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Relevant bibliographies by topics / Phoenician women (Euripides)

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Academic literature on the topic 'Phoenician women (Euripides)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Phoenician women (Euripides)"

1

Peyré, Yves. "Eclectism and Syncretism in Gascoigne and Kinwelmersh's Jocasta." Translation and Literature 29, no. 1 (March 2020): 44–58. http://dx.doi.org/10.3366/tal.2020.0408.

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George Gascoigne and Francis Kinwelmersh's Jocasta (printed 1573) does not merely adapt Lodovico Dolce's Giocasta. It also draws on a variety of texts, classical and vernacular, including common emblems on which the dumb shows are based, and Senecan themes and phrasing. Some elements that do not derive from Dolce might suggest that Gascoigne and Kinwelmersh also consulted at least one of the three Latin translations of Euripides' Phoenician Women, possibly Collinus'. Gascoigne and Kinwelmersh's borrowings were consistently made to conform their work to their intellectual leanings, their ideological outlook, and their artistic design. At the same time, the Euripidean themes that were brought into their play through Dolce and, it seems, some other version of Phoenician Women, may have sown the seeds of new ideas about the nature of tragedy.

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Willink, C. W. "The goddess ΕΥΛΑΒΕΙΑ and pseudo-Euripides in Euripides' Phoenissae." Proceedings of the Cambridge Philological Society 36 (1990): 182–201. http://dx.doi.org/10.1017/s0068673500005277.

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Few, if any, Euripidean plays are altogether free from interpolation. The Phoenician Women, apart from the posthumous Iphigenia at Aulis, has incurred more suspicion than any other. No reputable scholar now doubts that this play contains numerous intrusive verses; and few would deny, though there is almost infinite room for disagreement in detail, that some of these intrusions are of passages rather than odd lines.More controversial, but also more important, are the related issues, whether it contains longer or otherwise structurally significant interpolations that affect the play's essential integrity; and (if so) whether in a purely additive way (so in principle still remediable by excision) or with an element of retractatio (not so remediable, the Urtext having been deliberately altered with some cutting to make way for new material).

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Papadodima, Efi. "The Rhetoric of Fear in Euripides’Phoenician Women." Antichthon 50 (November 2016): 33–49. http://dx.doi.org/10.1017/ann.2016.4.

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AbstractIn accordance with its notoriously rich plot,Phoenician Womenexplores diverse aspects of fear that affect, and are thematised by, various parties at different stages of the plot.1Against the background of a virtually ‘irrational’ and inescapable divine necessity (treated as a source of dread in itself), Euripides presents the play’s central crisis as being largely determined by rational and controlled decision-making, within an array of moral disputes that enter the scene. The agents’ decision-making standardly comprises diverging, conflicting, or inconsistent attitudes towards fear and related emotions, such as shame (in both past and present).The rhetoric of fear thus reflects and further highlights the characters’ conflicting viewpoints, as well as Euripides’ trademark tendency to toy with his audience’s expectations and assumptions about ethical values and what is ‘right’. This article argues that his approach is substantially different from the Aeschylean treatment of the same myth (Seven against Thebes). By offering a concrete and abstract treatment of the situational anxieties over war and familial feud, Euripides’ rhetoric of fear ultimately shifts the focus to the complexities and contradictions of human motivation.

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Méndez Dosuna, Julián V. ""El significado del adjetivo ἔναυλος en Sófocles, Filoctetes 158 y en Eurípides, Fenicias 1573"." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas, no. 32 (2020): 449–57. http://dx.doi.org/10.25145/j.fortunat.2020.32.29.

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The adjective ἔναυλος, -ον is a hypostatic compound based on the phrase ἐν αὐλῇ. InSophocles’ Philoctetes, it refers to the interior of the cavern where the protagonist lives (αὐλή ‘dwelling’).In Euripides’ Phoenician Women, Eteocles and Polinices are compared in a simile to two lions fighting. The adjective ἐναύλους has been previously interpreted as meaning ‘being in a den cave’ or, alternatively, ‘quarrelling over a den / cave’. A different meaning is here proposed: the lions fight pent up (αὐλή ‘pen, fold’) in the space between the two armies

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Konstan, David. "The Two Faces of Parrhêsia: Free Speech and Self-Expression in Ancient Greece." Antichthon 46 (2012): 1–13. http://dx.doi.org/10.1017/s0066477400000125.

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AbstractParrhêsia has been understood as a right under the Athenian democracy, roughly equivalent to the right of free speech in modern democracies, including the privilege of speaking in the assembly. In this paper, I argue that the notion of ‘rights’ is anachronistic in this connection; more particularly, parrhêsia was less a right than an expectation, the idea that one might freely express even unpopular opinions without fear of repression. But unpopular opinions might run athwart notions of public decency, and free expression might tilt over into license or shamelessness. Examples are given of how Athenian discourse, in tragedy (especially Euripides' Phoenician Women) and oratory, negotiated the delicate balance between forthrightness and insolence.

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Chong-Gossard, J. H. Kim On. "(T.) Papadopoulou Euripides: Phoenician Women. Pp. 160, ills, map. London: Duckworth, 2008. Paper, £12.99. ISBN: 978-0-7156-3464-6." Classical Review 59, no. 2 (September 15, 2009): 625–26. http://dx.doi.org/10.1017/s0009840x09001413.

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Γεωργακάκη, Ε. "A young student translates ancient Greek drama: a passage of Euripides’ Phoenissai translated by Alexandros Rizos Rangavis (1824)." Kathedra, no. 18(1) (May 15, 2024): 101–16. http://dx.doi.org/10.52607/26587157_2024_18_101.

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Το μελέτημα αναφέρεται στη μεταφραστική άσκηση που ανέθεσε στον φοιτούντα στο Ελληνικό Σχολείο της Οδησσού, Αλέξανδρο Ρίζο Ραγκαβή, ο δάσκαλός του Κωνσταντίνος Βαρδαλάχος, στο πλαίσιο μεταφραστικών δοκιμών στους αρχαίους κλασικούς. Ο Ραγκαβής επέλεξε ένα απόσπασμα από τις Φοίνισσες του Ευριπίδη, το οποίο χώρισε σε τρεις σκηνές και το μετέφρασε σε ομοιοκατάληκτο δεκαπεντασύλλαβο στίχο. Ένα μετάφρασμα, που φανερώνει τη φιλότιμη προσπάθεια του νεαρού Αλέξανδρου να αποδώσει τη δραματική ποίηση σε μέτρο, σε αντίθεση με την καθοδήγηση του δασκάλου του, Κ. Βαρδαλάχου, ο οποίος συντασσόταν με την απόδοση του αρχαίου ελληνικού δράματος σε πεζό λόγο, άποψη που ενστερνιζόταν, εκτός των άλλων λογίων, ο Νεόφυτος Δούκας. Λαμβάνοντας υπ’ όψη την εξελικτική πορεία των απόψεων του Αλέξανδρου Ρίζου Ραγκαβή σχετικά με τη μετάφραση του αρχαίου δράματος στα νέα ελληνικά, όπως αποτυπώνεται στο προοίμιο της μνημειώδους έκδοσης Μεταφράσεις Ελληνικών Δραμάτων (Αθήνα, 1860), αλλά και τις ίδιες τις μεταφράσεις του, ιδιαίτερα εκείνης της Αντιγόνης του Σοφοκλή που χρησιμοποιήθηκε για την παράσταση του δράματος στο Ωδείο Ηρώδου του Αττικού το 1867, ετούτη η πρώτη του μεταφραστική απόπειρα φανερώνει την εμπνευσμένη διάθεση του νεαρού μεταφραστή να εμφυσήσει ζωή και ρυθμό στο αρχαίο κείμενο. The study refers to the translation exercise assigned to the student at the Greek School of Odessa, Alexandros Rizos Rangavis, by his teacher, Konstantinos Vardalachos, in the context of translation tests on the ancient classics. Rangavis chose a passage from Euripides’ Phoenissai (The Phoenician Women), which he divided into three scenes and translated into rhyming fifteen-syllable verse. A translation, which reveals the effort of the young Alexander to render dramatic poetry in verse, in contrast to the guidance of his teacher, K. Vardalachos, who supported the idea of translating ancient Greek drama in prose. Taking into account the evolution of the views of Alexandros Rizos Rangavis regarding the translation of ancient drama into modern Greek, as reflected in the preface of the monumental edition Translations of Hellenic Dramas (Athens, 1860), but also his translations themselves, especially that of Sophocles’ Antigone which was used for the performance of the drama at the Odeon of Herodes of Atticus in 1867, this first attempt at translation reveals the young translator’s inspired disposition to breathe life and rhythm into the ancient text.

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Willink, C. W. "Euripides Alcestis. Ed. and trans. D. J. Conacher. (Classical texts.) Warminster: Aris & Phillips, 1988. Pp. v + 201. £28.00 (bound), £9.95 (paper). Phoenician women. Ed. and trans. E. Craik. (Classical texts.) Warminster: Aris & Phillips, 1988. Pp. ix + 274. £28.00 (bound), £9.95 (paper)." Journal of Hellenic Studies 110 (November 1990): 219–20. http://dx.doi.org/10.2307/631757.

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Kasimis, Demetra. "(C.E.) Luschnig, (P.) Woodruff (trans.) Euripides: Electra, Phoenician Women, Bacchae, Iphigenia at Aulis. Pp. xl + 286, map. Indianapolis and Cambridge: Hackett Publishing Company, Inc, 2011. Paper, £8.95, US$11.95 (Cased, £26.95, US$37.95). ISBN: 978-1-60384-460-4 (978-1-60384-461-1 hbk)." Classical Review 62, no. 2 (September 12, 2012): 662–63. http://dx.doi.org/10.1017/s0009840x12001539.

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Kocijančič, Matic. "Truly Bewept, Full of Strife: The Myth of Antigone, the Burial of Enemies, and the Ideal of Reconciliation in Ancient Greek Literature." Clotho 3, no. 2 (December 24, 2021): 55–72. http://dx.doi.org/10.4312/clotho.3.2.55-72.

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In postwar Western culture, the myth of Antigone has been the subject of noted literary, literary-critical, dramatic, philosophical, and philological treatments, not least due to the strong influence of one of the key plays of the twentieth century, Jean Anouilh’s Antigone. The rich discussion of the myth has often dealt with its most famous formulation, Sophocles’ Antigone, but has paid less attention to the broader ancient context; the epic sources (the Iliad, Odyssey, Thebaid, and Oedipodea); the other tragic versions (Aeschylus’s Seven Against Thebes and his lost Eleusinians; Euripides’s Suppliants, Phoenician Women, and Antigone, of which only a few short fragments have been preserved); and the responses of late antiquity. This paper analyses the basic features of this nearly thousand-year-long ancient tradition and shows how they connect in surprising ways – sometimes even more directly than Sophoclean tragedy does – with the main issues in some unique contemporary traditions of its reception (especially the Slovenian, Polish and Argentine ones): the question of burying the wartime (or postwar) dead and the ideal of reconciliation.

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Dissertations / Theses on the topic "Phoenician women (Euripides)"

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Sanders, Kyle Austin. "The concept of autochthony in Euripides' Phoenissae." Thesis, 2014. http://hdl.handle.net/2152/25781.

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Euripides’ Phoenissae is a challenging work that is often overlooked by scholars of Greek drama. This study analyzes how the concept of autochthony occupies a central thematic concern of the play. On the one hand, autochthony unites humans to soil, political claims to myths, and present to past. On the other hand, autochthony was often invoked to exclude foreigners, women and exiles from political life at Athens. We observe a similar dichotomy in the Phoenissae. Autochthony unites the episode action–the story of the fraternal conflict—with the very different subject matter of the choral odes, which treat the founding myths of Thebes. By focalizing the lyric material through the perspective of marginalized female voices (Antigone and the chorus), Euripides is able to problematize the myths and rhetoric associated with autochthony. At the same time, Antigone’s departure with her father at the play’s close offers a transformation of autochthonous power into a positive religious entity. I suggest that a careful examination of the many facets of autochthony can inform our understanding of the Phoenissae with respect to dramatic structure, apparent Euripidean innovations, character motivation, stage direction and audience reception.
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Catenaccio, Claire. "Monody and Dramatic Form in Late Euripides." Thesis, 2017. https://doi.org/10.7916/D8G44X64.

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This study sets out to reveal the groundbreaking use of monody in the late plays of Euripides: in his hands, it is shaped into a potent and flexible instrument for representing emotion and establishing new narrative and thematic structures. Engaging with the current scholarly debate on music, affect, and characterization in Greek tragedy, I examine the role that monody plays in the musical design of four plays of Euripides, all produced in the last decade of his career: Ion, Iphigenia in Tauris, Phoenician Women, and Orestes. These plays are marked by the increased presence of actors’ song in proportion to choral song. The lyric voice of the individual takes on an unprecedented prominence with far-reaching implications for the structure and impact of each play. The monodies of Euripides are a true dramatic innovation: in addition to creating an effect of heightened emotion, monody is used to develop character and shape plot. In Ion, Iphigenia in Tauris, Phoenician Women, and Orestes, Euripides uncouples monody’s traditional and exclusive connection with lament. In contrast to the work of Aeschylus and Sophocles, where actors’ song is always connected with grief and pain, in these four plays monody conveys varied moods and states of mind. Monody expresses joy, hope, anxiety, bewilderment, accusation, and deliberation. Often, and simultaneously, it moves forward narrative exposition. The scope and dramatic function of monody grows and changes: passages of actors’ lyric become longer, more metrically complex, more detached from the other characters onstage, and more intensely focused on the internal experience of the singer. In the four plays under discussion we see a steadily increasing refinement and expansion of the form, a development that rests upon the changes in the style and function of contemporary music in the late fifth century. By 415 B.C., many formal features of tragedy had become highly conventionalized, and determined a set of expectations in the contemporary audience. Reacting against this tradition, Euripides successively redefines monody: each song takes over a traditional Bauform of tragedy, and builds upon it. The playwright uses the paired monodies of Ion to pose a conflict of ideas that might otherwise be conveyed through an agon. In Iphigenia in Tauris the heroine’s crisis and its resolution are presented in lyrics, rather than as a deliberative rhesis. In Phoenician Women, Antigone, Jocasta, and Oedipus replace the Chorus in lamenting the fall of the royal house. Finally, the Phrygian slave in Orestes sings a monody explicitly marked as a messenger speech that inverts the conventions of the form to raise questions about objectivity and truth in a disordered world. In examining these four plays, I hope to show some of the various potentials of this new Euripidean music as a major structural element in tragic drama, insofar as it can heighten emphasis, allow for the development of emotional states both subtle and extreme, reveal and deepen character, and mirror thematic movements. Euripides establishes monody as a dramatic form of considerable versatility and power. The poetry is charged with increased affect and expressivity; at the same time it articulates a new self-consciousness about the reciprocal capacities of form and content to shape one another. Here we may discern the shift of sensibility in Euripides’ late work, which proceeds pari passu with an apparent loosening of structural demands, or what one with equal justice might recognize as an increase in degrees of freedom. As the playwright repeatedly reconfigures the relationship between form and content, the range of what can happen onstage, of what can be said and sung, expands.

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Books on the topic "Phoenician women (Euripides)"

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Euripides. Ion: Orestes ; Phoenician women ; Suppliant women. Oxford: Oxford University Press, 2001.

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Papadopolou, Thalia. Euripides: Phoenician Women. Bloomsbury Publishing Plc, 2014.

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Papadopolou, Thalia. Euripides: Phoenician Women. Bloomsbury Publishing Plc, 2014.

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Papadopolou, Thalia. Euripides: Phoenician Women. Bloomsbury Publishing Plc, 2014.

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5

Craik, Elizabeth. Euripides: Phoenician Women (Classical Text/Greek Texts). Aris & Phillips, 1988.

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Craik, Elizabeth. Euripides: Phoenician Women (Classical Text/Greek Texts). Aris & Phillips, 1988.

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Euripides IV: Helen, The Phoenician Women, Orestes. University of Chicago Press, 2013.

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Euripides IV: Helen, the Phoenician Women, Orestes. University of Chicago Press, 2013.

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Euripides and David Kovacs. Euripides, Volume V. Helen. Phoenician Women. Orestes. Loeb Classical Library, 2002.

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Euripides IV: Helen, the Phoenician Women, Orestes. University of Chicago Press, 2013.

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Book chapters on the topic "Phoenician women (Euripides)"

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Lamari, Anna A. "Phoenician Women." In A Companion to Euripides, 258–69. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119257530.ch18.

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"Phoenician Women." In Monody in Euripides, 112–56. Cambridge University Press, 2023. http://dx.doi.org/10.1017/9781009300179.004.

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"Phoenician Women." In Brill's Companion to Euripides (2 vols), 343–59. BRILL, 2020. http://dx.doi.org/10.1163/9789004435353_018.

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"The Phoenician Women." In The Plays of Euripides. Bloomsbury Academic, 2016. http://dx.doi.org/10.5040/9781474233620.0019.

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"9 Phoenician Women." In Brill's Companion to the Reception of Euripides, 292–319. BRILL, 2015. http://dx.doi.org/10.1163/9789004299818_011.

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Andújar, Rosa. "Phoenician Women—“Deviant” Thebans Out of Time." In Queer Euripides. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350249653.ch-015.

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Euripides, _. "The Phoenician Women." In Oxford World's Classics: Euripides: Ion, Orestes, Phoenician Women, Suppliant Women, edited by Robin Waterfield, Edith Hall, and James Morwood, 96–207. Oxford University Press, 2001. http://dx.doi.org/10.1093/oseo/instance.00185848.

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Dunn, Francis M. "Phoenician Women and Narrative." In Tragedy’s End, 180–202. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195083446.003.0011.

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Abstract Around the time of the production of Orestes, 1 Euripides produced another play that was just as experimental and would become just as popular: Phoenician Women and Orestes were the most commonly read and quoted classical works apart from Homer throughout antiquity, and together with Hecuba came to form the “Byzantine triad” of select plays. It is an interesting item in the history of reception that ancient audiences and readers showed much greater interest in these innovative plays than do their modern counterparts, although there are signs that this is beginning to change. But my interest here is not in the play’s reception, but in its highly original narrative structure. Phoenician Women is a remarkable pastiche of legends about Oedipus and his family; the cast list, as Elizabeth Craik observes, “reads like a guest list for a macabre house party of the Theban royal family,” and these legends and characters are woven together in a way that explores the possibilities, uncertainties, and prosaic pleasures of a narrative text. Where Helen offers a happily fortuitous and romantic end, and Orestes is torn between the opposing ends of tragedy and comedy, Phoenician Women becomes immersed in the difficulties of seeing or choosing an end, in the mundane pleasures and problems of grappling with knots. I will therefore let this play with its unprecedented narrative impulse serve as a final example of the ways in which Euripides’ experimentation with closing gestures and closural patterns transformed tragedy into something entirely different.

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Euripides, _. "The Suppliant Women." In Oxford World's Classics: Euripides: Ion, Orestes, Phoenician Women, Suppliant Women, edited by Robin Waterfield, Edith Hall, and James Morwood, 138–215. Oxford University Press, 2001. http://dx.doi.org/10.1093/oseo/instance.00185849.

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"13. Review Of Conacher, Euripides Alcestis And Craik, Euripides Phoenician Women (Warminster, 1988)." In Collected Papers on Greek Tragedy, 237–40. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004182813.i-862.35.

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