usually interpreted as devoted to homosexual feelings. In our view it rather reflects a rapture of Athenian fans over a ball-player’s skill. However, the dramatist hyperbolizes this rapture in order to make it more comical. We correlate this fragment of Damoxenus with Athenaeus’ mention of significant honors (including granting of citizenship) given by Athenes to Aristonicus, Alexander the Great’s coach in ball games. Those honors are also reflected in the extant Athenian decree honoring Aristonicus. The talented ball-players became popular in the Hellenistic period possibly because at that time popularity was won by the idea that playing ball is useful for the military training. However conservators, continuing to regard ball games as mere entertainment (as it had been typical in the Classical period) could probably still exist, and Damoxenus’ mockery at the rapture over talent in ball game may reflect their views.