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Relevant bibliographies by topics / Barbarians in Greek tragedy

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Academic literature on the topic 'Barbarians in Greek tragedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Barbarians in Greek tragedy"

1

Juffras, Diane M., and Edith Hall. "Inventing the Barbarian: Greek Self-Definition through Tragedy." Classical World 84, no. 5 (1991): 398. http://dx.doi.org/10.2307/4350868.

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Heath, Malcolm. "Inventing the Barbarian - Edith Hall: Inventing the Barbarian: Greek Self-Definition through Tragedy. (Oxford Classical Monographs.) Pp. xvi + 277. Oxford: Clarendon Press, 1989. £30." Classical Review 41, no. 1 (April 1991): 90–92. http://dx.doi.org/10.1017/s0009840x00277408.

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Buxton, R. G. A. "(E.) Hall Inventing the barbarian: Greek self-definition through tragedy. (Oxford classical monographs.) Oxford: Clarendon Press, 1989. Pp.xvi + 277. £30.00." Journal of Hellenic Studies 111 (November 1991): 217–18. http://dx.doi.org/10.2307/631909.

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Sancisi-Weerdenburg, Heleen. "EDITH HALL, Inventing the Barbarian. Greek Self-Definition through Tragedy (Oxford Classical Monographs). Oxford, Clarendon Press, xvi, 277 pp. Pr. £30,-." Mnemosyne 46, no. 1 (1993): 126–32. http://dx.doi.org/10.1163/156852593x00204.

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Martin, Richard P., and Timothy Long. "Barbarians in Greek Comedy." Classical World 82, no. 1 (1988): 55. http://dx.doi.org/10.2307/4350276.

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Csapo, Eric G., Margaret C. Miller, and Timothy Long. "Barbarians in Greek Comedy." Phoenix 41, no. 3 (1987): 317. http://dx.doi.org/10.2307/1088198.

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Holt, Philip, and Timothy Long. "Barbarians in Greek Comedy." American Journal of Philology 109, no. 3 (1988): 444. http://dx.doi.org/10.2307/294898.

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Mairowitz, David Zane. "Greek Tragedy." Missouri Review 39, no. 1 (2016): 142–55. http://dx.doi.org/10.1353/mis.2016.0013.

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Grigoriadis, Ioannis N. "Greek Tragedy." World Policy Journal 28, no. 2 (2011): 101–9. http://dx.doi.org/10.1177/0740277511411665.

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Konstan, David. "Barbarians in Greek Comedy. Timothy Long." Classical Philology 83, no. 2 (April 1988): 160–62. http://dx.doi.org/10.1086/367097.

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Dissertations / Theses on the topic "Barbarians in Greek tragedy"

1

Hall, E. "Inventing the barbarian : Ethnocentric interpretation of myth in Greek tragedy." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384739.

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Hall, Edith. "Inventing the barbarian : Greek self definition through tragedy /." Oxford : Clarendon Pr, 1989. http://www.loc.gov/catdir/enhancements/fy0637/89003369-d.html.

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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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Kornarou, Eleni. "Kommoi in Greek tragedy." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/kommoi-in-greek-tragedy(92dc04a2-5c8a-4fad-85b0-52423cd328bc).html.

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Pickering, Peter Edward. "Verbal repetition in Greek tragedy." Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/1318016/.

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This thesis examines the ways in which critics, ancient and modem, have looked at verbal repetitions in the texts of Greek tragedy, in particular those repetitions of lexical words which may seem careless or unintentional. It compares surviving plays (taking a sample of those of Euripides). An index of repetitiveness for each play is calculated; it emerges that while Aeschylus' plays have a wide range, there is a statistically significant difference between those of Sophocles and those of Euripides, the latter being more repetitive. The Prometheus, whose authenticity has been doubted, has a much lower index than any other tragedy examined (though that of the Alexandra of Lycophron is much lower still). A comparison of repetitiveness within a small sample of plays has failed to find systematic differences between passages of dialogue and continuous speeches, or according to the category of word. Some verbal repetitions may not have been in the original texts of tragedies, but may appear in manuscripts because of errors made by copyists. A systematic examination has been made of the manuscript tradition of selected plays to identify the instances where some manuscripts have a reading with a repetition, while others do not. The circumstances in which erroneous repetitions are introduced are identified; one conclusion reached is that copyists sometimes remove genuine repetitions. Modem psychological research has thrown light on the processes of language comprehension and production, in particular a process known as 'priming' whereby an earlier stimulus facilitates the naming of an object. The thesis discusses the relevance of this research to the observed phenomena of verbal repetitions by authors and copyists. The thesis concludes with a detailed examination of passages in three plays, and the remarks of commentators on them. Aesthetic and textual matters are discussed.

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Hamstead, Susan Dorothy. "Off-stage characters in Greek tragedy." Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421357.

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Papadopoulos, Leonidas. "Sea journeys in ancient Greek tragedy." Thesis, King's College London (University of London), 2016. https://kclpure.kcl.ac.uk/portal/en/theses/sea-journeys-in-ancient-greek-tragedy(5b8915f7-8ae6-4531-b490-884dff6fa428).html.

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My field of interest concerns the representation of the sea and its prominent presence as a space with multiple dynamics, symbolism and interpretations in ancient Greek tragedy. Using the wanderings of mortals as a main axis, I will attempt to explore how the sea, as an open dramatic milieu, acquires a significant function, which is directly connected with mortals’ destiny. The sea’s unpredictable nature is projected as a metaphysical environment, which could be identified as a boundary between the Greeks and the barbarians, life and death, nostos and nostalgia. Increasingly, recent scholarship has produced a variety of detailed analyses and considerations concerning the spatial dynamics of tragedy. Although the seascape is recognized as an influential landscape at the centre of the Greek world, only a limited amount of scholarly attention has been devoted to this nautical realm as illustrated in ancient Greek tragedy. The aim of this thesis is to discuss the use and the perception of this powerful and effective space in a selection of tragedies, and to focus on the treatments of the sea as an intersection of multiple connotations and references. The thesis concludes that within the context of a world in constant turmoil, journeys at sea can be interpreted as illustrating and revealing, through the adventures and aspirations of mortals, the socio-political and historical framework of the Greek society contemporary with the tragedies. The poetic image of the sea, as expressed in the tragic texts and connected with the capability of the human imagination to re-create a personal vision of history and myth, forms a remarkable topographic environment full of instability which, in many cases, depicts humanity’s ambivalent emotions and uncertain future.

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Alexopoulou, Marigo. "The homecoming (νóoτoσ) pattern in Greek tragedy." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/7013/.

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This thesis is an analysis of the use of the homecoming ('nostos' in Greek) in Greek tragedy. I concentrate not just on the treatment of the nostos-theme within the plot and the imagery of the plays in question but also on nostos as part of Greek cultural experience. In order to illuminate the nature of nostos both as a life-event and as a story-pattern in the early literary tradition I begin with an overview of nostos in life and literature, and then give a detailed account of nostos in the Odyssey, since it is a major example of the nostos-pattern for Greek culture. By considering the literary treatment of nostos in the Odyssey one may understand the nature of nostos as a story-pattern and how that influences audience expectations. This is particularly important since the analysis of nostos in Greek tragedy will be especially related to the Odyssey. Specifically the thesis aims to describe and analyse common elements within the plot and the imagery of the plays that might be called nostos-plays. Primary nostos-plays are those where nostos serves as the fulcrum of the action, such as Aeschylus' 'Persians' and Agamemnon and Sophocles' 'Trachiniae'. The bulk of this study is devoted to the structural use of nostos in these plays. I stress at the outset, however, that the nostos-pattern in Greek tragedy is exploited more widely, and there are many occasions in Greek drama where nostos is an element of the plot. Among these, those with closest association to the treatment of nostos in the second half of the Odyssey are the Orestes-plots (notably Aeschylus' 'Choephori', Sophocles' 'Electra' and Euripides' 'Electra'). I also consider the use of nostos in Euripides' 'Andromache' and 'Heracles' since both plays illustrate that nostos is a means of creative variation on the part of the poet. Interpretation of the specific plays shows that the nostos-pattern common to these plays is a flexible set of conventions with significant variation in each case. Common themes and roles are developed in divergent ways, expectations raised are not necessarily met. Thus the thesis will recognise the variety of specific uses of the nostos-pattern on tragic stage. Finally, I suggest in the Appendix a new reading of Seferis' poem. In particular I relate the return of the exile in Seferis' poem to the return of Orestes, which underlines the idealistic nature of the notion of a return to the same. This notion is embodied in both the nostos-plays and Seferis' poem.

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Des, Bouvrie Synnøve. "Women in Greek tragedy : an anthropological approach /." Oslo : Norwegian university press, 1990. http://catalogue.bnf.fr/ark:/12148/cb35538271j.

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Rochelle, Pauline. "Using and abusing children in Greek tragedy." Thesis, Open University, 2012. http://oro.open.ac.uk/54661/.

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Vulnerable children are crucial in Greek tragedy and to the philosophy of suffering that it explores. They attract high levels of emotional concern that spill over from the human arena into the divine. As a means of exposing the presence or absence of the power and influence of the gods, children in tragedy are pivotal voices in the integrity and survival of the tragic family. The literary, social and historical contexts within which this importance falls are set out in Chapter 1. Chapter 2 investigates how tragedy features important roles for vulnerable children and how ritual human sacrifice and murder highlight the importance of divine intervention in family life. Chapter 3 looks at the underlying reasons for parents killing their children and examines how this can destroy the family unit by eradicating the family line and preventing the continuance of name and inheritance. The chapter also analyses how divine interference can override a parent's will and sense of right. Chapter 4 considers how the killing of parents by children destroys the vertical family structure and so threatens a crucial aspect of social order. It analyses how the plays test allegiances, power relations and filial obligations to the limit and, within this context, the involvement of the gods creates different levels of liability and degrees of authority. Chapter 5 shows how when planning to murder the most vulnerable children, or in circumstances of abandonment or illegitimacy, the relative power and influence of the divine and human is brought under conclusive and central scrutiny. From this the Conclusion pinpoints the importance of children in Greek tragedy in (i) showing the family capable of repairing itself and establishing values sufficient for it to recover from the worst events, and (ii) suggesting that this can be done without the involvement, interference, or influence of the gods. This realisation offers a fresh aspect to further analyses of Greek tragedy, its form and implications.

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Books on the topic "Barbarians in Greek tragedy"

1

Inventing the barbarian: Greek self-definition through tragedy. Oxford [England]: Clarendon Press, 1989.

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2

Barbarians in Greek comedy. Carbondale: Southern Illinois University Press, 1986.

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3

Andò, Valeria. Euripide, Ifigenia in Aulide. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-513-1.

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This volume contains the first Italian critical edition with introduction, translation and commentary of Euripides’ Iphigenia in Aulis. The tragedy, exhibited posthumously in 405 BCE, stages the first mythical segment of the Trojan War, namely the sacrifice of Iphigenia, daughter of king Agamemnon, head of the Greek army, in order to propitiate the winds that should lead the navy to Troy. A tragedy of intrigue and unveiling, in which all the characters try to oppose the sacrifice, judged to be an impiety despite its sacred essence. It is therefore a tragedy without gods, in which characters of modest moral stature move, unstable, ready to sudden changes of mind, and among whom the protagonist stands out: the girl who, having overcome the dismay for the destiny awaiting her, voluntarily moves towards death on the altar, for a flimsy patriotic ideal and with the illusion of achieving immortal glory. Since the end of the eighteenth century, the text of this tragedy, handed over to us by the manuscript tradition, has been exposed more than others to a rigorous philological criticism that has broken its unity, through considerable expunctions of entire sections and sequences of verses. The volume traces the phases of this critical work, showing its methods – and sometimes its excesses – and choosing a balance line in the constitution of the text. The overall exegesis of the tragedy, which I propose in this study, consists in the belief that, despite the exodus being spurious, the finale, in view of which the entire dramaturgy was composed, still had to contemplate Iphigenia’s salvation. In fact, if the Panhellenic ideal of defence against the barbarians is now meaningless, and if a war of destruction, to begin with, needs the death of an innocent person, then this death must be transcended and the horror of human sacrifice must dissolve. It therefore seems that, once political current events become opaque, the poet’s research tends to create situations of great patheticism in an aesthetic setting of refined beauty.

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4

Herington, C. J., and Thomas Gould. Greek tragedy. Cambridge: Cambridge University Press, 2009.

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Greek tragedy. Malden, MA: Blackwell Pub., 2008.

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Rabinowitz, Nancy Sorkin, ed. Greek Tragedy. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470694053.

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7

Reading Greek tragedy. Cambridge: Cambridge University Press, 1986.

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8

Garland, Robert. Surviving Greek tragedy. London: Duckworth, 2004.

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Greek tragedy: An introduction. Baltimore: Johns Hopkins University Press, 1991.

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Greek tragedy in action. 2nd ed. London: Routledge, 2003.

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Book chapters on the topic "Barbarians in Greek tragedy"

1

"Barbarism and Fragmentation in Fifth- Century Tragedy: Barbarians in the Fragments and “Fragmented” Barbarians." In Fragmentation in Ancient Greek Drama, 299–318. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110621693-017.

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"Greek Tragedy." In A Guide to Ancient Greek Drama, 72–155. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470776209.ch2.

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Wrigley, Amanda. "Greek Tragedy." In Greece on Air, 221–46. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199644780.003.0008.

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"Old Tragedy." In Greek Tragedy, 41–73. Routledge, 2002. http://dx.doi.org/10.4324/9780203412602-3.

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"Old Tragedy." In Greek Tragedy, 43–70. Routledge, 2011. http://dx.doi.org/10.4324/9780203828236-8.

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"Lyrical Tragedy." In Greek Tragedy, 17–42. Routledge, 2011. http://dx.doi.org/10.4324/9780203828236-7.

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"Greek and Roman Authors." In The Barbarians Speak, 269–70. Princeton University Press, 1999. http://dx.doi.org/10.1515/9781400843466-016.

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"Greek and Roman Authors." In The Barbarians Speak, 269–70. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv1j666ff.18.

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"The Technique of the Euripidean Tragedy." In Greek Tragedy, 260–97. Routledge, 2002. http://dx.doi.org/10.4324/9780203412602-10.

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"THE ‘TRACHINIAE’ AND ‘PHILOCTETES’." In Greek Tragedy, 298–320. Routledge, 2002. http://dx.doi.org/10.4324/9780203412602-11.

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Conference papers on the topic "Barbarians in Greek tragedy"

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Gessiou, Eleni, Alexandros Labrinidis, and Sotiris Ioannidis. "A Greek (privacy) tragedy." In the 8th ACM workshop. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1655188.1655203.

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Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

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Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.

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Reports on the topic "Barbarians in Greek tragedy"

1

Scot, Barbara. Hegel and the Concept of Religion in Greek Tragedy. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2260.

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