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Academic literature on the topic 'Euripides Ion'

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Published: 10 December 2022
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Journal articles on the topic "Euripides Ion"

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Dimoglidis, Vasileios. "Plot-makers in Euripides’ Ion." Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos 32 (March 2, 2022): 115–34. http://dx.doi.org/10.5209/cfcg.77616.

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The aim of this paper is to examine the plot-makers in Euripides’ Ion, focusing in this way on an aspect of the Euripidean metapoetry. Ion’s four characters (Apollo, Xuthus, Creusa, and Ion) are transformed into plot-makers, with each of them trying to compose a plot. I have suggested that Apollo is the poet’s double, and thus his plot echoes that of Euripides. The fact that, despite the various deviations (unsuccessful sub-plots), the plot is redirected every single time to the god’s original plot, credits Apollo with the title of a successful theatrical writer (internal playwright), a title that finally Euripides himself assumes.
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Storey, Ian, Euripides, and K. H. Lee. "Euripides Ion." Phoenix 55, no. 3/4 (2001): 427. http://dx.doi.org/10.2307/1089133.

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Cropp, M. J. "Euripides, Ion 247–8." Classical Quarterly 36, no. 1 (May 1986): 261. http://dx.doi.org/10.1017/s0009838800010739.

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ὦ ξένε, τ⋯ μ⋯ν σ⋯ν οὐκ ⋯παιδεύτως ἔχει⋯ς θαύματ' ⋯λθεῖν δακρύων ⋯μ⋯ν πέρι.The second of these lines seems to be the result of an interpolation designed to spell out the implicit sense of the first. In 241–6 Ion has expressed amazement that Creusa should be weeping at the sight of Apollo's sanctuary, a sight which brings other visitors joy. She prefaces her explanation of this with an assurance which in its transmitted form is elegantly translated by Grégoire: ‘Il n'est point discourtois de ta part, étranger, de marquer ta surprise au sujet de mes pleurs.’ But there are reasons for doubting I the authenticity of line 248:(1) Line 247 is self-sufficient, as is shown by IA 1402: τ⋯ μ⋯ν σόν, ὦ νε⋯νι, γενναίως ἔχει. This also gives the closest parallel for the use of τ⋯ σόν in reference to the attitude which a previous speaker's words have just expressed. Other instances of τ⋯ σόν, tout court, are helpfully grouped in Allen and Italie's Concordance to Euripides, s.v. σός. τ⋯ σόν…[adverbial phrase] ἔχει occurs also in Hek. 1195 and Med. 312; cf. HF 165, Hel. 893, Pho. 995 with τοὐμόν. These make it unlikely that τ⋯ χόν in our passage is to be taken adverbially, as perhaps Grégoire intended with ‘de ta part’, rather than as subject of ἔχει. Tro. 82 might be adduced for the alternative (A. Ag. 550 is a different idiom), but there is no reason for Creusa to be saying emphatically ‘as far as you are concerned’.
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Roessel, David, and H. D. Hilda Doolittle. "Ion: A Play after Euripides." Classical World 81, no. 3 (1988): 230. http://dx.doi.org/10.2307/4350173.

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COLE, SPENCER. "ANNOTATED INNOVATION IN EURIPIDES' ION." Classical Quarterly 58, no. 1 (April 18, 2008): 313–15. http://dx.doi.org/10.1017/s0009838808000268.

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Goff, Barbara. "Euripides' Ion 1132–1165: the tent." Proceedings of the Cambridge Philological Society 34 (1988): 42–54. http://dx.doi.org/10.1017/s0068673500005034.

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Thirty-three lines in the Ion are devoted to describing the tent in which Ion celebrates his new-found status as heir to Xouthos and the royal line of Athens. The passage may properly be called an ἔκφρασις, a description in language of an artistic object constructed in another medium. An ἔκφρασις in drama differs from those occurring in narrative because material objects in drama retain the potential to be made material, i.e. to appear on the stage, thus dramatically closing the gap between word and world that the ἔκφρασις so patently opens. While this gap remains, the ἔκφρασις makes especially complex demands on the audience's imagination, and in the Ion on their patience too – for the ἔκφρασις must be the antithesis of the action and drama, the progression of the play, a version of which the audience presumably wants and expects from the panting messenger.
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Oppen, Simone. "Euripides Ion by J. C. Gibert." Classical World 115, no. 2 (2022): 205–6. http://dx.doi.org/10.1353/clw.2022.0004.

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Matthiessen, Kjeld. "Der Ion - eine Komödie des Euripides?" Sacris Erudiri 31 (January 1989): 271–92. http://dx.doi.org/10.1484/j.se.2.303736.

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MARTIN, GUNTHER. "ON THE DATE OF EURIPIDES' ION." Classical Quarterly 60, no. 2 (November 19, 2010): 647–51. http://dx.doi.org/10.1017/s0009838810000297.

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Pötscher, Walter. "Zu Euripides, Ion 1424. Interpretatorisches und Textkritik." Acta Antiqua Academiae Scientiarum Hungaricae 44, no. 1 (September 2004): 1–4. http://dx.doi.org/10.1556/aant.44.2004.1.1.

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Dissertations / Theses on the topic "Euripides Ion"

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Voela, Angeliki. "Euripides' 'Ion' : a psychoanalytic reading." Thesis, University of Edinburgh, 1997. http://hdl.handle.net/1842/21591.

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This thesis offers a reading of a Classical Greek play, the "Ion" of Euripides, in terms of the psychoanalytic theories of S. Freud and J. Lacan. There are four chapters, each dealing with a particular aspect, or group of related aspects, of the play. Each chapter offers an exposition of the relevant psychoanalytic concepts, followed by an application of them to a particular aspect, or aspects, of the play. Chapter one introduces some basic Freudian and Lacanian concepts. The Freudian aspects are: the Oedipus complex and its mechanism, repression and its motives, and the unconscious. The Lacanian concepts are: the signifier and the signified, metonymy and metaphor in relation to desire, Lacan's view of the unconscious, and the function of the phallus in the economy of desire. In the light of these notions a psychoanalytic reading is offered of Ion's monody and his interview with Creusa. Chapter two begins with a discussion of the ego and the imaginary. The Freudian notions of the instincts and their vicissitudes, the imaginary ego, aggression and alienation are introduced. Lacan's optical schema of the imaginary is then outlined, together with the general lines, principles and first stage of psychoanalysis. Lacan's paradigmatic reading of Edgar Allan Poe's "The Purloined Letter" then sets the scene for structuralist overview of the play as presenting the child Ion as a piece of news addressed 'to whom it may concern'. These theoretical considerations are then brought to bear upon two matching developments in the play; Xuthus' acknowledgement of Ion as his son and the response to this challenge by his wife Cresua and her old servant. It is argued that both pairs are impelled by a unique opportunity to satisfy a desire and by a need to conceal their aims and their success from the other pair. The desire of the 'minor' characters is also discussed. It is argued that Xuthus, the old servant and the chorus all harbour impossible desires, the impossibility of which they pass on to Ion and Cresua. The space of the imaginary developments is considered as 'an apprenticeship in appearances'.
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Irvine, James. "Euripides : Ion : commentary; II. 1-568." Thesis, University of Oxford, 1995. https://ora.ox.ac.uk/objects/uuid:aa555354-e8a0-442d-9539-182ae135ec9e.

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In this line by line commentary l have attempted to discuss all matters textual and linguistic on which a reader might resort to a commentary for aid. There is, naturally, a pronounced emphasis on textual criticism; literary comment is interwoven with my arguments as the play unfolds. I have endeavoured to cite Greek with sufficient generosity to enable the reader to form a different judgement from my own from the material I have furnished. Considerable space has also been devoted to matters mythological and religious, as the nature of the play demands. I conclude with an Endnote on the marginal annotations found in L. Three appendices follow: on the question of scenery, on alliteration in ancient poetry and poetic theory. and on a textual problem in the prologue to Euripides' Phrixus. As no new evidence has emerged either to enhance our knowledge of the paradosis or to indicate the date and general background of the play, I would prefer at this stage to direct the reader to A.S.Owen's introduction to his Clarendon edition of 1939 rather than burden this work further with a formal introduction. I conclude with a general bibliography of works often cited.
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Volaj, Altin. "Ion, opera in seven scenes, based on Euripides original play." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8143.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2008.
Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Zacharia, Katerina. "Converging truths : Euripides'"Ion" and the Athenian quest for self-definition /." Leiden ; Boston : Brill, 2003. http://catalogue.bnf.fr/ark:/12148/cb38998053d.

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Hoyt, Maggie Sharon. "Giving Birth to Empowerment: Motherhood and Autonomy in Greek Tragedy." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3613.

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The Greek tragedies of Classical Athens frequently portray mothers in central roles, but despite this significance, the relationship between mother and child has long been overshadowed in secondary scholarship by the relationship between husband and wife. This study demonstrates the direct relationship between a female character's active possession of her children and her autonomy, or her ability to act in her own interests, in three plays of Euripides: Electra, Medea, and Ion. In general, women who internalize their ownership of their children, expressed on stage both in word and action, have greater influence over the men around them and the power to enact the revenge they desire. Once their ends have been achieved, however, these tragic mothers often devalue their relationship with their children, leading to a decrease in power that restores the supremacy of the patriarchal order. Within this broad framework, Euripides achieves different results by adjusting aspects of this cycle of maternal empowerment. The Electra follows this outline just as its predecessor the Oresteia does; however, Euripides invents a fictional child for Electra, extending the concept of maternal empowerment to Electra and defining Clytemnestra as both mother and grandmother. In Medea, Euripides demonstrates the significance of Medea's children to her power, and Medea does devalue her children enough to destroy them, the source of her influence, but she is not punished and cannot be reabsorbed into the patriarchal structure, which leaves an audience with a heightened sense of anxiety at the threat of maternal empowerment. Finally, the Ion initially demonstrates a cycle similar to Medea: empowered by her ownership of the child she believes she has lost, Creusa attempts revenge against the young man who threatens her but is in fact her lost son. In the end, however, Creusa uses her empowerment to achieve recognition between mother and son and voluntarily relinquishes her ownership, resulting in a peaceful reabsorption into patriarchal society and a happy ending. Despite the variations on this cycle presented by Euripides, one theme persists: motherhood was both empowering and threatening, and it required strict male control to avoid tragic results. Thus as scholars of tragedy, we cannot ignore the mother-child relationship, not only for its power to illuminate the feminine, but also for its capacity to reveal the vulnerabilities of the masculine.
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Theodorou, Zena. "The presentation of emotions in Euripidean tragedy." Thesis, King's College London (University of London), 1991. https://kclpure.kcl.ac.uk/portal/en/theses/the-presentation-of-emotions-in-euripidean-tragedy(881554d8-10f4-472c-b3b1-816cc3a3e6e1).html.

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Catenaccio, Claire. "Monody and Dramatic Form in Late Euripides." Thesis, 2017. https://doi.org/10.7916/D8G44X64.

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This study sets out to reveal the groundbreaking use of monody in the late plays of Euripides: in his hands, it is shaped into a potent and flexible instrument for representing emotion and establishing new narrative and thematic structures. Engaging with the current scholarly debate on music, affect, and characterization in Greek tragedy, I examine the role that monody plays in the musical design of four plays of Euripides, all produced in the last decade of his career: Ion, Iphigenia in Tauris, Phoenician Women, and Orestes. These plays are marked by the increased presence of actors’ song in proportion to choral song. The lyric voice of the individual takes on an unprecedented prominence with far-reaching implications for the structure and impact of each play. The monodies of Euripides are a true dramatic innovation: in addition to creating an effect of heightened emotion, monody is used to develop character and shape plot. In Ion, Iphigenia in Tauris, Phoenician Women, and Orestes, Euripides uncouples monody’s traditional and exclusive connection with lament. In contrast to the work of Aeschylus and Sophocles, where actors’ song is always connected with grief and pain, in these four plays monody conveys varied moods and states of mind. Monody expresses joy, hope, anxiety, bewilderment, accusation, and deliberation. Often, and simultaneously, it moves forward narrative exposition. The scope and dramatic function of monody grows and changes: passages of actors’ lyric become longer, more metrically complex, more detached from the other characters onstage, and more intensely focused on the internal experience of the singer. In the four plays under discussion we see a steadily increasing refinement and expansion of the form, a development that rests upon the changes in the style and function of contemporary music in the late fifth century. By 415 B.C., many formal features of tragedy had become highly conventionalized, and determined a set of expectations in the contemporary audience. Reacting against this tradition, Euripides successively redefines monody: each song takes over a traditional Bauform of tragedy, and builds upon it. The playwright uses the paired monodies of Ion to pose a conflict of ideas that might otherwise be conveyed through an agon. In Iphigenia in Tauris the heroine’s crisis and its resolution are presented in lyrics, rather than as a deliberative rhesis. In Phoenician Women, Antigone, Jocasta, and Oedipus replace the Chorus in lamenting the fall of the royal house. Finally, the Phrygian slave in Orestes sings a monody explicitly marked as a messenger speech that inverts the conventions of the form to raise questions about objectivity and truth in a disordered world. In examining these four plays, I hope to show some of the various potentials of this new Euripidean music as a major structural element in tragic drama, insofar as it can heighten emphasis, allow for the development of emotional states both subtle and extreme, reveal and deepen character, and mirror thematic movements. Euripides establishes monody as a dramatic form of considerable versatility and power. The poetry is charged with increased affect and expressivity; at the same time it articulates a new self-consciousness about the reciprocal capacities of form and content to shape one another. Here we may discern the shift of sensibility in Euripides’ late work, which proceeds pari passu with an apparent loosening of structural demands, or what one with equal justice might recognize as an increase in degrees of freedom. As the playwright repeatedly reconfigures the relationship between form and content, the range of what can happen onstage, of what can be said and sung, expands.
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Berti, David Leon. "Kleinai Athenai : the portrayal of Athens in Euripides' Suppliants, Heraclidae, Ion, and Erechtheus /." 1996. http://wwwlib.umi.com/dissertations/fullcit/9708582.

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Δημοπούλου, Γεωργία. "Η Ινώ του Ευριπίδη." Thesis, 2008. http://nemertes.lis.upatras.gr/jspui/handle/10889/2205.

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Στην παρούσα εργασία επιχειρείται μια παρουσίαση των είκοσι έξι σωζόμενων αποσπασμάτων (TrGF2 frg.398-423) της Ευριπίδειας Ινώς. Αρχικά μελετάται ο μύθος. Στη συνέχεια εξετάζονται οι αναφορές στην Ινώ τόσο μέσα στη δραματική παραγωγή του Ευριπίδη όσο και στα έργα των άλλων τραγικών. Αξιοποιείται ο τέταρτος μύθος του Υγίνου, καθώς θεωρείται ότι αυτός δίνει σε γενικές γραμμές την πλοκή της ευριπίδειας Ινώς. Επίσης, η μελέτη εστιάζει στη χρονολόγηση, τον τόπο, τα του δράματος πρόσωπα, το χορό και την ανασύνθεση του έργου. Τέλος, επιχειρείται μια μετάφραση των αποσπασμάτων ακολουθώντας το κείμενο, όπως αυτό παραδίδεται από τον καθηγητή Kannicht.
The aim of this study is to present the fragments (TrGF2 frg.398-423) of the Euripidean Ino. First of all we study the legend and the mythical background. We look for references to Ino in other dramatic plays of Euripides and in other dramatists. We trust Hyginus and consider fabulae 4 as the outline of Ino. We try to explore what can be recovered for the date and the setting of the play, the dramatis personae, the chorus and the reconstruction of the plot. Finally we translate the fragments following Prof.Kannicht’s text.
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Books on the topic "Euripides Ion"

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D, H. Ion: A play after Euripides. Redding Ridge, CT: Black Swan Books, 1986.

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Euripides. Ion. Bristol: Bristol Classical Press, 1987.

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Euripides. Ion. London: Methuen Drama, 1994.

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D, H. Hippolytus temporizes & Ion: Adaptations of two plays by Euripides. New York: New Directions Books, 2003.

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Euripides. Ion. New York: Oxford University Press, 1996.

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Euripides. Ion. Edited by Collard C and Lee K. H. Warminster, England: Aris & Phillips, 1997.

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Converging truths: Euripides' Ion and the Athenian quest for self-definition. Leiden, Netherlands: Brill, 2003.

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Euripides. Euripides Troades. Heidelberg: Winter, 1989.

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Euripides. Ion: Orestes ; Phoenician women ; Suppliant women. Oxford: Oxford University Press, 2001.

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Euripides, Freud, and the romance of belonging. Baltimore, MD: Johns Hopkins University Press, 2007.

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Book chapters on the topic "Euripides Ion"

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Griffiths, Emma M. "Ion." In A Companion to Euripides, 228–42. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119257530.ch16.

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Louden, Bruce. "Euripides’ Ion and the Genesis patriarchs." In Greek Myth and the Bible, 57–85. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Routledge monographs in classical studies: Routledge, 2018. http://dx.doi.org/10.4324/9780429448553-3.

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Miola, Robert S. "Euripides at Gray’s Inn." In The Female Tragic Hero in English Renaissance Drama, 33–50. New York: Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-04957-5_2.

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Vogt-Spira, Gregor. "Euripides und Menander." In Rezeption des antiken Dramas auf der Bühne und in der Literatur, 197–222. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02840-2_6.

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Aretz, Susanne. "Euripides’ Iphigeneia in Aulis." In Die Opferung der Iphigeneia in Aulis, 91–229. Wiesbaden: Vieweg+Teubner Verlag, 1999. http://dx.doi.org/10.1007/978-3-663-12046-9_5.

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Mills, Sophie. "Euripides, empire and war." In Drama, Oratory and Thucydides in Fifth-Century Athens, 81–106. New York : Routledge, 2020. | Series: Routledge monographs in classical studies: Routledge, 2020. http://dx.doi.org/10.4324/9780351260322-3.

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"EURIPIDES’ ION." In Greek Tragic Theatre, 141–56. Routledge, 2003. http://dx.doi.org/10.4324/9780203208830-18.

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"Euripides’ Ion." In Understanding Greek Tragic Theatre, 161–75. Abingdon ; New York : Routledge, 2016. | Series:: Routledge, 2016. http://dx.doi.org/10.4324/9781315748696-19.

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"Ion." In The Plays of Euripides. Bloomsbury Academic, 2016. http://dx.doi.org/10.5040/9781474233620.0017.

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Ormand, Kirk. "Ion—Into the Queer Ionisphere." In Queer Euripides. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350249653.ch-010.

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