Academic literature on the topic 'Euripides Antiope'
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Journal articles on the topic "Euripides Antiope"
Ritoók, Zsigmond. "Problems in Euripides’ Antiope." Acta Antiqua Academiae Scientiarum Hungaricae 48, no. 1-2 (January 2008): 29–40. http://dx.doi.org/10.1556/aant.48.2008.1-2.4.
Full textKuch, Heinrich. "Positionen in der Antiope des Euripides." Acta Antiqua Academiae Scientiarum Hungaricae 51, no. 3-4 (September 2011): 201–6. http://dx.doi.org/10.1556/aant.51.2011.3-4.1.
Full textSchramm, Michael. "Platon im Theater: Der Gorgias im Dialog mit Euripides’ Antiope." Hermes 148, no. 3 (2020): 286. http://dx.doi.org/10.25162/hermes-2020-0021.
Full textNightingale, Andrea Wilson. "Plato's "Gorgias" and Euripides' "Antiope": A Study in Generic Transformation." Classical Antiquity 11, no. 1-2 (April 1, 1992): 121–41. http://dx.doi.org/10.2307/25010965.
Full textDiggle, James. "P. Petrie 1.1–2: Euripides, Antiope (fr. 223 (Nauck) Kannicht, XLVIII Kambitsis)." Proceedings of the Cambridge Philological Society 42 (1997): 106–26. http://dx.doi.org/10.1017/s0068673500002066.
Full textVILLING, ALEXANDRA. "‘DANGEROUS PERFECTION’ AND AN OLD PUZZLE RESOLVED: A ‘NEW’ APULIAN KRATER INSPIRED BY EURIPIDES' ANTIOPE." Bulletin of the Institute of Classical Studies 57, no. 1 (June 1, 2014): 61–78. http://dx.doi.org/10.1111/j.2041-5370.2014.00066.x.
Full textTarrant, Harold. "The Dramatic Background of the Arguments with Callicles, Euripides' Antiope, and an Athenian Anti-Intellectual Argument." Antichthon 42 (2008): 20–39. http://dx.doi.org/10.1017/s0066477400001829.
Full textRusten, J. S. "Two lives or three? Pericles on the Athenian character (Thucydides 2.40.1–2)." Classical Quarterly 35, no. 1 (May 1985): 14–19. http://dx.doi.org/10.1017/s0009838800014518.
Full textHylling Diers, Tanja. "Tragedier i Berlin." Peripeti 7, no. 13 (January 1, 2010): 125–34. http://dx.doi.org/10.7146/peri.v7i13.108083.
Full textXanthakis-Karamanos, G. "P. OXY. 3317: EURIPIDES' ANTIGONE (?)." Bulletin of the Institute of Classical Studies 33, no. 1 (December 1, 1986): 107–11. http://dx.doi.org/10.1111/j.2041-5370.1986.tb00189.x.
Full textDissertations / Theses on the topic "Euripides Antiope"
Biga, Anna Miriam. "L'Antiope di Euripide." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30049/document.
Full textThis thesis(theory) is finalized to produce a comment to the Antiope d' Euripide
Il presente lavoro si propone come un commento all'Antiope di Euripide. Dopo una rapida analisi delle testimonianze letterarie ed iconografiche che ci parlano delle vicende portate sulla scena, si è proposta una ricostruzione della trama della tragedia. A questa sezione fa seguito un'analisi puntuale dei singoli frammenti. Particolare attenzione è dedicata all'agone tra Amfione e Zeto, l'episodio che pare aver goduto in antico di maggior fortuna; per questa sezione si è proposta un'analisi di temi e problemi dibattuti dai due personaggi, anche in rapporto ad analoghe riflessioni riscontrabili in testi cronologicamente prossimi
Lloyd, Michael A. "The agon in Euripides /." Oxford : Clarendon press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35716213t.
Full textAlonge, Tristan. "Tragédies grecques et tragédie classique française (1537-1677)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040116.
Full textThe present work explores the history of the influence of Greek tragedies on France during the XVIth and XVIIth centuries, in order to demonstrate that this influence played a major role in French tragedy’s birth and development. Our work’s guiding thread is religion and history: XVIth- and XVIIth-century playwrights alternated between interest and lack of interest in Greek tragedy depending on the periods in which they lived and their religious beliefs. Their interest or lack thereof stemmed not from their literary preferences but from phenomena imposed on them by their environment, by what we can call the materiality of history: the access to manuscripts, the Council of Trent’s prohibitions, the spread of Greek, etc. Through the analysis of more than forty plays, this guiding thread helps to explain the fluctuations-hardly understandable otherwise-in the relationship with Euripides and Sophocles; the fact that in the first part of XVIth century, Greek tragedies, as compared with Seneca, monopolise the attention of translators (all linked to Evangelism); the fact that after 1550, with astonishing speed, the Latin author takes over (at least at first sight) for more than a century; and the fact that Greek tragedies come back on stage with Racine, whose Jansenist professors shared with Evangelists the dangerous passion for Greek. Racine stands out from the other authors because of his ability to rediscover the tragic hero’s secret, the cornerstone of his revolution in the art of writing tragedies-a revolution he will be forced by critics and audience taste to renounce, after Andromaque
Noel, Anne-Sophie. "La dramaturgie de l'objet dans le théâtre tragique du Ve siècle avant J.C. - Eschyle, Sophocle, Euripide -." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30079.
Full textIn fifth-century Athens, tragic dramatists were responsible for the whole production of their plays, from plot-writing to casting, musical composition to choreography, staging to actor’s direction – performance was therefore an essential part of their work. Materialized by props on stage, objects are things with which the characters interact and a potential source of scenic effects. Swords, shields, vases, funerary urns, beds or even wheeled chariots, among many other objects, are mentioned in the extant tragedies and invested with dramatic function and symbolic meaning. Emblematic objects give an insight into the status and ethos of the characters; as instruments, objects are a means to achieve a goal, but they might resist to the characters’ intentions. All of them contribute to characterize them as tragic heroes. Therefore, this dissertation aims to show that the object can be considered as a principle of dramatic composition and of construction of the performance in Greek tragedy; it also questions the existence of a thought or an imagination of the relationships between human beings and objects, animate and inanimate, in the tragic plays. Looking at the whole corpus of extant tragedies by Aeschylus, Sophocles and Euripides (including the most significative fragments), this work describes the specific dramaturgy of the object developed by each poet to translate into visual and dynamic terms a tragic vision
Meshoub, Karine. "Envie et jalousie dans la tragédie grecque antique." Limoges, 2013. http://www.theses.fr/2013LIMO2007.
Full textAlthough envie et jalousie are synonymous in French, they remain nonetheless complex notions, made even more complex by the fact that their definitions overlap. The translation of those notions into another language, here to ancient Greek, reveals yet more layers of complexity, as exemplified in the known plays of the three main Greek playwrights, Aeschylus, Sophocles and Euripides. There are indeed two words commonly used in Greek to express envy and jealousy : φθόυος and ζήλος, whose translations fail to establish two clearly distinct meanings. We have made an attempt at semantic and philological clarification, through the analysis of the plays of the three Greek playwrights and through the confrontation of the Greek texts and their translations, in this comparative study, in which we have analyzed the conceptual development of envy and jealousy in both French and Greek. Are the french definitions of envy and jealousy inherited from the Greek? Do they correspond to a cultural phenomenon, which might arise from a discursive use of the words specific to Greek culture? Or, conversely, are there common elements between the Greek and the French models, which would make envy and jealousy transcultural passions? We have reached the conclusion that φθόυος and ζήλος covered a wider conceptual and semantic area than their French equivalents and that envy and jealousy could exist within the texts independently of a specific lexicon, i. E. In a configuration of passions specific to each of our three authors. We have unveiled differences between the Greek and th French models as well as agreements which tend to bring closer to each other two cultures separated by more than 2000 years
Savva, Maria. "La notion de corruption dans le Corpus hippocratique et dans les tragédies d’Euripide." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL060.pdf.
Full textThis thesis explores the meaning of corruption in the Hippocratic Corpus and in the tragedies of Euripides. The aim is not only to reread and reinterpret the terms that express corruption, but above all to place them in their historical and social context. A preliminary semantic analysis describes the meaning of two basic Greek terms that express corruption, φθείρω and σήπω and shows the importance of these terms in the classical period. The notion of corruption in the Hippocratic Corpus is studied through the examination of a range of diseases related to the head, thorax, uterus and the two essential fluids of the human body, blood and semen. This analysis shows that corruption in the Hippocratic Corpus is closely related to the evolution of disease and primarily concerns malfunctions of the body. In contrast, the notion of corruption in Euripides, as revealed by the analysis of a selection of tragedies, goes beyond the corporeal sphere and is used metaphorically to express the dramatic intensity in situations when heroes experience extraordinary physical or mental deterioration. Despite this clear distinction, a comparative evaluation of the two works illustrates an intriguing similarity between the two authors regarding the particular role of themes related to women or imminent death in the context of corruption. Overall, this study reveals a complexity and a semantic richness associated with corruption that is largely unknown to the modern reader
Vasseur-Legangneux, Patricia. "Le théâtre antique : une utopie théâtrale, recherche sur les mises en scène contemporaines des tragédies grecques." Paris 3, 2001. http://www.theses.fr/2001PA030068.
Full textMarchal-Louët, Isabelle. "Le geste dramatique dans le théâtre d'Euripide : étude stylistique et dramaturgique." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30045/document.
Full textThis study focuses on gestures as indicated by the words in Euripides' tragedies. Words are not only here a means to reconstruct the actor's gesture on stage, but are analysed in order to enlighten the specificity of the poet's dramatic art. The first chapter presents a stylistic study of the gesture formulas, grouped according to « gestural patterns », and reveals theimportance of the pathetic gestures of filiav in Euripides' theatre. In the second chapter, the comparison of gestures in parallel scenes by the three Tragic dramatists sheds light on the differences between them in the relationship between dramatic text and stage action and on the novelty of Euripidean gestural expression and pathos. This comparison is linked to the evolution of tragic performance in the fifth century, to the evolution of artistic tendencies and to the poet's own sensibility. The third chapter is an analysis of Euripides' theatrical experiments involving dramatic gestures, especially in his late plays, and leads to a new definition of the tragic nature of Euripidean theater
Τζουμερκιώτη, Αρετή. "Η Αντιγόνη του Ευριπίδη." Thesis, 2012. http://hdl.handle.net/10889/5485.
Full textThe fragmentary Euripides’ tragedy Antigone is the subject of this work. First of all we study the legend, the mythical background and Euripides’ relation to the tradition. We will also draw material from the Greek-vase paintings and Hyginus’ fabulae 72. The date, the place, the plot reconstruction and dramatis personae, are examined too.
Sanders, Kyle Austin. "The concept of autochthony in Euripides' Phoenissae." Thesis, 2014. http://hdl.handle.net/2152/25781.
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Books on the topic "Euripides Antiope"
Pollard, Tanya. Greek Plays in England. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793113.003.0002.
Full textYaari, Nurit. The Cameri. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0003.
Full textLisle, Leconte de. EURIPIDE: HYPPOLYTOS et ' ALKESTIS 2 Pièces de Théätre Grec Antique D'Euripide. Independently Published, 2018.
Find full textGreek Tragedies 1 Aeschylus Agamemnon Prometheus Bound Sophocles Oedipus The King Antigone Euripides Hippolytus. The University of Chicago Press, 2013.
Find full textGreek Tragedies 1: Aeschylus - Agamemnon, Prometheus Bound; Sophocles - Oedipus the King, Antigone; Euripides - Hippolytus. University of Chicago Press, 2013.
Find full textDorschel, Andreas. Mit Entsetzen Scherz. Die Zeit des Tragikomischen. Felix Meiner Verlag, 2022. http://dx.doi.org/10.28937/978-3-7873-4128-3.
Full textCHANTRAINE BRAILLON, Cécile, and Jorge DUBATTI, eds. Théâtre Mythologique. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.9782813003973.
Full textWilliams, White John. Introduction to the Rhythmic and Metric of the Classical Languages; to Which Are Added the Lyric Parts of the Medea of Euripides and the Antigone of Sophocles, with Rhythmical Schemes and Commentary;. Creative Media Partners, LLC, 2015.
Find full textBook chapters on the topic "Euripides Antiope"
Schmidt, Hans W., and Heinz-günther Nesselrath. "Euripides." In Kindler Kompakt: Literatur der Antike, 75–81. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04363-4_9.
Full textHödl, Thomas. "Antike Asylproblematiken. Euripides’ Flüchtlingsfiguren im aktuellen Kontext." In Flucht – Migration – Theater, 215–20. Göttingen: V&R unipress, 2016. http://dx.doi.org/10.14220/9783737006675.215.
Full textJendza, Craig. "Paracomedy and Relative Chronology." In Paracomedy, 216–47. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190090937.003.0007.
Full text"Euripides’ Antiope And The Quiet Life." In The Play of Texts and Fragments, 23–34. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004174733.i-580.9.
Full text"The Return of the Father: Euripides’ Antiope, Hypsipyle, and Phoenissae." In Crisis on Stage, 219–40. De Gruyter, 2011. http://dx.doi.org/10.1515/9783110271560.219.
Full textZartaloudis, Thanos. "The Nomos of the Tragedians." In The Birth of Nomos, 258–338. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474442008.003.0009.
Full textFuhrer, Therese, and Martin Hose. "4. Euripides: Neue intellektuelle Herausforderungen." In Das antike Drama, 41–50. Verlag C.H.BECK oHG, 2017. http://dx.doi.org/10.17104/9783406707933-41.
Full text"Kontrollverlust – Antike Bewegungskultur und antike Religion: Euripides beobachtet ein Dionysos-Ritual." In Die Sprache der Bewegung, 123–38. transcript-Verlag, 2004. http://dx.doi.org/10.14361/9783839402610-006.
Full textAuffarth, Christoph. "Kontrollverlust – Antike Bewegungskultur und antike Religion: Euripides beobachtet ein Dionysos-Ritual." In Die Sprache der Bewegung, 123–38. transcript Verlag, 2004. http://dx.doi.org/10.1515/9783839402610-006.
Full text"Die euripideische Tragödie auf der Bühne der Antike." In Euripides-Rezeption in Kaiserzeit und Spätantike, 13–42. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110677072-003.
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