Relevant bibliographies by topics / Plutarch Plutarch. Theater Theater

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  2. Dissertations / Theses
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Academic literature on the topic 'Plutarch Plutarch. Theater Theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Plutarch Plutarch. Theater Theater"

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Evans Romero, Constance. "Ancient ecstatic theater and Analytical Psychology: creating space for Dionysus." International Journal of Jungian Studies 9, no. 2 (2017): 75–83. http://dx.doi.org/10.1080/19409052.2017.1306332.

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ABSTRACTThis paper explores links between the theatrical aspect of the Dionysian archetype and Analytical Psychology. It looks at some of the Dionysian elements in Jung’s published work and follows up with a brief exploration into how some of the potentially generative aspects of the archetype continue to be suspect in current clinical practice. Plutarch’s historic anecdote about the first actor, Thespis, and his dialogue with the Athenian Magistrate, Solon, will provide a focus with which to explore Dionysian elements within the Individuation process. A final section includes a short case his
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Davidson, John. "Euripides' Bacchae in New Zealand Dress." Antichthon 41 (2007): 97–108. http://dx.doi.org/10.1017/s0066477400001775.

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Euripides' Bacchae is a play which has intrigued, disturbed and challenged many spectators, readers, theatre practitioners and interpreters. Its spectacular and gruesome aspects in particular have also given rise over the years to notable anecdotes, such as that recorded by Plutarch (Crassus 33) to the effect mat the Roman general's severed head was carried by the Agave actor in a performance of the play at the Parthian court in 53 BC. At times, moreover, arguably on account of such a graphic portrayal of the elemental and destructive forces unleashed by the Dionysus principle, it has been reg
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Tiffany, Grace. "Shakespeare's Dionysian Prince: Drama, Politics, and the "Athenian" History Play." Renaissance Quarterly 52, no. 2 (1999): 366–83. http://dx.doi.org/10.2307/2902057.

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AbstractThis essay argues that Shakespeare drew on Plutarch's and Plato's representations of the Greek general Alcibiades in his representation of Prince Hal/King Henry V, and on classical and Renaissance representations of Socrates for his representation of Prince Hal's "tutor," Falstaff. Crucial to Shakespeare's adaption of these classical "characters" were the writings of Erasmus and Rabelais, which represented Socrates as both sophist and jovial Silenus. Shakespeare was also influenced by the association Symposium makes between Alcibiades and Dionysus, god of wine and of the theater. Conse
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Flower, Harriet I. "Fabulae Praetextae in context: when were plays on contemporary subjects performed in Republican Rome?" Classical Quarterly 45, no. 1 (1995): 170–90. http://dx.doi.org/10.1017/s000983880004177x.

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The fabula praetexta is a category of Roman drama about which we are poorly informed. Ancient testimonia are scanty and widely scattered, while surviving fragments comprise fewer than fifty lines. Only five or six titles are firmly attested. Scholarly debate, however, has been extensive, and has especially focused on reconstructing the plots of the plays.1 The main approach has been to amplify extant fragments by fitting them into a plot taken from treatments of the same episode in later historical sources such as Livy, Dionysius, or Plutarch.2 This method was extended by Mommsen and others in
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Van Laarhoven, Jan. "Titles and Subtitles of the Policraticus A Proposal." Vivarium 32, no. 2 (1994): 131–60. http://dx.doi.org/10.1163/156853494x00087.

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AbstractIntroduction and Prologue 489 lines Part I. Officials and their ado. total: 6.214 lines Bk. 1. Curial occupations: 1.309 lines a) starting-point 3 ch.: 70 l. b) games 5 ch.: 820 l. c) varieties of magic 5 ch.: 419 l. Bk. 2. The truth of signs: prol.: 14 1. 3.116 lines a) true and false signs 3 ch.: 142 1. b) exc.: Jerusalem A.D. 70 6 ch.: 385 1. c) sequel: signs 5 ch.: 127 l. d) dreams 3 ch.: 386 l. e) a problem 9 ch.: 1.272 l. f) prognostications 3 ch.: 790 l. Bk. 3. The falsehood of flattery: prol.: 26 l. 1.789 lines a) introduction 3 ch.: 194 1. b) flattery 4 ch.: 373 1. c) the thea
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Kaufman, Peter Iver. "English Calvinism and the Crowd: Coriolanus and the History of Religious Reform." Church History 75, no. 2 (2006): 314–42. http://dx.doi.org/10.1017/s0009640700111333.

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Late Tudor London comes alive when Stephen Greenblatt's acclaimed biography of William Shakespeare, shadowing its subject, takes to the streets. “The unprecedented concentration of bodies jostling … crossing and recrossing the great bridge, pressing into taverns and theaters and churches,” Greenblatt suggests, is a “key to the whole spectacle” of crowds in the playwright's histories and tragedies. To be sure, his little excursions in London left their mark on his scripts, yet he scrupulously sifted his literary sources from which he drew characters and crises onto the stage. He prowled around
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7

Feeney, D. C. "‘Stat Magni Nominis Umbra.’ Lucan on the Greatness of Pompeius Magnus." Classical Quarterly 36, no. 1 (1986): 239–43. http://dx.doi.org/10.1017/s0009838800010685.

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At the age of twenty-five, Gn. Pompeius acquired the spectacular cognomen of Magnus. According to Plutarch (Pomp. 13), the name came either from the acclamation of his army in Africa, or at the instigation of Sulla. According to Livy, the practice began from the toadying of Pompeius' circle (‘ab adsentatione familiar’, 30.45.6). The cognomen invited play. At the Ludi Apollinares of July 59, Cicero tells us, the actor Diphilus won ‘a dozen encores’ when he pronounced, from a lost tragedy, the line ‘nostra miseria tu es magnus’. Four or five years later Catullus scored a fine hit, filching Pompe
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Richmond-Garza, Elizabeth M. "Concentrating on and in Literature." PMLA/Publications of the Modern Language Association of America 117, no. 3 (2002): 506–9. http://dx.doi.org/10.1632/003081202x61287.

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Language rustles. its particularity can be heard and even described. When Roland Barthes first suggested this metaphor for the ways in which language is detectable per se, he offered a structuralist rejection of the mimetic and hermeneutic models of literature. Nearly forty years later, his insistence on the detectability of language suggests a defense of literary study that is profoundly humanistic. Barthes's literature, with its special discursive density, answers the claim that literature programs, which perhaps were never seen as fully practical, have betrayed the public trust through aloo
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Dissertations / Theses on the topic "Plutarch Plutarch. Theater Theater"

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Dubreuil, Raphaëla Jane. "Theatrica and political action in Plutarch's Parallel Lives." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23432.

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This thesis explores Plutarch’s use of metaphors and similes of the theatre in order to represent, explore and criticise political action in his Parallel Lives. Most of the studies available on Plutarch’s use of the theatre have tended to address his understanding and employment of the tragic, that is what is defined as tragedy as a genre from the conventions of language, plot and characterisation. This approach belongs to the textual, literary aspect of theatrical production, the word of the writer, and the interpretation of the reader. Although interlinked with my study, this is not what my
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Books on the topic "Plutarch Plutarch. Theater Theater"

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Flickinger, Roy C. Plutarch As A Source Of Information On The Greek Theater. Kessinger Publishing, LLC, 2007.

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Flickinger, Roy C. Plutarch As A Source Of Information On The Greek Theater. Kessinger Publishing, LLC, 2007.

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Dubreuil, Raphaëla. The Orator in the Theatre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198748472.003.0012.

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This chapter explores the image Plutarch created of the end of Athenian Democracy. Its aim is to show that Plutarch conceived of this end through the lens of the theatre, and to explore the origins of this portrayal. It makes this argument through close study of the intersection of theatre and politics in Plutarch’s Life of Phocion. Plutarch expresses the political significance of crucial moments by drawing attention to their theatrical dimension. Theatrical venues, self-presentation, staging, speech, and props are used in order to create an emotional impact on an Athenian audience. Since Plut
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Book chapters on the topic "Plutarch Plutarch. Theater Theater"

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Gee, Emma. "The Dark Side of the Moon." In Mapping the Afterlife. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670481.003.0011.

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This chapter brings us from Plato to a second-century CE reception of his dialogues, in the work of Plutarch. It concentrates on one dialogue of Plutarch, the De facie in orbe lunae (On the Face in the Moon’s Disc). In the myth that concludes this dialogue, the speaker, Sulla, references Homer’s Elysium from Odyssey 4. But Sulla lifts the Homeric Elysium from “the ends of the earth,” up a level, so that it is situated in the moon. This sets the scene for the rest of Plutarch’s eschatological myth, in which Elysium is repositioned as part of an ascending world-system. Cosmos in Plutarch is the theater for soul. Soul and cosmos in Plutarch are bound up in a sequence of functional interrelationships. Plutarch’s tripartite cosmos functions like the human entity and in fact is the physical area of operation in the life and death of the human entity. There is a truly intertwined relationship between the tripartite human entity and the tripartite cosmos: a three-stage cosmos gives a three-stage cycle of death to life and back, from the sun to the moon to the earth, over and over again. Plutarch’s whole cosmos takes on the role of an afterlife landscape. The De facie gives us the clearest instance we’ve yet seen of the phenomenon of psychic harmonization, in which the soul is entirely integrated with the universe.
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"The Life of Theseus: From Theater to History." In A Man of Many Interests: Plutarch on Religion, Myth, and Magic. BRILL, 2019. http://dx.doi.org/10.1163/9789004404472_002.

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