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Artículos de revistas sobre el tema "Reception of greek drama"

Autor: Grafiati

Publicado: 23 de noviembre de 2024

Última modificación: 31 de julio de 2025

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1

Jackson, Lucy. "Ghostly Reception and Translation ad spiritum: The Case of Nicholas Grimald’s Archipropheta (1548)." Translation and Literature 32, no. 2 (2023): 139–56. http://dx.doi.org/10.3366/tal.2023.0546.

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When considering the landscape of drama and theatre performance in the sixteenth century in terms of classical reception, original plays written in Latin have not been accorded full attention. The many hundreds of Latin plays written and performed in England alone in this century were potentially vital locations for experimentation and for the reception not only of obvious Roman models but also of ancient Greek plays. In this article, one example, the biblical Latin drama Archipropheta by the scholar, poet, and playwright Nicholas Grimald (1519–1562), is examined to show how it is haunted by a

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2

Revermann, Martin. "Reception Studies of Greek Drama." Journal of Hellenic Studies 128 (November 2008): 175–78. http://dx.doi.org/10.1017/s0075426900000124.

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3

Pormann, Peter E. "Greek Thought, Modern Arabic Culture: Classical Receptions since the Nahḍa". Intellectual History of the Islamicate World 3, № 1-2 (2015): 291–315. http://dx.doi.org/10.1163/2212943x-00301011.

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This article surveys the growing, yet largely understudied field of classical receptions in the modern Arab world, with a specific focus on Egypt and the Levant. After giving a short account of the state of the field and reviewing a small number of previous studies, the article discusses how classical studies as a discipline fared in Egypt; and how this discipline informed modern debates about religous identity, and notably views on the textual history of the Qurʾān. It then turns to three literary genres, epic poetry, drama, and lyrical poetry, and explores the reception of classical literatu

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4

Hamilton, John T. "Aspects of reception: reading Goethe’s Iphigenie auf Tauris with Adorno, Fassbinder, and Jauss." Classical Receptions Journal 12, no. 2 (2019): 129–48. http://dx.doi.org/10.1093/crj/clz016.

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Abstract In staging his Iphigenie auf Tauris, Johann Wolfgang Goethe stages reception itself. The story about a Mycenaean maiden who, exiled from her home in the South, was welcomed and sheltered by the barbarian people of the North, readily represents how the corpus of ancient Greek culture, detached from its native historical context, came to be received and curated by German artists, poets, and scholars, including, of course, by Goethe himself. If Goethe’s text is indeed understood as an allegory of reception, then subsequent readings of his Iphigenie should exhibit any number of ways in wh

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5

Foley, Helene. "Classics and Contemporary Theatre." Theatre Survey 47, no. 2 (2006): 239–44. http://dx.doi.org/10.1017/s0040557406000214.

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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associ

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6

Georgopoulou, Varvara. "Theatre in Greece during the Interwar Period: A General Overview." CONCEPT 27, no. 2 (2024): 26–41. http://dx.doi.org/10.37130/8a1ny819.

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The article attempts to provide an overall overview of the Greek theatre during the interwar period. Specifically, it examines the conditions that influenced playwriting and the establishment and operation of theatrical troupes and institutions. The interwar period sheds light on modern Greek theatre and its darker side, leading up to the current theatrical landscape. The article summarises its impact on theatrical practice, the reception of ancient drama, and the emergence and consolidation of important domains such as directing and theatre criticism within the institutionalisation of basic d

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7

Markantonatos, Andreas. "The Reception of Attic Drama in Modern Times: An Outline." CONCEPT 29, no. 2 (2025): 2–16. https://doi.org/10.37130/32wews53.

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This article suggests that the history of the performative revival of Attic theatre in post-revolutionary Greece of the 19th century, with numerous native variations and transformations—which justifiably paves the way for particularly audacious attempts at reconstitution and, on fortunate occasions, successful restaging of ancient performances during the immediately following tumultuous century—serves, on the one hand, as an enlightening reflection of the turbulent historical development of post-revolutionary Greece and, on the other hand, as a resonant sounding board for various theoretical c

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8

Özalpman, Deniz, and Katharine Sarikakis. "The politics of pleasure in global drama: A case study of the TV series, The Magnificent Century (Muhteşem Yüzyıl)." Global Media and Communication 14, no. 3 (2018): 249–64. http://dx.doi.org/10.1177/1742766518780168.

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This article is concerned with the ways in which local/national drama becomes a global success, which strategies are developed to appeal to viewers within different cultural settings and how far this shift is important when re/thinking audience reception studies. The study answers this question by exploring the television (TV) drama series, The Magnificent Century (2011–2014) by conducting in-depth interviews in the Greek capital Athens and the Moroccan capital Rabat with viewers and the production and distribution team of the series. The findings show that potentials for pleasure in the consu

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9

Manal I. Fattah. "The changing purpose of drama: From cultural expression to economic commodity?" International Journal of Science and Research Archive 14, no. 3 (2025): 1026–30. https://doi.org/10.30574/ijsra.2025.14.3.0781.

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Drama has long been a vehicle for artistic expression, cultural reflection, and social critique. From ancient Greek tragedies to 19th-century realist plays, it has engaged audiences in political discourse, moral dilemmas, and societal debates. However, in the 21st century, the rise of commercialization, corporate sponsorship, and digital media has reshaped its purpose. This study examines whether contemporary drama remains a tool for cultural engagement or has become primarily an economic enterprise. Using a comparative historical approach, this research explores drama’s transformation across

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10

Αθήνη, Στέση. "Οι νεοελληνικές τύχες του Αλκιβιάδη ως το τέλος του 19ου αιώνα". Σύγκριση 25 (16 травня 2016): 1. http://dx.doi.org/10.12681/comparison.8787.

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The beginning of the closer acquaintance of Modern Greek literature with Alcibiades’ forceful personality is located during the years of Greek Enlightenment, with the discovery of the world of History and the “return to the antiquity” through foreign texts, translated into Greek. Nevertheless, Alcibiades’ appearance as a literary character was delayed compared with his reach European literary fortunes. Alcibiades appears in 1837 through Alcibiades byAugustusGottliebMeissner, a translated “bildungsroman” from German, and half a century later through a second translation, from Italian this time,

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11

Kaltsounas, Efthymios, Tonia Karaoglou, Natalie Minioti, and Eleni Papazoglou. "‘Communal Hellenism’ and ancient tragedy performances in Greece (1975‐95): The ritual quest." Journal of Greek Media & Culture 7, no. 1 (2021): 69–103. http://dx.doi.org/10.1386/jgmc_00028_1.

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For the better part of the twentieth century, the quest for a ‘Greek’ continuity in the so-called revival of ancient drama in Greece was inextricably linked to what is termed and studied in this paper as a Ritual Quest. Rituality was understood in two forms: one was aesthetic and neoclassicist in its hermeneutic and performative codes, which were established and recycled ‐ and as such: ritualized ‐ in ancient tragedy productions of the National Theatre of Greece from the 1930s to the 1970s; the other, cultivated mainly during the 1980s, was cultural and centred around the idea that continuity

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12

Morrison, A. D. "Dead Letter Office? Making Sense of Greek Letter Collections." Bulletin of the John Rylands Library 97, no. 2 (2021): 1–18. http://dx.doi.org/10.7227/bjrl.97.2.1.

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The letter collections of Greco-Roman antiquity dwarf in total size all of ancient drama or epic combined, but they have received far less attention than (say) the plays of Euripides or the epics of Homer or Virgil. Although classicists have long realised the crucial importance of the order and arrangement of poems into ‘poetry books’ for the reading and reception both of individual poems and the collection as a whole, the importance of order and arrangement in collections of letters and the consequences for their interpretation have long been neglected. This piece explores some of the most im

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13

Ioannidou, Eleftheria. "Editorial Introduction." Fascism 12, no. 2 (2023): 107–15. http://dx.doi.org/10.1163/22116257-bja10067.

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Abstract This special issue examines the use of classical antiquity within artistic, cultural, and political events under fascist regimes in the interwar period. Fascist Italy and Nazi Germany promoted the production of ancient drama, alongside forms of theater modelled on Greek antiquity, organized grand-scale classical spectacles, and deployed ancient themes and classical-looking symbols and insignia at political gatherings and displays. The analyses presented in this special issue bring into dialogue the scholarship on theater and culture under fascist regimes with the growing literature on

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14

Bosher, †Kathryn. "Problems in Non-Athenian Drama: Some Questions about South Italy and Sicily." Ramus 42, no. 1-2 (2013): 89–103. http://dx.doi.org/10.1017/s0048671x00000084.

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As Martin Revermann forecast in 1999, the reception history of Greek drama has become ‘big business’ and, as the present volume demonstrates, we are indeed trying to move beyond the ‘Atheno-centric civic ideology approach to Greek drama, which has, fruitfully, been dominating our mode of thinking for quite some time now'. Nevertheless, like Revermann, I believe that work on the reciprocity between social context and theatre that Nothing to do with Dionysos? Athenian Drama in its Social Context (1990) so well exemplifies has been and continues to be an important approach to the field. Examining

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15

Billing, Christian M. "Representations of Greek Tragedy in Ancient Pottery: a Theatrical Perspective." New Theatre Quarterly 24, no. 3 (2008): 229–45. http://dx.doi.org/10.1017/s0266464x08000298.

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In this article, Christian M. Billing considers the relationship between representations of mythic narratives found on ancient pottery (primarily found at sites relating to the Greek colonies of south Italy in the fourth century BC, but also to certain vases found in Attica) and the tragic theatre of the fifth century BC. The author argues against the current resurgence in critical accounts that seek to connect such ceramics directly to performance of tragedies by the major tragedians: Aeschylus, Sophocles, and Euripides. Using five significant examples of what he considers to be errors of met

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16

Karamanou, Ioanna. "Prometheus Bound Reappropriated: A Modern Greek Promethean ‘Palimpsest’ by Νikiforos Vrettakos". Trends in Classics 14, № 1 (2022): 168–98. http://dx.doi.org/10.1515/tc-2022-0007.

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Abstract This article seeks to investigate the cultural and ideological processes conditioning the reception of Prometheus Bound ascribed to Aeschylus in the so far unexplored poetic drama Prometheus or The Play of a Day (1978) by the renowned Modern Greek poet Nikiforos Vrettakos. It is argued that his rewriting of the tragic myth bears the features of a palimpsest, whose layers include archetypal features of Prometheus Bound, such as the Titan’s dignified struggle, his philanthropy, and the concept of human progress, filtered in varying ways through the mediating receptions (Goethe, Camus, K

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17

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 (2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.

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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 d

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18

Mastrothanasis, Konstantinos, and Theodore Grammatas. "Reception of the values of the Aeschylus drama and mnemonic imprints by ancient tragedy spectators." Open Research Europe 2 (November 3, 2022): 124. http://dx.doi.org/10.12688/openreseurope.15179.1.

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Background: Ancient Greek tragedy remains today a special dramatic genre that expresses the concept of the classic through time, perhaps better than any other form of art and culture, representing, as a theatrical expression, the vision of the conception and expression of values of a particular era. In this context, the purpose of the present research is to study the humanitarian values of European culture, as they are expressed in ancient Greek drama, and to highlight the way in which these values are projected through modern drama and are impressed on the spectators. Methods: To achieve this

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19

Papadopoulou, Thalia. "Herakles and Hercules: The Hero's Ambivalence in Euripides and Seneca." Mnemosyne 57, no. 3 (2004): 257–83. http://dx.doi.org/10.1163/1568525041317967.

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AbstractMadness presents Herakles/Hercules in an unprecedented state of extreme vulnerability and becomes an apt device for dramatizing the fragility of life and the responses to tragic reversals of fortune. The present article compares the dramatic treatments of this theme by Euripides and Seneca not in terms of a strict adaptation of a source/model but in terms of the dramatic purposes underlying and determining both similarities and differences. It investigates the connotations of madness and explores the ways in which the associations of themes such as the reversal of fortune, the nature o

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20

Perris, Simon. "Review of Van Zyl Smit, B. 2016. A Handbook to the Reception of Greek Drama." Acta Classica 60, annual (2017): 213–18. http://dx.doi.org/10.15731/aclass.060.18.

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21

Bridges, Emma, and Joanna Paul. "Reception." Greece and Rome 65, no. 2 (2018): 277–82. http://dx.doi.org/10.1017/s0017383518000232.

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The cinematic and televisual reception of the ancient world remains one of the most active strands of classical reception study, so a new addition to the Wiley-Blackwell Companions series focusing on Ancient Greece and Rome on Screen is sure to be of use to students and scholars alike (especially given how often ‘Classics and Film’ courses are offered as a reception component of an undergraduate Classical Studies programme). The editor, Arthur Pomeroy, himself a respected and prolific ‘early adopter’ of this branch of scholarship, has assembled many of the leading names in cinematic reception

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22

Glytzouris, Antonis. "Karolos Koun in the 1930s and the Birth of Modernist Shakespeare in Greece." New Theatre Quarterly 30, no. 1 (2014): 40–50. http://dx.doi.org/10.1017/s0266464x14000062.

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The author aims in this article is to highlight a significant moment in the history of the reception of Shakespeare in modern Greek theatre. The article outlines the main developments in the perception of Shakespeare's work in Greece from the mid-nineteenth century until the Second World War, and examines Karolos Koun's early experiments in Shakespearean production. Koun's initiatives were diametrically opposed to local theatre traditions, which emphasized psychological or historical realism and pictorial or spectacular illusion. The use of non-realistic stage conventions such as masks and sim

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23

Kulishova, Oksana. "Traditions and Interpretations of the Ancient Theater in Post-Revolutionary Petrograd." ISTORIYA 14, no. 2 (124) (2023): 0. http://dx.doi.org/10.18254/s207987840024511-1.

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The attention to the ancient drama characterized European culture at the turn of the 19—20th centuries was reflected in Russia in the search for new forms in theatrical art both at the very beginning of the 20th century and after the events of 1917. The author focuses on the most remarkable performances of Sophocles’ Oedipus Rex in 1910s in St. Petersburg/Petrograd at the Ciniselli Circus: in 1911 this Greek tragedy was staged by the famous German director Max Reinhardt, and in 1918 renewed by the famous Russian actor Yury Yuriev. The analysis of the important sources — the memoirs of particip

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24

Cole, Emma. "GREEK DRAMA AND ITS RECEPTION - (B.) van Zyl Smit (ed.) A Handbook to the Reception of Greek Drama. Pp. xviii + 601, figs, ills. Malden, MA and Oxford: Wiley Blackwell, 2016. Cased, £120, €150, US$195. ISBN: 978-1-118-34775-1." Classical Review 67, no. 2 (2017): 555–57. http://dx.doi.org/10.1017/s0009840x17001044.

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25

Bakola, Emmanuela. "The drunk, the reformer and the teacher: agonistic poetics and the construction of persona in the comic poets of the fifth century." Cambridge Classical Journal 54 (2008): 1–29. http://dx.doi.org/10.1017/s1750270500000555.

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Although the role of competition in Greek cultural and social practices has been well documented and studied, it is only in the last decades that the extent to which it permeates Athenian drama has been realised. The element of competition in Athenian dramatic performances is now widely used as an interpretative tool, especially in Old comedy, where the competitive conditions of performance are overtly articulated. As research on the fragmentary comic poets proliferates, Aristophanes' rivals have become a far more visible element in the scenery of Old Attic comedy and, as a result, the fiercel

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26

Axanta, Vernan. "PEMAKNAAN RASISME DALAM FILM (ANALISIS RESEPSI FILM GREEN BOOK)." SOURCE : Jurnal Ilmu Komunikasi 6, no. 2 (2020): 226. http://dx.doi.org/10.35308/source.v6i2.2385.

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As a mass communication media, film can make an impact to the audience such as psychological and social impacts. Green Book is a biographical film with the genre of comedy-drama, and directed by Peter Farrelly. This film tells the relationship of mutualism between talented black pianist Dr.Donald Shirley with his driver as well as bodyguard named Tony Vallelonga. This study uses a descriptive qualitative research method with the Stuart Hall reception analysis approach. Reception analysis considers the audience can be a culture agent that means capable of producing meaning from the various disc

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27

Sprengel, Peter. "Schiffbruch im Totenreich." Philologus 162, no. 1 (2018): 92–111. http://dx.doi.org/10.1515/phil-2017-0018.

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AbstractIn Hauptmann’s reception of antiquity there is an overlap between the ‘dark’ (i.e. chthonic, Dionysiac, barbaric) understanding of the Greeks, which had been introduced by Bachofen and Nietzsche and which was characteristic of modernism as a whole around 1900, and a late neoclassical view of the Hellenic legacy, which is manifested not least in his drawing on the literary translations of the nineteenth century (in the case of the three tragedians, Donner’s translations “in the original metres”). The same tension is a feature also of his late Atrides Tetralogy. Its second part, Agamemno

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28

Tsykhovska, Ellina. "Reception of the Series “Squid Game” in the World Media: the Reasons for Popularity." Scientific notes of the Institute of Journalism, no. 2(81) (2022): 9–22. http://dx.doi.org/10.17721/2522-1272.2022.81.1.

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The article studies the phenomenon of the popularity of the South Korean dystopian series “Squid Game”, which was released on September 17, 2021 on the streaming service “Netflix” and became its biggest success, as well as a global cultural sensation by the number of views in at least 90 different countries. Many world media outlets reacted to this success with the articles not only of a news nature, but also with their own hypotheses regarding its causes. Therefore, the objective of the article is to investigate the reasons for the popularity of the TV series “Squid Game” based on reception o

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29

Ivashchenko, Iryna, and Victoriya Strelchuk. "Innovation of the director's vocabulario of Oskaras Korshunovas." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 261–66. http://dx.doi.org/10.32461/2226-2180.39.2021.238737.

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The purpose of the article is to reveal the peculiarities of the theatrical direction of O. Korsunovas and analyze the innovation of his director's vocabulary. Methodology. Comparative and structural methods were applied, which contributed to the identification of the originality and diversity of innovative directorial vocabulary; the method of art history analysis, the typological-structural method, and the method of artistic-compositional analysis of stage works, thanks to which the director's "toolbox" has been studied and structured, etc. Scientific novelty. The directorial activity of Osk

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Bakogianni, Anastasia. "K.P. Nikoloutsos Ed. Reception of Greek and Roman Drama in Latin America (Special issue of Romance Quarterly 59.1). Philadelphia: Taylor and Francis Group, 2012. Pp. 65. £39. 08831157." Journal of Hellenic Studies 134 (2014): 282–83. http://dx.doi.org/10.1017/s0075426914002602.

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31

Nietzsche, Friedrich. "Greek Music-Drama." New Nietzsche Studies 10, no. 3 (2017): 1–13. http://dx.doi.org/10.5840/newnietzsche2017/2018103/41.

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Κοσμοπούλου, Δ. "Illicit love affairs of mortal women with gods: Cassandra’s Annunciation by Dimitriadis and Κassi by Flourakis". Kathedra, № 16(3) (21 вересня 2023): 140–51. http://dx.doi.org/10.52607/26587157_2023_16_140.

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Οι παράνομοι έρωτες γυναικών με θεούς είναι το νήμα που ξετυλίγεται σε ένα τεράστιο εύρος αρχαίων μύθων και εξακολουθεί να προσλαμβάνεται και να διασκευάζεται στο σύγχρονο δράμα με ποικίλους τρόπους. Στην περίπτωση της μεταμοντέρνας λογοτεχνίας και αντίστοιχα του θεάτρου, το θέμα προτιμάται να διερευνάται υπό το πρίσμα θεωριών του φεμινισμού με πολλούς συγγραφείς να εκμεταλλεύονται την αλληγορία της άνομης αγάπης μεταξύ γυναικών και θεών προκειμένου να μελετήσουν ζητήματα δύναμης, εξουσίας και φύλου. Στον σύγχρονο ελληνικό θεατρικό χώρο, ο συγγραφέας Δημήτρης Δημητριάδης συνθέτει τον μονόλογο

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Barbosa, Tereza Virgínia Ribeiro. "Greek drama in Brazil." Phoînix 20, no. 2 (2014): 75–90. http://dx.doi.org/10.14195/1413-5787_20-2_5.

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Sarang, Prof. Alaknanda. "Ancient Greek Drama: Origins, Evolution, and Legacy." Journal of Research & Development 16, no. 8 (2024): 96–97. https://doi.org/10.5281/zenodo.12705568.

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<strong>Abstract:</strong> This paper delves into the origins, evolution, and legacy of Ancient Greek drama, a foundational cornerstone of Western theatre. From its roots in religious rituals to its sophisticated theatrical productions, Greek drama has profoundly influenced the art form's development and continues to shape contemporary performances. We explore the emergence of tragedy, innovations in theatrical techniques, and the impact of Greek drama on modern theatre. Our examination reveals the enduring significance of Ancient Greek drama, highlighting its continued relevance in contempora

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Jackson, Lucy. "Proximate Translation: George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama." Translation and Literature 29, no. 1 (2020): 85–100. http://dx.doi.org/10.3366/tal.2020.0410.

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This essay takes up the question of what impact Greek tragedy had on original plays written in Latin in the sixteenth century. In exploring George Buchanan's biblical drama Baptistes sive calumnia (printed 1577) and its reworking of scenes and images from Sophocles' Antigone, we see how neo-Latin drama provided a valuable channel for the sharing and shaping of early modern ideas about Greek tragedy. The impact of the Baptistes on English drama is then examined, with particular reference to Thomas Watson's celebrated Latin translation of Antigone (1581). The strange affinities between Watson's

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TORUAN, Rialdo Rezeky Manogari Lumban, Cut Az Zahra Jasmine ASHILA, and Muchamad Fauzi DJAMAL. "ANALYSIS OF AUDIENCE RECEPTION OF KOREAN DRAMA TRUE BEAUTY REGARDING BEHAVIORAL IMITATION." ICCD 6, no. 1 (2024): 458–66. http://dx.doi.org/10.33068/iccd.v6i1.710.

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Korean drama “True Beauty” stars Moon Ga Young and Cha Eun Woo in the leading roles. The drama tells the story of a high school girl who is mocked and ridiculed for her unattractive appearance, leading her to learn makeup skills to become beautiful and gain social acceptance. The aim of this study is to understand the audience's reception of the Korean drama “True Beauty” in relation to behavior imitation. This research employs a constructivist paradigm and uses reception analysis methodology along with Stuart Hall's Reception Theory. Data collection techniques include in-depth interviews, doc

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Gvozdeva, Tatiana Borisovna. "Great Panathenaia in Greek drama." RUDN Journal of World History 10, no. 4 (2018): 403–14. http://dx.doi.org/10.22363/2312-8127-2018-10-4-403-414.

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The works of the Greek playwrights of the classical period are an interesting source on the history of the panatheniac festival. The tragedies of Aeschylus, Sophocles, Euripides, and the comedies of Aristophanes contain information about both the sacred part of the Great Panathenaia and agones the Panathenaic games. Of the elements of the sacral part of the Panathenaic festival were most often mentioned holiday peplos for Athena, the participants of the Panathenaic procession, the night procession, sacrifi ce. Part of the Panathenaic games were both in agony, which is characteristic for the Pa

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Jacobson, David J. "Vocative ΟΥΤΟΣ in Greek Drama". Classical Philology 110, № 3 (2015): 193–214. http://dx.doi.org/10.1086/681706.

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Saliba, George. "Islamic reception of Greek astronomy." Proceedings of the International Astronomical Union 5, S260 (2009): 149–65. http://dx.doi.org/10.1017/s1743921311002237.

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AbstractResearch in Islamic science over the last half century or so has clearly established that such old myths as Islamic science being a preservation of Greek science, or that science was always in conflict with religion in Islamic civilization as it was in Europe, or that the European scientific Renaissance was independent of outside influences –a European phenomenon par excellence– are now all subjects of great dispute if not altogether dead. In what follows I will illustrate the evidence that has put such myths into question with only few examples, since time and space do not allow me to

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40

Showerman, Earl. "A Century of Scholarly Neglect: Shakespeare and Greek Drama." Journal of Scientific Exploration 37, no. 2 (2023): 201–17. http://dx.doi.org/10.31275/20233109.

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In the late 19th and early 20th centuries, a number of Shakespeare scholars, including Israel Gollancz (1894), H.R.D. Anders (1904), J. Churton Collins (1904), and Gilbert Murray (1914) wrote convincingly of Shakespeare’s debt to classical Greek drama. However, in the century since, most scholars and editors have repeatedly held that Shakespeare was not familiar with Greek drama. In Classical Mythology in Shakespeare (1903), Robert Kilburn Root expressed the opinion on Shakespeare’s ‘lesse Greek’ that presaged this enduring dismissal: “It is at any rate certain that he nowhere alludes to any c

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Takahashi, Hidemi. "Syriac as the Intermediary in Scientific Graeco-Arabica: Some Historical and Philological Observations." Intellectual History of the Islamicate World 3, no. 1-2 (2015): 66–97. http://dx.doi.org/10.1163/2212943x-00301004.

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The reception of Greek scientific and philosophical literature in Syriac, which had a major influence on the later reception in Arabic, is an area that has been the subject of a renewed wave of research in the past few years. This paper provides a brief overview of the reception of the Greek sciences in Syriac, citing some of the latest research in the field. This is followed by the presentation of an example to illustrate how the Syriac intermediary text, when available, can help to elucidate the process of translation into Arabic, together with some observations on the ways in which the Syri

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Sungkowati, Yulitin. "RESEPSI PEMBACA TERHADAP TJERITA NJAI DASIMA (Reader Reception toward Tjerita Njai Dasima)." METASASTRA: Jurnal Penelitian Sastra 4, no. 2 (2016): 195. http://dx.doi.org/10.26610/metasastra.2011.v4i2.195-207.

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Tulisan ini bertujuan mendeskripsikan bentuk dan perubahan resepsi pembaca terhadap Tjerita Njai Dasima dengan teori resepsi sastra dan metode resepsi diakronis. Penelitian ini menghasilkan temuan bahwa sejak era kolonial hingga era reformasi Tjerita Njai Dasima telah mendapat tanggapan berupa karya-karya baru dalam bentuk puisi, prosa, teks drama, skenario film, film, sinetron, dan drama musikal. Perubahan resepsi terjadi dari generasi ke generasi seiring dengan perubahan zaman dan perubahan horison harapan pembacanya. Resepsi pada masa sebelum kemerdekaan menunjukkan ideologi prokolonial dan

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Vaseneva, Nadezhda Vladimirovna. "Reception of the B. Shaw’s play "Pygmalion" in Russian literature." SHS Web of Conferences 101 (2021): 01004. http://dx.doi.org/10.1051/shsconf/202110101004.

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The article is devoted to the analysis of reception of B. Shaw's play «Pygmalion» in Russian literature. The article emphasizes that Russian literature had a huge impact on the formation and development of B. Shaw's aesthetic system and drama, as a result of which B. Shaw's drama acquired an epic character. The standard of «epic drama» is B. Shaw's play «Pygmalion». The extreme popularity, relevance and significance of B. Shaw's comedy «Pygmalion» for Russian literature are noted. The article examines translations of B. Shaw's play «Pygmalion» and individual-author's interpretations of Russian

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Čiripová, Dáša. "Greek Drama in the Hellenistic Period." Slovenske divadlo /The Slovak Theatre 65, no. 4 (2017): 373–82. http://dx.doi.org/10.1515/sd-2017-0022.

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Abstract This study deals with a period of the Greeco-Roman history related to theatre. Hellenism is a period which is often overlooked by theatre scholars although it is an immensely important and rich transformatory and revolutionary period from a historical point of view. Hellenism is not only marked with the encounter of two worlds, but also with their mutual enrichment. In the world of diverse peoples, theatre and drama turn to lighter themes (comedy is more popular than tragedy), show preference for entertaining theatre forms, gradually divert their attention from serious textual levels

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Demetriou, Tania, and Tanya Pollard. "Milton, drama, and Greek texts: preface." Seventeenth Century 31, no. 2 (2016): 131–37. http://dx.doi.org/10.1080/0268117x.2016.1193290.

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Klaassen, Johann A. "Moral Taint in Classic Greek Drama." Philosophy and Literature 24, no. 2 (2000): 327–45. http://dx.doi.org/10.1353/phl.2000.0040.

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Konstandaras, Nikos. "Greek Drama on a Global Stage." World Policy Journal 29, no. 4 (2012): 74–84. http://dx.doi.org/10.1177/0740277512470931.

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Figueira, Dorothy. "Fear in Greek and Sanskrit Drama." Rocznik Komparatystyczny 8 (2017): 191–202. http://dx.doi.org/10.18276/rk.2017.8-09.

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Kuch, Heinrich. "Problems of communication in Greek Drama." Acta Antiqua Academiae Scientiarum Hungaricae 41, no. 3-4 (2001): 313–21. http://dx.doi.org/10.1556/068.2001.41.3-4.11.

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Constantinidis, Stratos E. "Greek Drama and Multiculturalism: Is It Drama? Is It Modern? Is It Greek?: A Prolonged Prologue." Journal of Modern Greek Studies 14, no. 1 (1996): 1–30. http://dx.doi.org/10.1353/mgs.1996.0008.

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