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Relevant bibliographies by topics / Trojan Women

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Academic literature on the topic 'Trojan Women'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 March 2023

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Journal articles on the topic "Trojan Women"

1

Wiltshire, Susan Ford, Euripides, and Shirley A. Barlow. "Euripides: Trojan Women." Classical World 82, no. 2 (1988): 133. http://dx.doi.org/10.2307/4350328.

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Lamont, Rosette C. "The Trojan Women (review)." Theatre Journal 49, no. 3 (1997): 361–63. http://dx.doi.org/10.1353/tj.1997.0084.

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Wilcox, Dean. "The Trojan Women by Euripides." Theatre Journal 70, no. 1 (2018): 87–88. http://dx.doi.org/10.1353/tj.2018.0007.

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Suter, Ann. "LAMENT IN EURIPIDES' TROJAN WOMEN." Mnemosyne 56, no. 1 (2003): 1–28. http://dx.doi.org/10.1163/156852503762457473.

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AbstractThis article summarizes the findings of an unpublished PhD dissertation, "The Form of Lament in Greek Tragedy" by E. Wright, which provide for the first time objective criteria for identification of lamentation in tragedy. It applies these criteria to the Trojan Women, and argues, on the basis of metrical and stylistic devices, that virtually every scene in the Trojan Women shows the characteristics of lament. The play is, from both the minute technical, and the overall structural, point of view, a lament. This provides explanations for some of the long-standing critical issues of the play, e.g., no unity, no plot, an ill-conceived prologue. The article then considers also how the Trojan Women fits into current discussions of lament as a gendered genre. It replies especially to work on the development of 5th-century Athenian attitudes towards female lament, in which a pattern of increased criticism and restriction, it is argued, is reflected in the changing treatment of lament in Athenian tragedy. The treatment of lament in the Trojan Women does not conform to this perceived development. This suggests that there were still a variety of attitudes current and influential in late 5th-century Athens towards female lamentation.

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Smiley, Leigh. "Trojan Women: The Vocal Soundscape." Voice and Speech Review 4, no. 1 (January 2005): 181–85. http://dx.doi.org/10.1080/23268263.2005.10739466.

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Simon Perris. "Euripides: Trojan Women (review)." Comparative Drama 44, no. 2 (2010): 231–34. http://dx.doi.org/10.1353/cdr.0.0102.

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Son, Elizabeth W. "Korean Trojan Women: Performing Wartime Sexual Violence." Asian Theatre Journal 33, no. 2 (2016): 369–94. http://dx.doi.org/10.1353/atj.2016.0041.

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Angelopoulou, Afroditi. "Gesture, Metaphor and the Body in Trojan Women." American Journal of Philology 142, no. 4 (2021): 597–627. http://dx.doi.org/10.1353/ajp.2021.0020.

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Aboelazm, Ingy. "Africanizing Greek Mythology: Femi Osofisan’s Retelling of Euripides’the Trojan Women." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 87. http://dx.doi.org/10.26417/ejls.v4i1.p87-103.

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Nigerian writer Femi Osofisan’s new version of Euripides' The Trojan Women, is an African retelling of the Greek tragedy. In Women of Owu (2004), Osofisan relocates the action of Euripides' classical drama outside the walls of the defeated Kingdom of Owu in nineteenth century Yorubaland, what is now known as Nigeria. In a “Note on the Play’s Genesis”, Osofisan refers to the correspondences between the stories of Owu and Troy. He explains that Women of Owu deals with the Owu War, which started when the allied forces of the southern Yoruba kingdoms Ijebu and Ife, together with recruited mercenaries from Oyo, attacked Owu with the pretext of liberating the flourishing market of Apomu from Owu’s control. When asked to write an adaptation of Euripides’ tragedy, in the season of the Iraqi War, Osofisan thought of the tragic Owu War. The Owu War similarly started over a woman, when Iyunloye, the favourite wife of Ife’s leader Okunade, was captured and given as a wife to one of Owu’s princes. Like Troy, Owu did not surrender easily, for it lasted out a seven-year siege until its defeat. Moreover, the fate of the people of Owu at the hands of the allied forces is similar to that of the people of Troy at the hands of the Greeks: the males were slaughtered and the women enslaved. The play sheds light on the aftermath experiences of war, the defeat and the accompanied agony of the survivors, namely the women of Owu. The aim of this study is to emphasize the play’s similarities to as well as shed light on its differences from the classical Greek text, since the understanding of Osofisan’s African play ought to be informed by the Euripidean source text.

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Catenaccio, Claire. "The Medium and the Messenger in Seneca’s Phaedra, Thyestes, and Trojan Women." Philologus 166, no. 2 (February 1, 2022): 232–56. http://dx.doi.org/10.1515/phil-2023-0100.

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Abstract The language of Seneca’s messenger speeches concentrates preceding patterns of imagery into grotesquely violent action. In three tragedies – Phaedra, Thyestes, and Trojan Women – the report of an anonymous messenger dominates an entire act. All three scenes describe gruesome deaths: the impalement of Hippolytus on a tree trunk in Phaedra, Atreus’ butchering of his nephews in Thyestes, and the slaughter of Astyanax and Polyxena in Trojan Women. In portraying violence, these messenger speeches repurpose language established in earlier scenes to realize and deform a dominant theme of each play: distorted sexuality, appetite, and moral dissolution.

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Dissertations / Theses on the topic "Trojan Women"

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

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Willis, Avery Tinch. "Euripides' Trojan women : a 20th century war play in performance." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:bb57e1d3-b560-45f2-8cd9-64befab97bba.

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In this dissertation, I approach the interpretation of a classical text in performance by examining the practical elements (directorial and design choices: set, costumes, lighting, music, etc.) and promotional materials (programmes, press releases, photographs, etc.) for a selection of significant test cases in order to determine how these production decisions engage with external factors of political, intellectual, and cultural import. Trojan Women is a particularly useful case study to explore within the parameters of this method because the dynamism and immediacy of the play is most powerfully articulated when production choices allow for it to be wielded as a weapon of protest or reaction against contemporary policy, especially the waging of war. Using a chronological approach, this analysis of Trojan Women as a text for performance provides a broad and in-depth discussion of the reception of the play in the twentieth century, the period in which the ancient text was most frequently performed. Through the investigation of several influential productions on the international stage, and through an examination of the roles of key players (particularly Gilbert Murray and Jean-Paul Sartre), Trojan Women emerges as a play that offers theatre artists a unique and effective forum for debating issues of human responsibility in times of war a central theme in the play and a considerable preoccupation during a century of armed conflict. Chapter One discusses how the play was used to criticize imperial activity and promote ideological causes in the first half of the century. Chapters Two and Three draw attention to a major cluster of performances reflecting the spirit of international war protest in the 1960s and 1970s. Chapter Four addresses productions of the play affected by delayed responses to the Holocaust. Chapter Five features performances in the 1990s that respond to crises of civil conflict and genocide.

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Jephta, Amy. "Free falling bird : an encounter with the Trojan women of Euripides." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12318.

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Includes bibliographical references.
The focus of this research relates to finding praxis for making theatre within a contemporary feminist framework with specific emphasis on writing for the theatre. It explores ways of opening up the possibility of feminist conversations beginning with the written text and how playwriting may problematise the representations of women on stage. This essay is a supporting document to my script, Free Falling Bird, as well as a supplement to the full production of the script in partial fulfillment of my MA degree in Theatre and Performance with a focus on playwriting. Firstly, I will establish a context by tracing the history and evolution of feminist performance practice, focusing especially on process, form and purpose, and introduce Sue-Ellen Case’s notion of contiguity as well as recent developments in post-feminism from theorists Elizabeth Wright and Elin Diamond. I will use the work of Roland Barthes, Richard Schechner, Hans-Thiess Lehmann and Catherine Bouko to trace parallel developments in the field of post dramatic theatre, especially with regards to the ‘death of the author’ and the decentralisation of the playwright as the maker of meaning. Finally, I will introduce Simone Benmussa and Helene Cixous’ term ‘spheres of disturbance’, as adopted by Elaine Aston, to propose how feminist playwriting may offer an intervention which disturbs the representations of women on stage. Secondly, I explore a practical model for creating and staging theatre which is located in the ‘sphere of disturbance’. Using a scheme proposed by Aston, I will offer an analysis of my own text and look at Diamond’s writing on narrative interventions in order to offer ways that the feminist text may be ‘ activated’ in performance. Finally, I return to the post dramatic, focusing on Hans-Thiess Lehmann’s notion of independent auditory semiotics, Liz Mills’ writing on acoustic spaces and Bouko’s ideas around the jazz body of the performer to investigate how the silenced female can articulate, speak and sound herself. I will lastly discuss how the combination of theory and practice articulated in this essay will feed into my own process as I work towards staging work which embodies and gives voice to the female experience.

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Simon, Lindsay Amber. "Costume Design and Production for Trojan Women 2.0, by Charles Mee." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1396372490.

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Kekis, Olga. "Contemporary Antigones, Medeas, and Trojan Women perform on stages around the world." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4118/.

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This thesis examines postmodern theatrical adaptations of Antigone, Medea and The Trojan Women to show how they re-define the central female figures of the source texts by creating a new work, or ‘hyperplay’, that gives the silenced and often silent female figures a voice, and assigns them a political presence in their own right. Using a collection of diverse plays and their performances which occurred in a variety of geographical locations in the late 20th and early 21st centuries, this thesis analyzes adaptive, ‘hypertheatrical’, strategies employed by the theatre, through which play texts from the past are ‘re-made’ in the here and now of theatrical performances. A close analysis of these performances demonstrates how the historical and cultural identity of contemporary audiences informs the process of re-interpretation of familiar material within new contexts. They evidence how these re-makings reflect the culture, the political moment or the socio-historical coincidence in which they are conceived and performed. Most importantly this thesis shows that without exception these appropriations become entirely new Antigones, Medeas and Trojan Women; they invoke re-configurations or re-inventions of femininity which detect and emphasise individual women’s strengths and female solidarity, thus placing the plays firmly within a contemporary feminist discourse.

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Aliberti, Chiara. "Listening as a Sanctuary from Human Annihilation: Euripides' Trojan Women and the Global Humanitarian Crisis." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8141.

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The scope of this research is to spark conversation among members of receiving communities concerning their attitudes toward displaced populations by using Euripides' Trojan Women as a facilitator. By many outside the Classics profession, the study of antiquity is often perceived as a discipline disconnected from current issues; however, remembering and examining the past can greatly shape the present. Ancient Greek theater is perhaps the genre that best lends itself to be scrutinized today for social purposes. In fact, it promoted introspection among the body of Athenian citizens by highlighting inequalities and imbalances in power structures between opposing parties. This study suggests that tragedies can still fulfill the same function. In particular, this essay focuses on Trojan Women, with the intent to unearth group dynamics between the Greek aggressors and the Trojan slaves, and to apply its lessons to recent humanitarian emergencies. Philological work shows that the Greeks in the play attempt to dehumanize their captives through practices of legal violence, objectification, and silencing. Nevertheless, the women find sanctuary from human annihilation through their ability to speak and to be heard. Dominant classes today employ similar techniques to disempower incoming societies and to deprive them of their political voice. Thanks to tragedy's ability to create a distancing effect through mythological narratives, public readings of Trojan Women might enable members of hosting countries to engage more readily in discussions concerning the theme of displacement that address their own biases. Therefore, this thesis argues that the analysis and reception of Trojan Women can elucidate the worldwide crisis in welcoming those seeking shelter and help groups asked to receive displaced populations make more compassionate and informed decisions.

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Martin, Tamra Artelia. "The fates of Clytemnestra and Cassandra." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1302.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
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Lee, Michael B. "An Actor’s Growth: From Student to Professional, Tackling Collegiate Theatre with Michael Lee." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/342.

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This thesis includes the journey of Michael Lee becoming a professional actor by performing several characters within two contrasting productions. The first, "The Trojan Women", by Euripides, Michael portrayed Poseidon, Talthybius, and The Guard in ETSU's very own Bud Frank Theatre. Michael's second production included the character of Charles in the modern drama "Race" by David Mamet, which was held in the newly renovated Studio 205. Michael documented his growth as an actor through daily journal entries and analyzing the final performances.

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CASTAGNA, DONATELLA. "IL TEMA DELLO SCONTRO CULTURALE E DELL'ESILIO NELLA RIPRESA CONTEMPORANEA DELLE MITOGRAFIE DELLA GRECIA CLASSICA: IL CASO DELLE TROIANE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/320.

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La tesi si concentra sull'analisi interpretativa e sul confronto culturale tra diverse riprese di un dramma antico sulla scena moderna. L'opera classica scelta è Troiane nella versione euripidea, soggetta a una notevole ripresa d'interesse da parte di registi e drammaturghi nel XX e XXI secolo. Si è inteso concentrare l'attenzione sui più significativi spettacoli e drammaturgie contemporanei (quindi apparsi sulle scene mondiali e, in particolare, italiane del secondo dopoguerra) che tematizzino a diversi livelli la questione del disagio, della violenza e delle forme dell'esclusione e dell'esodo dovuti a uno scontro fra culture antagoniste. Volutamente, sono stati studiati spettacoli poco noti alla critica e al grande pubblico. Il metodo di lavoro seguito è stato adattato alle caratteristiche di ogni allestimento e alla particolarità delle fonti. Infine, ho fornito una valutazione critica della riuscita artistica degli spettacoli e ho confrontato le diverse traduzioni impiegate dai registi.
The thesis deals with an interpretation and a cultural comparison among many different contemporary plays based on classic drama. In particular, I examined Trojan Women by Euripides, a tragedy that today is often present on the stage. The thesis presents an account on the most important present-day shows and writings from Italy and other countries about loneliness, violence and exile due to fights between different cultures. On purpose, I studied not generally known shows and plays. The study method has been adapted to every show features and to its evidences. Finally, I valued how and if a show succeeded and made a comparison among different translations of Euripides' trojan women.

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CASTAGNA, DONATELLA. "IL TEMA DELLO SCONTRO CULTURALE E DELL'ESILIO NELLA RIPRESA CONTEMPORANEA DELLE MITOGRAFIE DELLA GRECIA CLASSICA: IL CASO DELLE TROIANE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/320.

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La tesi si concentra sull'analisi interpretativa e sul confronto culturale tra diverse riprese di un dramma antico sulla scena moderna. L'opera classica scelta è Troiane nella versione euripidea, soggetta a una notevole ripresa d'interesse da parte di registi e drammaturghi nel XX e XXI secolo. Si è inteso concentrare l'attenzione sui più significativi spettacoli e drammaturgie contemporanei (quindi apparsi sulle scene mondiali e, in particolare, italiane del secondo dopoguerra) che tematizzino a diversi livelli la questione del disagio, della violenza e delle forme dell'esclusione e dell'esodo dovuti a uno scontro fra culture antagoniste. Volutamente, sono stati studiati spettacoli poco noti alla critica e al grande pubblico. Il metodo di lavoro seguito è stato adattato alle caratteristiche di ogni allestimento e alla particolarità delle fonti. Infine, ho fornito una valutazione critica della riuscita artistica degli spettacoli e ho confrontato le diverse traduzioni impiegate dai registi.
The thesis deals with an interpretation and a cultural comparison among many different contemporary plays based on classic drama. In particular, I examined Trojan Women by Euripides, a tragedy that today is often present on the stage. The thesis presents an account on the most important present-day shows and writings from Italy and other countries about loneliness, violence and exile due to fights between different cultures. On purpose, I studied not generally known shows and plays. The study method has been adapted to every show features and to its evidences. Finally, I valued how and if a show succeeded and made a comparison among different translations of Euripides' trojan women.

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Books on the topic "Trojan Women"

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1941-, Ahl Frederick, ed. Trojan women. Ithaca: Cornell University Press, 1986.

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Euripides. Trojan women. New York: Oxford University Press, 2008.

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Euripides. Trojan women. Warminster, Wiltshire, England: Aris & Phillips, 1986.

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David, Stuttard, and Shasha Tamsin, eds. Trojan women. York: aod, 2001.

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Hays, Tonya. The Trojan women. Woodstock, Ill: Dramatic Pub., 2009.

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Rubenstein, Howard S. The Trojan women. El Cajon, Calif: Granite Hills Press, 2002.

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Euripides. The Trojan women. Chicago: I.R. Dee, 1999.

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Euripides: Trojan Women. Warminster, Wilts: Aris & Phillips LTD., 1985.

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Euripides. The Trojan women. Newburyport, MA: Focus Classical Library, 2005.

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Buddy, Dubourg, and Euripides, eds. The Trojan women. Woodstock, Ill: Dramatic Pub., 2009.

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Book chapters on the topic "Trojan Women"

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Rabinowitz, Nancy Sorkin. "Trojan Women." In A Companion to Euripides, 197–213. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119257530.ch14.

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Kekis, Olga. "Hypertheatrical Engagement with Euripides’ Trojan Women: A Female ‘Writ of Habeas Corpus’." In Contemporary Approaches to Adaptation in Theatre, 195–212. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59783-0_10.

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Kunz, Rahel. "Windows of Opportunity, Trojan Horses, and Waves of Women on the Move: De-colonizing the Circulation of Feminist Knowledges through Metaphors?" In The Politics of Feminist Knowledge Transfer, 99–117. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-48685-1_6.

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"Trojan Women." In Brill's Companion to Euripides (2 vols), 255–77. BRILL, 2020. http://dx.doi.org/10.1163/9789004435353_014.

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Seneca], Seneca [Lucius Annaeus. "Trojan Women." In Oxford World's Classics: Seneca: Six Tragedies, edited by Emily Wilson, 103. Oxford University Press, 2010. http://dx.doi.org/10.1093/oseo/instance.00099456.

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Babbiotti, Paolo, and Luca Torrente. "Euripides’s Trojan Women:." In Conflict and Competition: Agon in Western Greece, 171–84. Parnassos Press - Fonte Aretusa, 2020. http://dx.doi.org/10.2307/j.ctv15tt78p.15.

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"2 Trojan Women." In Brill's Companion to the Reception of Euripides, 44–99. BRILL, 2015. http://dx.doi.org/10.1163/9789004299818_004.

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Euripides, _. "The Trojan Women." In Oxford World's Classics: Euripides: Hecuba; The Trojan Women; Andromache, edited by James Morwood, 38–130. Oxford University Press, 2001. http://dx.doi.org/10.1093/oseo/instance.00185910.

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Euripides. "The Trojan Women." In Euripides: Troades, edited by David Kovacs. Oxford University Press, 2018. http://dx.doi.org/10.1093/oseo/instance.00265866.

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"The Trojan Women." In The Plays of Euripides. Bloomsbury Academic, 2016. http://dx.doi.org/10.5040/9781474233620.0015.

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Conference papers on the topic "Trojan Women"

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Ferrão, Isadora Garcia, and Amanda Meincke Melo. "I Fórum Gurias na Computação: relato de experiências e desdobramentos." In Women in Information Technology. Sociedade Brasileira de Computação - SBC, 2016. http://dx.doi.org/10.5753/wit.2016.9697.

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A presença incipiente de mulheres na área de Tecnologia de Informação tem sido alvo recorrente de debates no Brasil e no exterior. Nesse contexto, com o tema “Experiências que inspiram”, foi proposto o I Fórum Gurias na Computação, integrado à “VII Semana Acadêmica do Campus Tecnológico de Alegrete”, que teve como proposta incentivar a troca de experiências entre profissionais da área de Computação e estudantes, assim como divulgar a área a estudantes do Ensino Médio. Busca-se, com este trabalho, compartilhar os resultados dessa experiência e seus desdobramentos, que inclui a proposta de uma ação de extensão para promover a participação feminina na Computação.

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Sardinã, Idalmis Millián, and Cristiano Maciel. "Ações para Incentivar Meninas do Ensino Médio a Cursar Carreiras Tecnológicas da Universidade Federal do Rio Grande do Norte." In Women in Information Technology. Sociedade Brasileira de Computação - SBC, 2016. http://dx.doi.org/10.5753/wit.2016.9689.

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Estudos realizados apontam que existe um déficit de mulheres em cursos TI, constituindo o sexo feminino menos de 30% do volume total de alunos. Por outro lado, as pesquisas mostram que mulheres formadas nestas áreas, atualmente, representam um percentual relevante e bem sucedido da população brasileira, resultando em excelentes profissionais. Assim, esta pesquisa dá continuidade a uma iniciativa de integrar a Universidade Federal do Rio Grande do Norte (UFRN) às escolas públicas de ensino médio, promovendo diferentes articulações. Neste momento a UFRN já executa atividades integradas concretas com a Escola Estadual Presidente Roosevelt (EEPR) de Parnamirim e um intercâmbio com a Havana-Cuba, na troca de modelos culturais e de ensino, assim como na aquisição de novas experiências. Na proposta em tela sugere-se uma nova ação a este projeto, na qual as alunas de escolas da rede pública de ensino médio possam conhecer as carreiras tecnológicas da Universidade, por meio de atividades associadas.

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Ouellet, Chantal, Amal Boultif, and Pierre Jonas Romain. "OUTCOMES OF SLAM WRITING WORKSHOPS FOR HAITIAN STUDENTS AT THE END OF ELEMENTARY SCHOOL." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v2end052.

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"In Haiti, the success rate in elementary school remains very low and the majority of teachers do not have sufficient knowledge of effective pedagogical approaches to writing which leads to demotivation and a low sense of effectiveness as scriptwriters among students. We chose slam as a genre of contemporary and urban poetry (Vorger, 2011) and the workshop device to work on slam poetic writing (Troia, Lin, Cohen and Monroe, 2011), ideal to improve students' writing skills, motivation and sense of effectiveness. The research took place in two primary schools in Port-au-Prince against the backdrop of a socio-political crisis. Twelve facilitators (10 women and 2 men), trained in advance, facilitated the workshops in 13 sessions of 90 minutes each. A total of 61 students aged 12-13 participated in the after-school writing workshops (26 boys and 38 girls). Students completed a questionnaire on their motivation and sense of writing skills before and after the program. A corpus of 41 texts of claimed poetry written by students is the subject of a thematic and linguistic analysis. The results indicate that students benefit from their writing and oral expression skills, self-confidence and empowerment, and that their texts demonstrate a high degree of linguistic creativity and thematic richness. The positive results are consistent with those obtained in other socio-cultural contexts (Patmanathan, 2014) regarding the impact of the writing workshops. They contribute to new knowledge about slam poetry as an appropriate literary genre for young people, even at the end of primary school."

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