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Journal articles on the topic 'Barbarians in Greek tragedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Thalmann, William G., and Simon Goldhill. "Reading Greek Tragedy." Classical World 81, no. 4 (1988): 328. http://dx.doi.org/10.2307/4350217.

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12

Torrance, Isabelle, and R. Garland. "Surviving Greek Tragedy." Classics Ireland 12 (2005): 93. http://dx.doi.org/10.2307/25528428.

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13

Costas Douzinas. "The Greek Tragedy." Journal of Modern Greek Studies 28, no. 2 (2010): 285–92. http://dx.doi.org/10.1353/mgs.2010.0419.

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14

Campbell, Peter A. "Postdramatic Greek Tragedy." Journal of Dramatic Theory and Criticism 25, no. 1 (2010): 55–74. http://dx.doi.org/10.1353/dtc.2010.0017.

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15

Varakis-Martin, Angeliki. "Acting Greek Tragedy." Studies in Theatre and Performance 36, no. 1 (December 16, 2015): 89–90. http://dx.doi.org/10.1080/14682761.2015.1099214.

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16

Kovacs, George. "Introducing Greek Tragedy." Mouseion: Journal of the Classical Association of Canada 10, no. 1 (2010): 69–75. http://dx.doi.org/10.1353/mou.2010.0028.

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17

Kokkoris, Ioannis, Rodrigo Olivares-Caminal, and Kiriakos Papadakis. "The Greek Tragedy." Journal of Banking Regulation 11, no. 4 (September 2010): 257–59. http://dx.doi.org/10.1057/jbr.2010.19.

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18

Kritikos,, Alexander S., and Christian Dreger. "The Greek Crisis: A Greek Tragedy?" Vierteljahrshefte zur Wirtschaftsforschung 84, no. 3 (September 2015): 5–8. http://dx.doi.org/10.3790/vjh.84.3.5.

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19

ChoiHaeYoung. "Book Review - Greek Tragedy." Journal of Classical Studies ll, no. 53 (December 2018): 283–87. http://dx.doi.org/10.20975/jcskor.2018..53.283.

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20

Buxton, R. G. A. "Bafflement in Greek Tragedy." Mètis. Anthropologie des mondes grecs anciens 3, no. 1 (1988): 41–51. http://dx.doi.org/10.3406/metis.1988.903.

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21

Silk, M. S. "Heracles and Greek Tragedy." Greece and Rome 32, no. 1 (April 1985): 1–22. http://dx.doi.org/10.1017/s0017383500030096.

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Heracles was the greatest and the strangest of all the Greek heroes. A long list of superhuman acts of strength and courage stood to his name, and above all else the famous twelve labours, which began with the killing of the Nemean lion and.ended in the capture of the monstrous watchdog Cerberus in Hades. He was a great slayer of monsters, also a great civilizer, founding cities, warm springs, and (as Pindar was fond of reminding his audiences) the Olympic festival. He suffered prodigiously, and he maintained prodigious appetites, for food, drink, and women. He may have had friends, but none close (as, say, Patroclus and Achilles were close), but he did have one implacable and jealous enemy, the goddess Hera. He had two marriages: the first set of wife and children he killed in a fit of madness; the second brought about his own death. He was the son of a mortal woman, Alcmena, and the god Zeus, with Amphitryon as a second, mortal, father; and after his death (by most accounts) he became a god himself and lived on Olympus.

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22

Rosslyn, F. "Lorca and Greek Tragedy." Cambridge Quarterly 29, no. 3 (March 1, 2000): 215–36. http://dx.doi.org/10.1093/camqtly/29.3.215.

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23

Koulouris, Theodore. "Virginia Woolf’s Greek Tragedy." Contemporary Women's Writing 13, no. 2 (July 2019): 249–51. http://dx.doi.org/10.1093/cww/vpz013.

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24

Rogers, Arthur. "Greek human-rights tragedy." Lancet 344, no. 8936 (December 1994): 1563. http://dx.doi.org/10.1016/s0140-6736(94)90363-8.

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25

Rosslyn, F. "Lorca and Greek Tragedy." Cambridge Quarterly XXIX, no. 3 (March 1, 2000): 215–36. http://dx.doi.org/10.1093/camqtly/xxix.3.215.

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26

Easterling, P. E. "Anachronism in Greek tragedy." Journal of Hellenic Studies 105 (November 1985): 1–10. http://dx.doi.org/10.2307/631518.

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Anachronism-hunting has been out of fashion with scholars in recent times, for the good reason that it can easily seem like a rather trivial sort of parlour game. But given that Greek tragedy draws so heavily on the past, a close look at some examples may perhaps throw light on a far from trivial subject, the dramatists' perception of the heroic world.So long as anachronism was treated as an artistic failing the debate was bound to be unproductive; one can symphathise with Jebb's view (on Soph. El. 48 ff.) that Attic tragedy was ‘wholly indifferent’ to it. And one can see why later scholars have objected to the very idea of anachronism as irrelevant and misleading. Ehrenberg, for example, wrote in 1954: ‘It is entirely mistaken to distinguish between mythical and thus quasi-historical features on the one hand and contemporary and thus anachronistic on the other. There is always the unity of the one poem or play, displaying the ancient myth, although shaped in the spirit of the poet's mind and time.’

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27

Williams, Nigel. "A Greek summer tragedy." Current Biology 17, no. 16 (August 2007): R615. http://dx.doi.org/10.1016/j.cub.2007.07.051.

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28

조창오. "Hegel’s interpretation of Greek tragedy." Studies in Philosophy East-West ll, no. 74 (December 2014): 339–66. http://dx.doi.org/10.15841/kspew..74.201412.339.

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29

Segal, Charles. "Classics, Ecumenicism, and Greek Tragedy." Transactions of the American Philological Association (1974-) 125 (1995): 1. http://dx.doi.org/10.2307/284343.

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30

Marseglia, Rocco. "Choral Mediations in Greek Tragedy." Kernos, no. 28 (October 1, 2015): 277–80. http://dx.doi.org/10.4000/kernos.2342.

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31

Clark. "Reported Speech in Greek Tragedy." Illinois Classical Studies 45, no. 1 (2020): 1. http://dx.doi.org/10.5406/illiclasstud.45.1.0001.

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32

Gurd, Sean, and Helene P. Foley. "Female Acts in Greek Tragedy." Phoenix 57, no. 1/2 (2003): 150. http://dx.doi.org/10.2307/3648495.

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33

Jones, Nesta. "New Playwriting, Ancient Greek Tragedy." New Theatre Quarterly 10, no. 39 (August 1994): 293. http://dx.doi.org/10.1017/s0266464x00008745.

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34

Foley. "Choral Identity in Greek Tragedy." Classical Philology 98, no. 1 (2003): 1. http://dx.doi.org/10.2307/1215532.

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35

Carter, D. M. "The demos in Greek tragedy." Cambridge Classical Journal 56 (2010): 47–94. http://dx.doi.org/10.1017/s1750270500000282.

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This paper looks at a relatively neglected character in Greek tragedy: the people. I cannot claim to produce a complete survey of this issue; however, I shall identify some different ways in which a tragic poet could portray a city's population, and discuss some examples.This is an important and interesting topic for two reasons, which are linked throughout, for behind my argument is the contention that a consideration of the original staging of a tragedy can help us to understand its politics. In the first place, it is instructive to ask how a poet could meet the challenge of representing the population of a city on stage; in the second, this exercise is likely to shed light on the political function of Greek tragedy. More specifically, it will shed light on the relationship between tragedy and democracy - a vexed question in recent years - for no consideration of democracy in drama can neglect the role of democracy's central player.

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36

Åslund, Anders. "Lessons from the Greek tragedy." Acta Oeconomica 68, s2 (December 2018): 71–84. http://dx.doi.org/10.1556/032.2018.68.s2.4.

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The Greek financial crisis that erupted in 2010 was possibly cured after 8 years in 2018. It has been extraordinary in its social cost and its cost to European taxpayers. The causes of this failure are multiple. The main burden lies with consecutive Greek governments that did not carry out the necessary fiscal adjustment and reforms. In their lack of urgency they were strongly supported by American economists, especially Paul Krugman, who opposed austerity and instead called for fiscal stimulus, ignoring the need for financial stability. Much of this discussion was devoted to the benefits or harm of the Eurozone, which eventually hardly mattered. The crisis resolution was complicated by the European Union wanting to play a big role but not knowing how and weakening the traditional role of the International Monetary Fund. The key lessons are back to basics: A government needs to act hard and fast to resolve a severe financial crisis. The IMF is the best leader for financial stabilization. Early and fast fiscal adjustment brings about early financial stabilization, more structural reforms and early and higher growth.

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37

BUDELMANN, FELIX, and PAT EASTERLING. "Reading Minds in Greek Tragedy." Greece and Rome 57, no. 2 (September 21, 2010): 289–303. http://dx.doi.org/10.1017/s0017383510000033.

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A notable intellectual development of the past decade or two has been the ever-growing interest in human consciousness and the workings of the mind. Sometimes grouped under the umbrella term ‘cognitive sciences’, diverse disciplines such as neuroscience, psychology, philosophy, computer science, and linguistics have all made major contributions to our understanding of the human mind and brain; and the large number of popular science books published in this area show that this can be an engrossing topic for the layperson as much as for experts. In this article we want to explore, at a rather general and non-technical level, how this focus on matters of cognition can help us think about an aspect of Greek tragedy.

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38

Foley, Helene. "Choral Identity in Greek Tragedy." Classical Philology 98, no. 1 (January 2003): 1–30. http://dx.doi.org/10.1086/378725.

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39

Mikalson, Jon D. "Unanswered prayers in Greek Tragedy." Journal of Hellenic Studies 109 (November 1989): 81–98. http://dx.doi.org/10.2307/632034.

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Moments before Euripides' Polyneices and Eteocles square off for their final, fatal battle in the Phoenissae, each prays for divine assistance (1359–76). Their prayers, though very brief, are by the standards of Greek drama rather formal. Polyneices, as Theban as his brother Eteocles, is leading a force of Argives against Thebes to recover the kingship he claims is rightfully his. As he prays he looks toward distant Argos and invokes ‘Lady Hera’, for, he says, ‘I am now yours, because I married Adrastus’ daughter and dwell in his land' (1364–6). He has left his homeland, married into an Argive family, and now lives in Argos, and he must therefore appeal to an Argive deity. Hera is here made a doubly appropriate recipient of his prayer—by locality as patroness of the Argolid and by function as protectress of marriage, her two major roles in the religion of Greek life and tragedy. Eteocles, commanding the home forces against invaders, looks to the nearby temple of ‘Pallas of the golden shield’. He invokes her as the ‘daughter of Zeus’ and, like Polyneices but less explicitly, explains why he appeals specifically to her. He wishes to kill ‘the man who has come to sack my fatherland’ (1372–6). This Athena ‘of the golden shield’ is patroness of Thebes and, in more general terms, a goddess who aids the city in defence against foreign invaders. Like Hera she is doubly appropriate, in terms of locale and function, to her worshipper's needs.

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40

Perdicoyianni-Paléologue, Hélène. "The Interjections in Greek Tragedy." Quaderni Urbinati di Cultura Classica 70, no. 1 (2002): 49. http://dx.doi.org/10.2307/20546714.

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41

Braden, Gordon. "Classical Greek Tragedy and Shakespeare." Classical Receptions Journal 9, no. 1 (December 28, 2016): 103–19. http://dx.doi.org/10.1093/crj/clw014.

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42

Marshall, C. W. "A Companion to Greek Tragedy." Mouseion: Journal of the Classical Association of Canada 7, no. 3 (2007): 253–57. http://dx.doi.org/10.1353/mou.0.0015.

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43

Segal, Charles. "Reading Greek Tragedy. Simon Goldhill." Classical Philology 83, no. 3 (July 1988): 234–37. http://dx.doi.org/10.1086/367111.

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44

Bushnell, R. "Female Acts in Greek Tragedy." Common Knowledge 9, no. 2 (April 1, 2003): 348. http://dx.doi.org/10.1215/0961754x-9-2-348.

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45

Scodel, R. "Review: Achilles in Greek Tragedy." Notes and Queries 51, no. 4 (December 1, 2004): 428–29. http://dx.doi.org/10.1093/nq/51.4.428.

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46

Scodel, Ruth. "Review: Achilles in Greek Tragedy." Notes and Queries 51, no. 4 (December 1, 2004): 428–29. http://dx.doi.org/10.1093/nq/510428.

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47

Andes, Anna. "Achilles in Greek Tragedy (review)." Theatre Journal 57, no. 1 (2005): 149–51. http://dx.doi.org/10.1353/tj.2005.0001.

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48

GROVE, R. "Greece: A Greek tragedy revisited." Lancet 338, no. 8759 (July 1991): 107–8. http://dx.doi.org/10.1016/0140-6736(91)90091-3.

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49

Kim, Choon-seop. "Greek tragedy and Nietzsche`s The birth of tragedy." Korean Literary Theory and Criticism 81 (December 31, 2018): 253–61. http://dx.doi.org/10.20461/kltc.2018.12.81.253.

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50

Hall, Edith M. "Barbarians in Greek Comedy - Timothy Long: Barbarians in Greek Comedy. Pp. xiii + 236. Carbondale, Ill.: Southern Illinois University Press, 1986. $29.95." Classical Review 37, no. 2 (October 1987): 199–200. http://dx.doi.org/10.1017/s0009840x00110352.

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