Dissertationen: „Reception of greek drama“

1

Vedelago, Angelica. „The Reception of Sophocles'"Antigone" in Early Modern English Drama“. Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3425407.

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This thesis analyses the reception of Sophocles’ Antigone in early modern English drama in the form of translation and adaptation. It focusses on the only two extant texts that can be defined as a translation or an adaptation of Sophocles’ Antigone by English authors in the early modern period: "Sophoclis Antigone" (1581), a Latin translation by Thomas Watson, and "The Tragedy of Antigone, The Theban Princesse" (1631), an English adaptation by Thomas May. Opting for the historicist strand within reception studies, I argue that these two English Antigones intersect at a crossroads of contexts – theoretical, cultural, literary, and political. Only within these perspectives can these plays be fully understood and their value reassessed. Combining Sophocles’ tragedy both with other classical sources and contemporary models, the two texts challenge the traditional understanding of the early modern compositional approaches of "translation" and "adaptation". Moreover, by potentially alluding to contemporary events, Watson’s and May’s versions of Antigone partly align with, partly destabilize modern interpretations of the Sophoclean original. As direct and declared engagements with the Sophoclean play, Watson’s and May’s "Antigones" are ideal case studies for the flexible conception of the practices of translation and adaptation and for the close relationship between politics and drama in the early modern period.

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2

Riley, Kathleen. „The reception and performance of Euripides' Herakles : reasoning madness“. Oxford [u.a.] Oxford Univ. Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199534487.001.0001.

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3

Zaroulia, Marilena. „Staging the Other/Imagining The Greek : Paradigms of Greekness in the reception of post-1956 English drama in the post-colonels Athens (1974-2002)“. Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498255.

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This thesis investigates performances of and critical responses to English plays that have been written and performed in the post-1956 period and subsequently been staged in Athens in the years following the downfall of the colonels' dictatorship. Theatre productions and reviewing are located within or positioned against the specific socio-political, ideological and cultural matrices that helped determine each intervention. The central focus of the thesis is an exploration of the relation between theatre and Greek national identity. Starting from Benedict Anderson's definition of the nation as 'imagined community', the thesis challenges the established conceptualisation of Greekness as bound up with the dichotomy of 'Greek' and 'Other'. It accounts for the articulation of this dichotomy in the reception of English drama, demonstrating the ways in which English texts were perceived - mainly by the reviewers - as 'Other'. Each case study destabilises this clear opposition between 'Greek' and 'English Other', suggesting an alternative way of 'imagining' Greekness as constantly shifting and performed in 'the present moment'. The Introduction presents the thesis' objectives, methodology, and a brief survey of relevant literature on theatre and national identity. Chapter One engages with the debate about the nation and national identity, and provides the theoretical framework for a fuller comprehension of the 'making' of Greekness. Each of the next four chapters explores specific case studies: the production of Ayckbourn's Absurd Person Singular (1974, Chapter Two); Osborne's Look Back in Anger, Pinter's The Caretaker and Churchill's Top Girls (1982-3, Chapter Three); Bond's Summer (1990, Chapter Four); and Churchill's The Skriker and Ravenhill's Some Explicit Polaroids (1999-2001, Chapter Five). The thesis includes two appendices: the first lists productions of English plays that opened in Athens during these three decades while the second includes selected photographs of the productions.

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4

SIDOTI, NELLO. „La circolazione della tragedia in età pre-alessandrina: le testimonianze“. Doctoral thesis, Urbino, 2018. http://hdl.handle.net/11576/2657901.

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5

Karaferias, Philippos. „Larmes politiques : Étude sur la fonction politique du deuil et des lamentations rituelles dans la tragédie athénienne et ses mises en scène contemporaines en Grèce (XXe-XXIe siècles)“. Electronic Thesis or Diss., Université Grenoble Alpes, 2024. http://www.theses.fr/2024GRALL009.

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La lamentation poétique dans le contexte d'une tragédie antique a impliqué la recherche scientifique de différentes manières. Dans le cadre de cette thèse, les aspects qui promeuvent la dimension politique de la lamentation seront étudiés : c'est-à-dire les lamentations théâtrales de la Grèce antique et la manière dont la dimension politique qui y est souvent contenue influence par le théâtre la réalité politique du Ve siècle. À travers une analyse de vocabulaire et une analyse structurelle des lamentations choisies, on tentera de montrer comment le deuil, un outil rituel, peut critiquer les plus importants comportements historiques, politiques et sociaux de son époque. Ainsi, en analysant le développement des lamentations politiques dans les tragédies d'Eschyle, de Sophocle et d'Euripide, nous allons tout d'abord nous familiariser avec un aspect très important du deuil, encore inexploré, et en même temps montrer, sous un angle différent, la relation entre la tragédie et la politique à l'époque classique. La deuxième partie de la thèse concerne la reprise de la tragédie antique en Grèce du XXe et XXIe siècle . Avec l'étude des traductions et des performances novatrices pour l'époque, nous clarifierons le rôle de l'élément lamentable dans les événements qui ont choqué le XXe et XXIe siècle et dans la création de nouveaux mouvements et idées théâtraux
The poetic lamentation of a tragedy provides the science with different kinds of research. As part of this thesis, the aspects that promote the political dimension of lamentation will be studied; that is, the theatrical lamentations of ancient Greece and the way the political dimension, that is often contained, influence the political reality of the 5th century through the theatrical plays. Through the vocabulary and the structural analysis of a certain choice of lamentations we will try to show how grieve, a ritual tool can caracterize the most essential historical, political and social aspects. Thus, by analyzing the development of political lamentations in the tragedies of Eschyle, Sophocles and Euripides, we will become familiar with a very important aspect of grieve, still unexplored, and at the same time, from a different point of view, with the relation between tragedy and politics during the classical era. The second part of the thesis is about the reception of the ancient greek tragedy in Greece during the XXth and XXIst century. The study of modern translations and pioneer theatrical plays shed the light on the role of the lamentation's element in the events that shocked the XXth and XXIst century and on the development of new theatrical mouvements and ideas

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6

Taietti, G. D. „The Greek reception of Alexander the Great“. Thesis, University of Liverpool, 2017. http://livrepository.liverpool.ac.uk/3007776/.

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The present thesis explores how the personality, image, and deeds of Alexander the Great have been interpreted, reshaped, and exploited by the Greeks from Antiquity to the Modern era. The main focus is the understanding of the metamorphosis of the historical persona of Alexander into a god-like mythological figure and a Hellenic national hero, researching the origins of the Alexander-myth and how it operates in response to different historico-political, social and cultural stimuli for the Greeks. The thesis is structured in two sections: first, the modern, and secondly, the ancient, which, while displaying its variety, also highlight the overall organic nature of the ongoing Greek Alexander-Reception. The first section offers an introduction to the peculiarities of the Modern myth-making of Alexander (chapter one); it explores the reshaping of the Macedonian hero in Hellenic folk production, such as tales, myths, traditions, spells and songs (chapter two), and in Theodore Angelopoulos’ debated film Megalexandros (chapter three). The second section discusses the Ancient myth-making of Alexander and its relevance in the twenty-century Greek cultural and political milieu (chapter four); specifically, it focuses on the reshaping and interpretation of the king of Macedon by Ptolemy I (chapter five) and by Julian the Apostate and his entourage (chapter six). This section concludes with a study on the early representations of Alexander, which shows how his contemporary historians borrowed from Herodotus narrative tropes and descriptions of the Achaemenids to explain the Macedonian campaign against Persia, making him a Herototean-like Persian king and creating a fictional character that, to a certain extent, dates back before the historical persona. The case-studies jointly argue that Alexander is a historiographical mirage constantly reinvented by the Greeks, who ascribe to him new deeds, legends, and characteristics according to their historical and cultural needs. The Macedonian hero moves forward into the next period charged with all the previous meanings, which he will deliver to his new audience. In this way, Alexander is both the recipient and the bearer of the Greeks’ cultural identity.

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7

Meineck, Peter. „Opsis : the visuality of Greek drama“. Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/12117/.

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How were Greek plays viewed in the fifth century BCE and by deepening our understanding of their visual dimension might we increase our knowledge of the plays themselves? The aim of this study is to set out the importance of the visual (opsis) when considering ancient Greek drama and provide a basis for constructing a form of “visual dramaturgy” that can be effectively applied to the texts. To that end, this work is divided into five sections, which follow a “top-down” analysis of ancient dramatic visuality. The analysis begins with a survey of the prevailing visual culture and Greek attitudes about sight and the eye. Following this is an examination of the roots of drama in the performance of public collective movement forms (what I have called “symporeia”) and their relationships to the environments they moved through, including the development of the fifth century theatre at the Sanctuary of Dionysos Eleuthereus in Athens. The focus then falls on the dramatic mask and it is proposed here that operating in this environment it was the visual focus of Greek drama and the primary conveyer of the emotional content of the plays. Drawing on new research from the fields of cognitive psychology and neuroscience relating to facial processing and recognition, gaze direction, foveal and peripheral vision and neural responses to masks, movement and performance, it is explained how the fixed dramatic mask was an incredibly effective communicator of dramatic emotion capable of eliciting intensely individual responses from its spectators. This study concludes with a case study based on Aeschylus Oresteia and the raising of Phidias’ colossal bronze statue of Athena on the Acropolis and the impact that this may have had on the original reception of the trilogy.

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8

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

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9

Stefanidou, Agapi. „The Reception of epic Kleos in Greek Tragedy“. The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386695983.

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10

Kampourelli, Vassiliki. „Space in Greek tragedy“. Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/space-in-greek-tragedy(bd3d0365-0a17-47b5-a2b0-e7739f9c0255).html.

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11

Yoneta, Lawrence Masakazu. „Shelley's reception of Greek antiquity : rationalism, idealism and historicism“. Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.682720.

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The central argument of this thesis is that Percy Bysshe Shelley perceived modern relevance in the experience of the ancient Greeks. While their art, architecture, literature, philosophy and mythology were a constant inspiration for his thought and writing, a knowledge of their moral values, religious beliefs, social customs, political institutions and historical events provided him with clues to ideal society. Three chief factors are identified that determined the ways in which Shelley formed an idea of Greek antiquity: rationalism, idealism and historicism. Rationalism was an intellectual legacy from the Enlightenment of the late-seventeenth and eighteenth centuries. It played a principal role in his evaluation of the Greek achievement. Its central criteria were reason, wisdom and benevolence. These qualities were polemically opposed to tyranny and superstition. Greek philosophy, literature and morality were celebrated for their power of reason, as a source of wisdom, and as exemplifying the spirit of benevolence. While rationalism concerned value judgment, idealism was a form of poetic representation. It found expression in Shelley's tendency to present Greece as perfection, often as more perfect than his actual historical perception would have allowed it to be. In his poetic imagination Greece figured either as a metaphor for ideal qualities or as a land where great bards and sages had once lived and bequeathed examples of excellence. Historicism was a habit of mind that became prominent in Shelley's commentary on the Greeks later than the other two elements, namely in the Italian period between 1818 and 1822. The historicist approach -- an approach in which cultural particularities are examined in the light of contextual factors -- led him to conceive the character of the ancients in contradistinction to that of modern Europeans. His exploration of the Greek character was based on the principles of Enlightenment historiography including the spirit of systematisation and the consideration of causality and environmental influence; among notable historians of the eighteenth century were Montesquieu, Voltaire, Hume and Gibbon. The cultural dualism between ancient Greece and modern Europe had its immediate sources and specific intellectual context in the historicist discourse of German Hellenists in the latter half of the century, especially Winckelmann and August Schlegel.

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12

Hawley, Richard. „Women in Greek drama : speech, status and stereotype“. Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365565.

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13

Bloxham, John Andrew. „The reception of Greek thought in American conservatism since 1945“. Thesis, University of Nottingham, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.718464.

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This thesis examines appropriations of ancient Greek thought in modern American conservatism from World War II to the second Iraq War. It questions the depth of conservatives' engagement with antiquity and explores how contemporary concerns have influenced modern interpretations of ancient texts. It also examines how the application of these interpretations has reinforced and invigorated conservative critiques of modernity. Chapter One looks at the reception of Greek thought after World War II, when different factions joined together to form the modern conservative movement. Chapter Two examines two European immigrants whose thought influenced the right in the 1950s and 1960s: Leo Strauss and Eric Voegelin, who both engaged more deeply with Greek thought than their immediate predecessors. Chapter Three investigates the origins of neoconservatism in the 1960s and 1970s. Whereas earlier conservatives had been attracted to Platonic absolutism, neoconservatives were drawn to Aristotle when developing a conservative social science. Chapter Four evaluates conservative critiques of higher education in the 'Culture Wars' of the 1980s. During this period, the 'Great Books' approach, with its emphasis on 'western civilization', came to be viewed as elitist. A number of conservative polemicists sought to restore the former 'Great Books' focus, but the apogee of this reaction came with Allan Bloom's Plato-inspired The Closing of the American Mind (1987). In Chapter Five, the focus shifts to foreign policy debates in the 1990s and 2000s, when antiquity was used both as a rhetorical device to paper over irresolvable conflicts and in a genuine effort to theorise problematic issues. This thesis uses tools from reception theory and intellectual history to assess the decisions of modern appropriators - what they used, adapted or omitted - within the context of broader social and political shifts.

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14

Waters, M. „The reception of Ancient Greek tragedy in England 1660-1760“. Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1435225/.

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The dissertation enquires into some of the forms that the reception of ancient Greek tragedy took in England between 1660 and 1760. It looks at those critics and translators who engaged most with ancient Greek tragedy and whose engagement was accompanied by an interest in ancient theory and native English literature. Chapter 1, after examining works by George Gascoigne and Francis Kinwelmershe, Thomas Goffe, Thomas May and Christopher Wase, considers William Joyner’s original tragedy The Roman Empress (1670) in order to see what use Joyner made of Sophocles’ Oedipus and Euripides’ Hippolytus and Medea. Chapter 2 turns to the writings of, especially, John Dryden, Thomas Rymer, John Dennis and Charles Gildon, who were the most prolific and interesting commentators on dramatic theory in England at this time, and assesses their different perspectives on the questions of tragedy and the modern stage. Chapter 3 addresses separately comments on ancient Greek tragedy contained in Jeremy Collier’s attack on contemporary English theatre in A Short View of the Immorality, and Profaneness of the English Stage (1698) and in replies to him. Chapter 4 concentrates on Lewis Theobald’s translations of Sophocles’ Electra (1714) and Oedipus (1715) and how his views of ancient Greek tragedy influenced, and were influenced by, his interest in Shakespeare, an edition of whose plays he published in 1733. Chapter 5 examines Thomas Francklin’s The Tragedies of Sophocles and A Dissertation on Antient Tragedy (both 1759) and how they reflect his interest in the contemporary stage and contemporary ideas about the value of simplicity in literature and art. I argue that the writers I examine reflect through their engagement with Greek tragedy ideas about the relationships between ancient and early modern English tragedy, particularly that of Shakespeare, and between the present and the past.

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15

Bardel, Ruth. „Casting shadows on the Greek stage : the stage ghost in Greek tragedy“. Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323009.

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16

Friedle, Simon. „Thomas Hobbes and the reception of early-modern Epicureanism“. Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/265540.

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This thesis is a study of Epicurean motifs (Epicurea) within the philosophical system of Thomas Hobbes in general; it examines all aspects of Hobbesian philosophy, viz. first philosophy, physics, anthropology, ethics, and politics within the context of the revival of early-modem Epicureanism and atomism in England as well as Europe. Thereby, it not only attempts to set Hobbes's understanding of Epicureanism in the general context of its reception in the seventeenth century but also to explore the specific Epicurean elements within Hobbes's philosophy. As a consequence, this thesis argues that the genesis of certain Hobbesian ideas must be considered against the background of Hobbes' s encounter with the late Renaissance and humanist Epicurean tradition as well as suggesting that Hobbes' s ideas in anthropology and ethics, but consequently also in his politics, reflect Epicurean motifs to a greater degree as has yet been acknowledged. Chapter One is concerned with establishing the Epicurean background. It primarily focuses on English Epicureanism and the emergence of atomism in England but also considers the continental European influences. The following four chapters are then devoted to exploring the Epicurea in Hobbes's philosophy. Chapter Two discusses Hobbes's concept of philosophy as anti-metaphysics, and it highlights how his understanding of prima philosophia as physica genera/is enabled Hobbes to interpret themes that had classically been related to metaphysics such as the genesis of religion, the conception of theology, and the mortality of the soul according to Epicurean modes of explanation. Chapter Three, then, examines what role ancient and early-modem atomism and Epicureanism played in the genesis of Hobbes's ontology and his ensuing doctrine of sense-perception. Thereby, it shows how Hobbes developed a materialist account of body and sensation independently from Gassendi. The last two chapters centre on morality and politics. They demonstrate how Hobbes's ethical and political doctrine reflects certain Epicurea which are indebted to the Renaissance and humanist discourse of Epicureanism. While Chapter Four analyses the concept of pleasure and pain within Hobbes's theory of action, Chapter Five considers how Hobbes embraced key concepts of Epicureanism such as a�bellicose state of nature and conventional justice as the basis of his political philosophy. Although this thesis cannot and does not attempt to rewrite the history of the genesis of Hobbesian philosophy, the analysis of Hobbes's Epicurea enables us to deepen our understanding of the genesis of his philosophical system and highlights Hobbes' s position as an eminent exponent of the Epicurean tradition in the seventeenth century.

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17

Peirce, L. Meghan. „Botswana's Makgabaneng: An Audience Reception Study of an Edutainment Drama“. Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1304698745.

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18

Plant, Irene Elizabeth. „Ancient drama : stagecraft and signcraft“. Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/ancient-drama--stagecraft-and-signcraft(d99beb86-ebb2-4f7d-8f0d-10f923015ec9).html.

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19

Lioliou, Theocharia. „Tackling racist conflicts in greek primary schools through drama“. Thesis, Birmingham City University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.631679.

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The recent transformation of Greece from a homogenous country into one that is a receptacle for people from different cultures occurred in a society unprepared for such change, resulting in severe cases of racism, inside and outside school. The purpose of this study was to explore for the first time in the Greek setting the response of young children who had displayed prejudiced behaviour to a series of drama lessons. It also examines the efficacy of process drama in the hands of a novice in this approach drama teacher. The project was based in antiracist education theory, combining elements from multicultural education, and applying conventions of drama approaches with those prevailing in process drama/drama in education. This was a multiple case study research drawing also upon action research methodology. It consists of two pilots and three applications in different primary school classrooms of seven- to eight-year-olds. Preliminary research identified the sample through anonymous questionnaires and the main field work consisted of a series of drama sessions; semi-structured interviews and participant observation took place before and after each class application. The setting was found to be extremely monocultural, with traditional teaching methods still being prevalent and racist views present among both children and teachers. The results from the drama were encouraging, proving that, even in the hands of a beginner, drama can inspire empathy to pupils through deep emotional experiences which contain the potential for changing beliefs.

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Streeter, Joshua Aaron. „Greek Tragedy and Its American Choruses in Open Air Theaters from 1991 to 2014: The Cases of Gorilla Theatre Productions and The Classic Greek Theatre of Oregon“. The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155534000939454.

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21

Bocksberger, Sophie Marianne. „Telamonian Ajax : a study of his reception in Archaic and Classical Greece“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:a9bacb2a-7ede-4603-9e6a-bf7f492332ed.

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This thesis is a systematic study of the representations of Telamonian Ajax in archaic and classical Greece. Its aim is to trace, examine, and understand how and why the constitutive elements of his myth evolved in the way they did in the long chain of its receptions. Particular attention is paid to the historical, socio-cultural and performative contexts of the literary works and visual representations I analyse as well as to the audience for which these were produced. The study is divided into three parts, each of which reflects a different reality in which Ajax has been received (different with respect to time, place, or literary genre). Artistic representations of the hero, as well as his religious dimension and political valence, are consistently taken into account throughout the thesis. The first part - Ajax from Salamis - focuses on epic poetry, and thus investigates the Panhellenic significance of the hero (rather than his reception in a particular place). It treats the entire corpus of early Greek hexameter poetry that has come down to us in written form as the reception of a common oral tradition which each poem has adapted for its own purpose. I establish that in the larger tradition of the Trojan War, Ajax was a hero characterised by his gift of invulnerability. Because of this power, he is the figure who protects his companions - dead or alive - par excellence. However, this ability probably also led him to become over-confident, and, accordingly, to reject Athena's support on the battlefield. Hence, the goddess's hostility towards him, which she demonstrated by making him lose the reward of apioteia (Achilles' arms). His defeat made Ajax so angry that he became mad and committed suicide. I also show how this traditional Ajax has been adapted to fit into the Iliad's own aesthetics. The second part - Ajax in Aegina - concentrates on the reception of Ajax in the victory odes of Pindar and Bacchylides for Aeginetan patrons. I argue that in the first part of the fifth century, Ajax becomes a figure imbued with a strong political dimension (especially with regard to the relationship between Athens and Aegina). Accordingly, I show how the presence of Ajax in Pindar's and Bacchylides' poems is often politically charged, and significant within the historical context. I discuss the influence this had on his representation. Finally, the third part moves to Athens, as I consider Ajax's reception during three distinct periods: the sixth century, the first half of the fifth century, and finally the rest of the classical period. I equally insist on the political dimension of the figure. I demonstrate that his figure undergoes a shift of paradigm in the early fifth century, which deeply affects his representation. By following in the footsteps of Ajax, this study prompts a series of reflections and comments on each of the works in which the hero features as well as on the relationship of these works to the historical context in which they were produced.

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Inkret, Andreja. „Play-within-a-play and related forms in Greek drama“. Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547762.

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23

Moloney, Eoghan Patrick. „Theatre for a new age : Macedonia and ancient Greek drama“. Thesis, University of Cambridge, 2003. https://www.repository.cam.ac.uk/handle/1810/272022.

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24

Salis, Loredana. „'So Greek with consequence' : classical tragedy in contemporary Irish Drama“. Thesis, Ulster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421897.

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25

Chakrabarty, Sushanta Kumar. „The Influence of Greek and Latin tragedies on English drama“. Thesis, University of North Bengal, 1996. http://hdl.handle.net/123456789/1209.

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26

Evans, Samantha Jane. „The self and ethical agency in Euripides' Hippolytus and Medea“. Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326624.

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27

Poli-Palladini, Letizia. „Studies on Aeschylus' 'Seven against Thebes'“. Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326948.

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28

Allan, William. „A study of Euripides' Andromache“. Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363480.

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29

Webb, Montgomery Paul. „Revelation and chiasm the drama of supernatural warfare /“. Theological Research Exchange Network (TREN), 2005. http://www.tren.com.

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30

Fung, Kai Chun. „The reception of Elizabethan and Jacobean drama in the Romantic period: the case of John Ford“. Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/1866.

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31

Fung, Kai Chun. „The reception of Elizabethan and Jacobean drama in the Romantic period the case of John Ford /“. University of Sydney, 2007. http://hdl.handle.net/2123/1866.

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32

von, Bergen Louise. „Nordisk teater i Montevideo : Kontextrelaterad reception av Henrik Ibsen och August Strindberg“. Doctoral thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1210.

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The primary purpose of this dissertation is to study the dialogue between the Scandinavian drama and the Uruguayan theatre; how drama from Scandinavia has been received in the Río de la Plata during the last hundred years; how it has been adapted and activated to be meaningful to the audience; how it has been integrated within the Uruguayan theatre and society and how the play changes with that new dialogue. As this is the first study of Scandinavian plays in Uruguay a secondary purpose is to document what has been put on stage; fifty-three productions, ninety percent of which were plays by Henrik Ibsen and August Strindberg. The study is organized in three parts: a) a historical and sociological description of the Uruguayan society and its theatre; b) a presentation of Scandinavian drama, staging of Scandinavian theatre and its reception during the twentieth century; c) a comparative analysis of the reception in its widest sense at different periods of eleven productions of two dramas by Ibsen and one by Strindberg. The work is thus part of a tradition of the history of reception. According to the hermeneutic method, the reading is done from the horizon of expectation at the time of the staging interwined with today’s perspective. I follow the Argentinean investigator of theatre Osvaldo Pellettieri’s definition of the concept “reception”: passive reception by the public; reproductive reception, reception including translation and criticism; productive reception, creative reception expressed as staging or as a text that is evidently influenced by another text. In studying the process from the source text of a play to the reception of a performance, the four steps that Patrice Pavis has pointed out have been followed: 1) the interidiomatic translation of the text, 2) the translation of the text into a manuscript as base for a production 3) the staging and 4) the performance as received by the public. More emphasis is put on the linguistic aspect of the reception and reconstruction than is generally the case in theatre research, as this study lies on the border between literature and theatre studies. Do the Scandinavian plays fall into the topics of the day, politically, socially, culturally and aesthetically? Ibsen’s and Strindberg’s dramatic production have drawn the attention of Uruguayan critics since 1894, four years before the public had the opportunity to see a play on stage in Montevideo. Their contents and dramatic aesthetics were evaluated and we can also see how their ideas are discussed and integrated in the social debate on womens’ rights and the economic consequences of divorce. In order to see where the critics put their emphasis, the following aspects were considered: the author, the plot and its actuality, the audience, the translation, the direction, the scenography, the acting, the scenery and the music. The emphasis and interest of the critics have changed during this period of a hundred year. At the turn of the century 1900 they focused on the plot, the protagonist and also put a lot of emphasis on the public’s reactions. A realistic interpretation was appreciated but its content was not related to the situation in the surrounding society. During the first half of last century we only find visiting companies from Europe playing the Scandinavian dramatists. At first they introduced Ibsen and later Strindberg to the public in Montevideo via performances made by European actors for a European public. The Montevidean public was sometimes amazed by the new theatrical form and stunned by the contents of the play, but, according to the critics, the spectators eventually accepted it all and thus widened their horizon. There is a great contrast in connection with the distribution of the critics' interests from the fifties onwards. The theme and its actuality were discussed, the author got a lot of space as did the director and the actors. The audience’s reaction was seldom commented upon, nor the scenography. Towards the end of the century the direction, the scenography and the scenery drew the critics’ attention on behalf of the actors, but the theme and its actuality preserved their interest. In the late forties the Uruguayan theatre had developed a theatre system. Scandinavian plays were now staged by native theatre groups and can be considered as integrated within the Uruguayan cultural and social system. We can see how the Scandinavian theatre performances accompanied theatre life in Montevideo; its rise during the fifties and sixties, its fall during the dictatorship of the seventies, its resurrection and its present condition, more free, more open and difficult to define in a few words. The last three chapters are a study of A doll’s House, An Enemy of the People and Creditors in Montevideo. It is a more detailed analysis of the translation of the texts, the transposition to the stage, how the performances relate to the cultural, social and political context and how they are received by the critics. A comparative study shows how the directors and the theatregroups have searched for different solutions to represent the plays. It shows great differences in the realization, differences that depend on the varying conditions of the groups; if they are part of the official theatre or an independent group, their political and aesthetical orientation, their intentions and artistic level and the social context in which the staging takes part.

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Rosenberg, Anna. „As handsome as a Greek : the reception and creative appropriation of Federico García Lorca in Modern Greek poetry (1933-1986)“. Thesis, King's College London (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.629432.

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This thesis examines the relationship between Federico Garda Lorca and Modern Greek poetry as witnessed during the period 1933 to 1986. Exploring Lorca's vast popularity in Greece and arguing for his Hellenization, it is divided into two parts relating to reception and creative appropriation respectively. The first part deals with three forms of reception: translations, criticism, and poetic tributes to Lorca. Translations of his work, with a particular focus on poetry, and critical attention Lorca the poet and person received, are discussed in view of the social, political, and ideological context of the period 1933-1986. Poetic tributes, mainly inspired by Lorca's death at the outbreak of the Spanish Civil War, are also examined as an integral part of his importation and accommodation in the Greek context. The second part of this thesis explores the ways four major Greek poets, Odysseus Ely tis, Nikos Gatsos, Yiannis Ritsos, and Nikos Engonopoulos creatively appropriated elements of Lorca's poetry in their own work. These poets sought to forge their national and literary identity through renegotiating their relationship with Greek tradition and contemporary artistic and ideological European movements, especially Surrealism. In Lorca, they found inspirational means of addressing these preoccupations. This thesis follows the uninterrupted trajectory of Lorca in Greece offering at the same time a new perspective on Modern Greek poetry. A diachronic examination of the interconnection between the various forms of response to Lorca demonstrates that the Spanish writer played a decisive role in the development of Modern Greek poetry.

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Rojcewicz, Stephen J. „Our tears| Thornton Wilder's reception and Americanization of the Latin and Greek classics“. Thesis, University of Maryland, College Park, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10260313.

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I argue in this dissertation that Thornton Wilder is a poeta doctus, a learned playwright and novelist, who consciously places himself within the classical tradition, creating works that assimilate Greek and Latin literature, transforming our understanding of the classics through the intertextual aspects of his writings. Never slavishly following his ancient models, Wilder grapples with classical literature not only through his fiction set in ancient times but also throughout his literary output, integrating classical influences with biblical, medieval, Renaissance, early modern, and modern sources. In particular, Wilder dramatizes the Americanization of these influences, fulfilling what he describes in an early newspaper interview as the mission of the American writer: merging classical works with the American spirit.

Through close reading; examination of manuscript drafts, journal entries, and correspondence; and philological analysis, I explore Wilder’s development of classical motifs, including the female sage, the torch race of literature, the Homeric hero, and the spread of manure. Wilder’s first published novel, The Cabala, demonstrates his identification with Vergil as the Latin poet’s American successor. Drawing on feminist scholarship, I investigate the role of female sages in Wilder’s novels and plays, including the example of Emily Dickinson. The Skin of Our Teeth exemplifies Wilder’s metaphor of literature as a “Torch Race,” based on Lucretius and Plato: literature is a relay race involving the cooperation of numerous peoples and cultures, rather than a purely competitive endeavor.

Vergil’s expression, sunt lacrimae rerum et mentem mortalia tangunt [Here are the tears of the world, and human matters touch the heart] (Vergil: Aeneid 1.462), haunts much of Wilder’s oeuvre. The phrase lacrimae rerum is multivocal, so that the reader must interpret it. Understanding lacrimae rerum as “tears for the beauty of the world,” Wilder utilizes scenes depicting the wonder of the world and the resulting sorrow when individuals recognize this too late. Saturating his works with the spirit of antiquity, Wilder exhorts us to observe lovingly and to live life fully while on earth. Through characters such as Dolly Levi in The Matchmaker and Emily Webb in Our Town, Wilder transforms Vergil’s lacrimae rerum into “Our Tears.”

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ZARANTONELLO, MARIANNA. „The Arabic Reception of Pagan Greek Poetry and Poets in the ʿAbbāsid Period“. Doctoral thesis, Università degli studi di Padova, 2022. http://hdl.handle.net/11577/3459402.

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Il presente studio indaga le dinamiche di ricezione della poesia greca pagana in lingua araba durante l’epoca ʿabbāside, nel contesto del cosiddetto movimento di traduzione e della tradizione filosofico-letteraria che si sviluppò a partire da esso. Questo specifico fenomeno di ricezione è avvenuto sia per via di traduzione passiva di testi greci in siriaco e in arabo sia attraverso un’assimilazione più libera di frammenti testuali e motivi narrativi, ma ha avuto, in generale, una portata piuttosto limitata. La poesia greca sembra essere stata ai margini degli interessi degli intellettuali arabofoni di epoca ʿabbāside e, infatti, non si conservano né sono attestate traduzioni integrali di opere di poesia greca (ad eccezione di alcuni poemi di argomento scientifico o moralistico-filosofico). Dunque, la trasmissione di questa parte della letteratura greca è avvenuta per lo più per via indiretta, attraverso frammenti sparsi provenienti da fonti eterogenee. Queste possono essere ricondotte a due macrocategorie che corrispondono a due canali di trasmissione principali. La prima macrocategoria è costituita dai riferimenti poetici contenuti in trattati filosofici, medici e scientifici tradotti in arabo. Data la vastità di questo campo di indagine ci siamo concentrati sull’esame delle versioni arabe del Corpus Aristotelicum. Il secondo canale di trasmissione è la letteratura dosso-gnomologica, cioè compilazioni di aneddoti e detti che mescolano materiali di diversa origine, non solo greca e arabo-islamica. Oltre a questi corpora di testi, sono state esaminate importanti fonti documentarie che attestino una conoscenza e una trasmissione, almeno parzialmente orale, di elementi narrativi e topoi letterari.
This study investigates the dynamics of reception of pagan Greek poetry in Arabic during the ʿAbbāsid era, in the context of the so-called translation movement and the philosophical-literary tradition that developed from it. This specific phenomenon of reception took place either through passive translation of Greek texts into Syriac and Arabic or through a freer assimilation of textual fragments and narrative motifs, but it had, in general, a rather limited scope. Greek poetry seems to have been at the margins of the interests of Arabic-speaking intellectuals of the ʿAbbāsid period, and, in fact, no full translations of works of Greek poetry are preserved or attested (with the exception of a few poems on scientific or moralistic-philosophical subjects). Thus, the transmission of this part of Greek literature took place mostly indirectly, through scattered fragments from heterogeneous sources. These can be reduced to two macrocategories corresponding to two main channels of transmission. The first macrocategory consists of poetic references contained in philosophical, medical and scientific treatises translated into Arabic. Given the vastness of this field of investigation, we have concentrated on examining the Arabic versions of the Corpus Aristotelicum. The second channel of transmission is the doxo-gnomological literature, i.e., compilations of anecdotes and sayings mixing materials of different origins, not only Greek and Arabic-Islamic. In addition to these corpora of texts, important documentary sources attesting to an at least partially oral knowledge and transmission of narrative elements and literary topoi were examined.

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Black, Elaine. „The Euripidean priestess : women with religious authority in the plays of Euripides“. Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343227.

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Foster, Clare Louise Elizabeth. „'A very British Greek play' : a critical investigation of the origins and tradition of Greek plays in Greek in England, 1880-1921“. Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708816.

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Griffiths, Emma Marie. „Trailing clouds of glory : a study of child figures in Greek tragedy“. Thesis, University of Bristol, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286028.

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Lalioti, Vassiliki. „Social memory and ethnic identity : ancient Greek drama performances as commemorative ceremonies“. Thesis, Durham University, 2001. http://etheses.dur.ac.uk/3850/.

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This thesis is an ethnographic account of ancient Greek drama performances that take place in contemporary Greece. It illuminates an aspect of them that has not been taken into account until today: it treats them as commemorative ceremonies that produce, reproduce, and transmit social memory. The interrelation and interdependence between social memory and ethnic identity construction processes are analysed and it is shown that ancient drama performances, due to specific characteristics, constitute something more than mere theatrical events (as they are defined within the Western tradition). These performances, convey, sustain, and transmit from one generation to the next, perceptions of a glorious culture of the past, and become, for its creators and spectators, occasions for celebrating and remembering their ethnic past.

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Polyakov, Maxim. „The power of time : old age and old men in ancient Greek drama“. Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:2d238e6d-e040-479a-ae8f-dcf5ecd7e838.

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The study of old age in the humanities has developed significantly in the last few decades, but there is still much scope for progress. This thesis, therefore, seeks to contribute to the growing academic discourse in this area by considering ageing as it is represented in ancient Greek theatre. At the same time, it seeks to take its place within Classical Studies by developing new readings of the plays. To develop a context for its analysis, this study begins with consideration of the contemporary demographics, social position, and stage portrayal of old age, and following this dedicates a chapter to each of the four surviving fifth century dramatists. In Aiskhylos’ Agamemnon, old age emerges as a crucial element in choral self-identity, and an important component of the authority that they display. Following this, the thesis considers the chorus of Euripides’ Herakles, in particular its use of metadramatic language, and the impact this has on plot-development and the representation of their age. The next chapter, on Oidipous Koloneus, shifts to consideration of the protagonist. The old age of Oidipous emerges as a powerful driver of his mental and spiritual power, and forms a striking background to the exploration of his character. The final chapter of the thesis examines how mechanisms of renewal that old men undergo in Aristophanes’ comedies (Knights, Akharnians, Peace, Wasps, Birds) differ across the dramas, and the impact this difference has on their interpretations. Such reassessments of ancient dramatic texts through the lens of old age can provide significant insight into the complexity of old men’s characterisations and of their involvement in the dramas. At the same time (from a gerontological perspective), this thesis’ analysis contributes to the developing discussion of the history of ageing, and highlights the differences between the ancient and modern worlds in this respect.

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Troiani, Sara. „Tra testo e messinscena: Ettore Romagnoli e il teatro greco“. Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/265461.

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The thesis aims to analyse the reception of the ancient Greek drama by the Italian scholar Ettore Romagnoli (1871-1938), considering his critical essays, translations, and theatre performances. The mutual interaction of these three aspects represents the methodological approach to understand how Romagnoli conceived the interpretation of Greek theatre and its dramatic production in the modern age. The thesis consists of three parts. The first one analyses Romagnoli’s ideas on classical studies and the modern translations of ancient Greek poetry within the Italian culture in the early 20th Century and in opposition to the positivist approach in the classical philology and the Neo Idealistic Aesthetics. Furthermore, an exam of the entire work of Romagnoli as stage director is offered, along with the reconstruction of a mainly unknow controversy after his dismissal from the National Institute of Ancient Drama. The second part analyses Romagnoli’s academic studies on the hypothetical performance of ancient tragedy and comedy and the evolution of Greek poetry from music. It also identifies the possible influence of these theories within his own translations and performances. The last part deals with two examples of translations for the stage: the "Agamemnon" (1914) and the "Bacchae" (1922). On the basis of theatre translation studies and thanks to Romagnoli’s editions of the two works, both placed at his archive and library in Rovereto and rich of notes by the translator himself, the analysis attempts to examine the hypothetical performability and speakability of the two texts and whether cuts or modifications were introduced during the stage productions.
La ricerca si propone di condurre un esame il più possibile esaustivo dell’opera del grecista Ettore Romagnoli (1871-1938) come esegeta, traduttore e metteur en scène del dramma antico. Grazie all’analisi della reciproca interazione di questi tre aspetti si è tentato di comprendere come il grecista abbia concepito l’interpretazione del teatro greco e ne abbia progettato la ‘reinvenzione’ drammatica. Il lavoro si suddivide in tre parti. Nella prima viene condotta una ricostruzione della carriera di Romagnoli nel contesto storico-culturale di inizio Novecento, analizzando le sue idee sul rinnovamento degli studi classici e sull’aggiornamento delle traduzioni della poesia greca. In questo quadro assumono notevole rilievo le polemiche condotte da Romagnoli in opposizione alle maggiori correnti accademico-culturali dell’epoca: l’estetica crociana e la filologia scientifica. Inoltre, l’analisi prende in esame l’idea di messinscena e le produzioni dirette da Romagnoli a partire dagli spettacoli universitari (1911-1913) fino alle rappresentazioni teatrali svolte a Siracusa e in altri teatri e siti archeologici d’Italia (1914-1937), insieme alla ricostruzione di una terza polemica, definita ‘siracusana’, che coinvolse il grecista in seguito alla sua estromissione dall’Istituto Nazionale del Dramma Antico. La seconda parte prende in considerazione gli studi scientifici e divulgativi di Romagnoli circa la ricostruzione dell’ipotetica performace della tragedia e della commedia di quinto secolo a.C. e l’evoluzione della poesia greca dalla musica, individuando, inoltre, le possibili rielaborazioni di queste teorie all’interno delle traduzioni e degli spettacoli teatrali. Nella terza parte si analizzano le traduzioni di "Agamennone" e "Baccanti" che Romagnoli portò in scena a Siracusa. Si è tentato di valutare, anche sulla base degli studi teorici relativi alla traduzione per il teatro, quanto l’attenzione alla ‘performabilità’ e alla ‘dicibilità’ del testo ne avesse influenzato la composizione oppure se fossero stati introdotti tagli e modifiche in fase di produzione degli spettacoli. Le due edizioni di "Agamennone" (1914) e "Baccanti" (1922) che facevano parte della biblioteca privata di Romagnoli presentano infatti annotazioni dell’autore riconducibili proprio ai suoi allestimenti per gli spettacoli al Teatro greco di Siracusa. Il lavoro ha potuto avvalersi di scritti inediti, articoli di giornale e documenti privati custoditi negli Archivi della Fondazione INDA e presso il Fondo Romagnoli, dal 2016 proprietà dell’Accademia Roveretana degli Agiati e attualmente in catalogazione presso la Biblioteca civica “G. Tartarotti” di Rovereto.

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Faúndez, Viveros Ximena. „Greek y Edipo Rey: la recepción contemporánea de un clásico“. Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/171044.

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Tesis para optar al grado de Magíster en Literatura
La investigación analiza la obra dramática Greek (estrenada y publicada en 1980) escrita por Steven Berkoff a partir de su vinculación con Edipo Rey, la tragedia de Sófocles. El objetivo de este informe es comprender los elementos del contexto de recepción presentes en Greek que inciden en su construcción. Se aborda qué aspectos de la tragedia clásica se mantienen en la obra contemporánea y de qué manera son transformados, qué concepciones culturales y dramáticas subyacen a esta nueva versión analizando el contexto sociopolítico contemporáneo que la obra integra en el acontecer dramático (los años 80 en Inglaterra), las tendencias teatrales y dramáticas con que se vincula Berkoff y las concepciones culturales que, a nuestro juicio, operan en la reelaboración de Edipo Rey, esto es, la visión psicoanalítica de Edipo y la visión de los mitos griegos postulada por Robert Graves. Berkoff retoma de Edipo Rey los acontecimientos principales del argumento, representando sucesos que en la tragedia solo son rememorados, resignifica el motivo de la peste, transformándola en una característica constitutiva del mundo de Greek, escenifica personajes que la tragedia solo menciona (fundamentalmente la esfinge), y da centralidad a la relación incestuosa del protagonista con su madre. Esta última es transformada en una relación amorosa sexual, revisada desde las connotaciones psicoanalíticas hechas a la historia de Edipo y desde la crítica que Berkoff hace a la cultura patriarcal occidental.

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Odirile, Shumie T. „Mareledi: An Audience-Reception Study of an HIV/AIDS Entertainment-Education Serial Television Drama in Botswana“. Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1461322756.

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Kaferly, Diane Helene Amelia. „Katà stoixēion : the collected letters of Aristophanes, Euripides and Sophocles“. Thesis, University of St Andrews, 1986. http://hdl.handle.net/10023/15437.

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This research, a computer-assisted analysis of fifth century drama covering thirty-six plays: eleven of Aristophanes, eighteen of Euripides, and seven of Sophocles, contains detailed information concerning the distribution of letters in their works. 4 A general letter count was refined in terms of vowels and consonants, and the six consonant groups: gutturals, labials, dentals, liquids, aspirates, and sibilants. Each play was examined individually first as a whole and then in part, the trimeter sections, for as a letter or a group is to the whole so should it be to the part. And if not, why not. A principal consideration was the contribution of sibilants as a 'sound*, Sigma was regarded adversely by literary critics in antiquity; this provides a useful link between quantity and quality. With a view to objectivity, the programmed research was designed with few assumptions and the raw data collected without bias. That is, no a-priori assignments of subjective factors such as 'harshness' were made. The frequency of every letter in an initial, medial, or final position within a phonetic-word and within a verse-line was recorded. Each play, and subsequently each author, was described in terms of vowel to consonant ratio, consonant group representation, consonant group position (i, m, or f), and consonant group alliteration in trimeter scenes. Rudimentary 'voice-prints' for each author emerged indicating individual traits, preferences, and time-dependent features of an author's style. Differences between Comedy and Tragedy were measured and the question of Euripides' alleged excessive sigmaticism examined in full. Evidence of Aristophanes' comic characterisation of Euripides was presented in some detail.

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Karagiozis, Nectaria. „Children's reception and uses of fairy tale narratives in a Greek second language learning environment“. Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/9033.

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Children perceive stories in particular ways and they use the rules and the roles depicted in their content to negotiate and formulate their everyday world (Wolf and Heath, 1992). This qualitative research study investigates children's construction of meaning and use of fairy tale narratives in a Greek second language learning environment. Twenty-two participants from the Canadian Greek Heritage Language School participate in the study. The students are asked to reflect on their engagements with specific Greek fairy tales, and then to express the ideas and feelings produced through their interaction with these cultural texts. The study highlights the salient role of texts in processes of identity formation, their influence on the definition of values, and their contribution to the installation of notions regarding the community and the future. Many theorists argue that the analysis of cultural texts from this perspective can lead individuals to challenge social constructs.

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Andreiomenos, Giorgos. „The reception of Kalvos by modern Greek criticism : an account of the bibliography 1818-1960“. Thesis, University of Birmingham, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519513.

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This thesis deals with the reception of Kalvos by Greek criticism and consists of ten Chapter in three parts. The first chapter refers to the positive reactions of European critics to Kalvos's first scholarly and poetic appearances in public. Chapter two discusses the reception of Kalvos by nineteenth century criticism, expressed primarily by Heptanesian literati and the Romantics of the Old Athenian School. The third chapter examines the treatment of Kalvos's poetry by Kostis Palamas and the contribution of the latter to the development of Kalvian Studies. Chapter four assesses the legacy of Palamas as regards the critical approval of the odes by his contemporary men of Letters, and those critics who challenged or opposed Palamas's views and questioned or denied the value of Kalvos.

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Drummen, Annemieke [Verfasser], und Anna [Akademischer Betreuer] Bonifazi. „Language on stage. Particles in ancient Greek drama / Annemieke Drummen ; Betreuer: Anna Bonifazi“. Heidelberg : Universitätsbibliothek Heidelberg, 2017. http://d-nb.info/1180985966/34.

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Sakellari, Alexandra. „The scenic presentation of the Electra-myth in Greek, German and American drama“. Thesis, University of Bristol, 1994. http://hdl.handle.net/1983/844c957b-a33e-4e4a-a6ba-a3b3bd83174d.

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Garde, Ulrike 1964. „The Australian reception of Austrian, German and Swiss drama : productions and reviews between 1945 and 1996“. Monash University, German Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/8820.

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Van, Essen-Fishman Lucy. „Character through interaction : Sophocles and the delineation of the individual“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:c23353ec-cc60-453e-8c58-b13d01840a19.

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In this thesis, I argue that Sophoclean characters take shape through a number of different kinds of interaction. On the most basic level, interaction occurs between characters; interactions between characters, however, provide a framework for interactions between those characters and a variety of more abstract concepts. These interactions, by allowing characters to situate themselves with respect to concepts such as, for example, the social roles which shape the society of the play, provide a more complex picture of the personalities depicted onstage; a fuller view of Antigone’s personality, for example, emerges both from her own interactions with the concept of sisterhood and from the differences between her interactions with that concept and Ismene’s. At the same time, these interactions involve the audience in both the construction and the interpretation of Sophoclean characters; as they watch figures interact with each other onstage, the audience, in turn, interact with their own prior knowledge of the concepts which drive the characters of a play. In my five chapters, I discuss five different areas of interaction. In my first chapter, I look at interactions between characters and myth, arguing that Sophoclean characters emerge out of a tension between novelty and familiarity. In my second chapter, I discuss the interactions between characters and their social roles, looking at the problem of appropriate role performance as it applies to Sophoclean characters. My third chapter deals with characters and their memories; I argue that Sophoclean characters shape and are shaped by their memories of past events depending on shifting present circumstances. In my fourth chapter, I discuss the interactions between characters and the passage of time and suggest that Sophoclean figures are characterized by the ways in which they move through time and respond to its passage. In my final chapter, I look at the use of general statements by Sophoclean characters, arguing that the ability of characters to generalize successfully provides a useful measure of their ability to function in the world of the play.

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Dissertationen zum Thema „Reception of greek drama“

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