Log in

Relevant bibliographies by topics / Euripides Ion / Journal articles

Journal articles on the topic 'Euripides Ion'

To see the other types of publications on this topic, follow the link: Euripides Ion.

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Euripides Ion.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

Storey, Ian, Euripides, and K. H. Lee. "Euripides Ion." Phoenix 55, no. 3/4 (2001): 427. http://dx.doi.org/10.2307/1089133.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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

Full text

Abstract:

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’.

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Sloan, Michael C. "Token Questions of Identity in Euripides’ Ion." Classical Philology 111, no. 3 (July 2016): 262–64. http://dx.doi.org/10.1086/687101.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

LLOYD, MICHAEL. "Divine and Human Action in Euripides’ Ion." Antike und Abendland 32, no. 1 (December 31, 1986): 33–45. http://dx.doi.org/10.1515/9783110241440.33.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Dunn, Francis M. "The Battle of the Sexes in Euripides' Ion." Ramus 19, no. 2 (1990): 130–42. http://dx.doi.org/10.1017/s0048671x00002885.

Full text

Abstract:

Euripides' Ion has suffered from the attempt to find in the play an overriding message or moral. Verrall and his successors saw the Ion as an attack against Apollo and organized religion; Wassermann and Burnett argue that it defends orthodox piety; Grégoire and Loraux view it as a hymn or lament on Athenian national pride; and Knox and Gellie respond that the Ion is pure comedy with no deeper meaning. There is of course some truth to each of these interpretations, but it does not follow that the play's ‘real meaning’ lies somewhere in between them. I suggest that we read the Ion not as an abstract argument but as drama, and in particular as a social comedy whose ‘meaning’ lies not in an underlying message but in the action itself and in the conflicts among the play's characters, human and divine, male and female, foreign and Athenian.Such conflicts, in this play at least, focus attention upon the role of the gods, the place of foreigners in Athens, and relations between men and women. Of these three subjects, the first two have dominated discussion of the Ion, both by those who find them central to the play's religious or nationalistic theme, and by those who consider them incidental to the play as comedy. I shall first show that the third area of conflict — relations between men and women — is equally important in the Ion and reflects an important issue in contemporary Athens. Second, I shall argue that the gender issues raised somewhat provocatively in the first half of the play are upstaged by the melodramatic excitement of the second half. And I shall suggest, in conclusion, that although it is only one of many social and family conflicts in the drama, the battle between the sexes shows how the Ion raises important and difficult questions without becoming an ‘issue play’.

APA, Harvard, Vancouver, ISO, and other styles

14

Kevin H., Lee. "MILTON'S ODE “AD JOANNEM ROUSIUM” AND EURIPIDES’ “ION”." Milton Studies 37 (January 1, 1999): 1–17. http://dx.doi.org/10.2307/26395907.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Vickers, Michael. "Politics and Challenge: The Case of Euripides’ Ion." Classical World 107, no. 3 (2014): 299–318. http://dx.doi.org/10.1353/clw.2014.0006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Derrett, J. Duncan M. "Oracles, Myth, and Luke’s Nativity Story." Novum Testamentum 54, no. 3 (2012): 258–68. http://dx.doi.org/10.1163/156853612x645378.

Full text

Abstract:

Abstract Luke 1:31; 2:8-20, 46-49 are illuminated by the myth of Ion as dramatised by Euripides. Apollo begot Ion on Creusa, who married Xuthus, a supernumerary parent for Ion, providing him with a kingdom. The shepherds recall the “royal foundling” myth; the manger recalls reproaches of the Old Israel—at once signs of birth and burial.

APA, Harvard, Vancouver, ISO, and other styles

17

HARRIS, JOHN P. "THE SWAN'S RED-DIPPED FOOT: EURIPIDES, ION 161–9." Classical Quarterly 62, no. 2 (November 20, 2012): 510–22. http://dx.doi.org/10.1017/s0009838812000122.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Hartwig, Andrew. "Euripides Ion 525-7: A Case of Interrupted Speech?" Mnemosyne 60, no. 3 (2007): 478–82. http://dx.doi.org/10.1163/156852507x169654.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

McPhee, Brian D. "Apollo, Dionysus, and the Multivalent Birds of Euripides’ Ion." Classical World 110, no. 4 (2017): 475–89. http://dx.doi.org/10.1353/clw.2017.0039.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Pugazhendhi, D. "Ion (Euripides) and Karna (Mahabharat, Sanga Ilakkiyam) - Deconstruction of Binary Oppositions." Athens Journal of Philology 9, no. 3 (September 1, 2022): 197–234. http://dx.doi.org/10.30958/ajp.9-3-2.

Full text

Abstract:

“Ion” is a Greek play authored by Euripides depicting the story of Ion. The “Mahabharata” is an epic written in both the Tamil and Sanskrit languages. The story of Karna is one of the sub plots in this epic. In the Greek play, Creusa who is impregnated by Apollo, the Sun God, keeps Ion in a casket together with a breast plate for his protection. In the Tamil myth, Kunti who is impregnated by the Sun God places her son Karna in a casket and sets it afloat in a river to conceal the birth of the child. Regarding the breast plate in this story, it is shown that Karna was born with the breast plate glued to his breast. Creusa, the mother of Ion, had had an illegitimate son born to her before marriage and remains childless for a long time after getting married to another person. Kunti too gave birth to a son before marriage and remains childless for a long time with her lawful husband. After that, Creusa had offspring by the grace of the God and Kunti too had offspring by the boon of the Gods. Thus, the parallels of binary oppositions and deconstruction are seen in these two myths. Noble birth and low birth, men and women, willing and out of compulsion, happiness and unhappiness are some of the binary oppositions. Theism and Atheism, biological mother and step mother are some of the deconstructions of binary opposition. This article deals with the parallels seen between these two myths, identifying the binary oppositions in these myths and deconstructing the binary oppositions by identifying their instabilities. Keywords: Ion, Karna, myth, Sanskrit, Tamil

APA, Harvard, Vancouver, ISO, and other styles

21

Vickers, Michael. "Euripides’ Ion and the charges of slavery laid against Alcibiades." أوراق کلاسیکیة 11, no. 1 (March 1, 2012): 1–6. http://dx.doi.org/10.21608/acl.2012.89433.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Radding, Jonah. "Paeanic Crises: Euripides' Ion and the Failure to Perform Identity." American Journal of Philology 138, no. 3 (2017): 393–434. http://dx.doi.org/10.1353/ajp.2017.0021.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Hoffer, Stanley E. "Violence, Culture, and the Workings of Ideology in Euripides' "Ion"." Classical Antiquity 15, no. 2 (October 1, 1996): 289–318. http://dx.doi.org/10.2307/25011043.

Full text

Abstract:

The uneasy relation between violence and sanctity, between oppression and culture, underlies the dramatic action of Euripides' "Ion." Ion's monody ends with his threatening to shoot the birds who would soil the temple, or in other words, to protect purity through violence and death. The earlier part of his song also shows how the forces of exclusion and domination create sacredness. Ritual silence (euphemia), restricted access to the aduton, ritual chastity, even the irreversible transformation of natural gardens into laurel brooms and jugs of water all suggest how violence and domination create culture out of nature. The rape of Creusa epitomizes the relation between culture and violence. Her meeting with Ion reveals the psychological cost of social oppression and portrays the imperfect interdependence between moral feelings and legal institutions. Various dramatic devices portray the divisions in Creusa's mind that the injustice has created, devices including self-address, riddling speech, self-restraint, and silence. Her reluctance to pose her bold question to the oracle, and her displacement of the story onto the person of a raped "friend," show her resentful awareness that social institutions (such as the Delphic oracle) collaborate in the oppression. Ion's disillusionment (429-51) echoes her resentment (especially 253-54, 442-43) more theoretically. Together their comments show how moral rules and legal institutions, though fundamentally based on personal feelings such as shame and indignation, enact these feelings only imperfectly; the resulting dissonance in turn leads to further indignation and moral reflection. Finally, the allusions to fifth-century politics in Ion's speech on Athenian politics (585-647) and elsewhere suggest that democracy itself depends on political domination and imperialism.

APA, Harvard, Vancouver, ISO, and other styles

24

WEISS, NAOMI. "A PSYCHOANALYTICAL READING OF EURIPIDES' ION: REPETITION, DEVELOPMENT AND IDENTITY." Bulletin of the Institute of Classical Studies 51, no. 1 (December 1, 2008): 39–50. http://dx.doi.org/10.1111/j.2041-5370.2008.tb00274.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Wickramasinghe, Chandima S. M. "Grief and Stress Communication and Management in Euripides’ Iphigenia in Aulis." KnowEx Social Sciences 1, no. 1 (July 7, 2021): 01–12. http://dx.doi.org/10.17501/27059901.2020.1101.

Full text

Abstract:

Communication, an essential human trait, is vital to develop a great connectedness among individuals as it helps to understand human mind and emotions. Grief and stress are communicated in different proportions in ancient Greek tragedies, which revolve around a plot that emanates grief. The characters in a Greek tragedy are affected by or are victims of a grieving situation central to the play. Aristotle maintained that tragic action must emanate pity and fear which are connected with grief and stress. Euripides, the revolutionary dramatist of Classical Athens, has empowered his characters to the effect of transmitting their sentiments freely. This feature is notable in his plays such as Alcestis, Electra, Ion, Orestes and Iphigenia in Aulis (IA). In IA, a well-established mythical account is presented as a simple family story. It is not just Iphigenia, who is affected by her impending tragedy. Almost all characters grieve in different proportions, while attempting to manage their grief and stress first by communicating it and then in ways peculiar to themselves. The strategies range from keeping a positive attitude, accepting the situations, to being assertive instead of being aggressive. This study examines the communication of grief and stress as a means of managing such sentiments with especial reference to Iphigenia in Aulis in order to understand how Euripidean tragedy could bring relief to its audience. In the process, the study observes how the dynamics of engagement of a character with others, their feelings, thoughts and intentions can contribute to manage grief and stress through effective communication of such sentiments. Keywords: grief and stress, communication, management, Euripides, Iphigenia in Aulis

APA, Harvard, Vancouver, ISO, and other styles

26

Hannah, Robert. "Imaging the Cosmos: Astronomical Ekphraseis in Euripides." Ramus 31, no. 1-2 (2002): 19–32. http://dx.doi.org/10.1017/s0048671x0000134x.

Full text

Abstract:

Ekphraseis of works of art exist at several levels. There is the physical, observable reality of an object or objects, or the potential for such. That (potential) reality may then be depicted within a work of art. A literary artist imaginatively (re-)presents that depiction, in the ekphrasis itself, and may further imbue the resultant description with a symbolic value for the story in which it is set. Not all of these layers need exist, nor need the correspondence between them be precise or even real. An ekphrasis, for example, may describe a completely fictitious object, which itself, however, reflects a possible actuality in the physical world of the senses. Or the question of symbolic value may appear irrelevant, if the purpose of the ekphrasis is instead to provide relief from the temporal drive of the narrative.This paper seeks to elucidate the two surviving ekphraseis with astronomical content from Euripides, one from his Elektra describing a shield of Akhilleus, and the other from his Ion describing a ceiling tapestry. I take the view that if we can discern and then understand a potential reality described in an ekphrasis, then it is worth asking whether this reality helps us to understand better the literary image and hence its possible symbolism too. The need to answer such a question is the greater with regard to texts involving astronomical material, as this tends to lie outside modern readers' experience or knowledge, but lay well within the day-to-day experience of people in antiquity.

APA, Harvard, Vancouver, ISO, and other styles

27

Gregory, Eileen. "HIPPOLYTUS TEMPORIZES. Revised Edition and ION, A PLAY AFTER EURIPIDES. Revised Edition." Resources for American Literary Study 18, no. 1 (January 1, 1992): 76–79. http://dx.doi.org/10.2307/26366730.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Gregory, Eileen. "HIPPOLYTUS TEMPORIZES. Revised Edition and ION, A PLAY AFTER EURIPIDES. Revised Edition." Resources for American Literary Study 18, no. 1 (January 1, 1992): 76–79. http://dx.doi.org/10.2307/resoamerlitestud.18.1.0076.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

MURNAGHAN, SHEILA. "THE DAUGHTERS OF CADMUS: CHORUS AND CHARACTERS IN EURIPIDES' BACCHAE AND ION." Bulletin of the Institute of Classical Studies 49, Supplement_87 (January 1, 2006): 99–112. http://dx.doi.org/10.1111/j.2041-5370.2006.tb02333.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Melissa Mueller. "Athens in a Basket: Naming, Objects, and Identity in Euripides' Ion." Arethusa 43, no. 3 (2010): 365–402. http://dx.doi.org/10.1353/are.2010.0004.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

WESTRA, HAIJO JAN. "THE IRREDUCIBILITY OF AUTOCHTHONY: EURIPIDES' ION AND LÉVI-STRAUSS' INTERPRETATION OF THE OEDIPUS MYTH." Bulletin of the Institute of Classical Studies 49, Supplement_87 (January 1, 2006): 273–79. http://dx.doi.org/10.1111/j.2041-5370.2006.tb02343.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Zeitlin, Froma I. "Mysteries of identity and designs of the self in Euripides'Ion." Proceedings of the Cambridge Philological Society 35 (1989): 144–97. http://dx.doi.org/10.1017/s0068673500005174.

Full text

Abstract:

TheIonis one of Euripides' most dazzling and puzzling plays. Poised on the boundary between the sacred and the sceptical, the mysterious and the mundane, the mythic and the realistic, and, as so many have noted, between the tragic and the comic, the drama dips and twists and turns and turns and turns again in a continuing series of theatricaltours de force. The birds who swoop down in the opening scene and intervene again in the most important moment of the plot at Ion's banquet might well exemplify these paradoxes of which I speak.Defilers of the sacred temple dedications with unwanted offerings of their own (106–7, 176) and nesting in the eaves of the roof, crudely ‘making offspring’, no doubt, as Ion suspects them of doing (172–5), they are at the same time bearers of sacred messages (phēmas) to mortals from the gods (180–1), oracular portents (oiōnoi) both generic and particular (1191, 1333, 377) which will prove their worth when, later at the banquet, one of the birds drinks the poisoned wine meant for Ion and by its own lifeless form reveals the lethal plot to its interpreter (1196–211).

APA, Harvard, Vancouver, ISO, and other styles

33

Lada-Richards, Ismene. "Staging the Ephebeia: Theatrical Role-Playing and Ritual Transition in Sophocles' Philoctetes." Ramus 27, no. 1 (1998): 1–26. http://dx.doi.org/10.1017/s0048671x00001910.

Full text

Abstract:

The last two decades have seen a renewed emphasis on studies falling within the general area of Ritual and Drama. The majority of extant plays have been scrutinised in the search for ritual schemes and sequences, metaphors and allusions remoulded in their imagery and language, and some of the juiciest discussions of Greek theatre have emerged as a result. Nevertheless, compared to this proliferation of studies on particular aspects of ritual symbolism and ritual patterns, few scholars have attempted to investigate the ways in which ritual and theatre can interrelate and unfold in parallel at the level of dramatic plots. Brilliant, albeit isolated, examples of this type of inquiry can be sought in Froma Zeitlin's unequalled pieces on Aristophanes' Thesmophoriazusae and Euripides' Ion; in the rewarding work of Foley, Segal, Goldhill on the Bacchae as well as in Bowie's ‘ritual’ reading of Aristophanic plots and Seaford's monumental study of Dionysiac patterns in fifth-century Greek tragedy.

APA, Harvard, Vancouver, ISO, and other styles

34

Dimoglidis, Vasileios. "A NEW COMMENTARY ON EURIPIDES’ ION - (J.C.) Gibert (ed.) Euripides: Ion. Pp. xiv + 383. Cambridge: Cambridge University Press, 2019. Paper, £25.99, US$33.99 (Cased, £74.99, US$99.99). ISBN: 978-0-521-59656-5 (978-0-521-59361-8 hbk)." Classical Review 72, no. 1 (October 11, 2021): 46–48. http://dx.doi.org/10.1017/s0009840x2100250x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Sparkes, Brian A. "III Architectural Sculpture." New Surveys in the Classics 40 (2010): 51–74. http://dx.doi.org/10.1017/s0017383510000720.

Full text

Abstract:

The erection of a building – whether temple, treasury, colonnade, or theatre – argues purpose, means, advance planning, and commitment over many years. The number of people involved in any communal project, from sponsors (whether states, individuals, or sanctuary officials) to designers, architects, masons, and sculptors, was enormous. In studying architectural sculpture, we are face to face with originals, usually found in context, with some closely dated on the basis of inscriptions and references in written texts; although the later writers who held free-standing sculpture in such high regard had little to say about architectural compositions. The embellishment was usually added to religious buildings: the temples and treasuries that were erected in local and Panhellenic sanctuaries. The subjects chosen were mainly myths, with themes repeated down the centuries (Battles of the Gods versus the Giants, and Greeks versus Amazons, Centaurs, or Trojans) – they became the default choice, the stock-in-trade, and raise the question of the extent to which there was indeed any specific programmatic intent or local significance behind these mythical encounters. Who chose the subjects? With what purpose? To instruct, to underline social cohesion, to express political identity, to demonstrate superiority? Who were the viewers the designers had in mind? As the brightly coloured sculptures were integral to the building and came to be placed high above the heads of viewers, visitors, and pilgrims, they were obviously intended to take notice of them. Can we know what their reactions were and how deep their understanding was? Euripides in his tragedy Ion (412 BC) presents a chorus of Athenian women on their first visit to Delphi (vv. 184–218). They look up at the sculptures on the outside of the Apollo temple and express wonder and excitement at the figures they can recognize: Herakles, Pegasos, the battle of the Gods and the Giants, and particularly their own patron goddess, Athena. Euripides fits their reactions to their status – they are just glad to identify their favourites, and delight, as it were, at meeting old friends.

APA, Harvard, Vancouver, ISO, and other styles

36

Jones. "The Sculptural Poetics of Euripides' Ion: Reflections of Art, Myth, and Cult from the Parthenon to the Attic Stage." Hesperia: The Journal of the American School of Classical Studies at Athens 88, no. 4 (2019): 727. http://dx.doi.org/10.2972/hesperia.88.4.0727.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Malli, Marina. ""My heart, how shall I keep silent?" The Personal as Political: Foucault's Parrhēsia in Euripides' Ion and the Testimony of Christine Blasey Ford." symploke 29, no. 1-2 (2021): 431–56. http://dx.doi.org/10.1353/sym.2021.0022.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Verdenius, W. J. "J. DIGGLE, Studies on the Text of Euripides: Supplices, Electra, Heracles, Troades, Iphigenia in Tauris, Ion. Oxford, Clarendon Press: Oxford University Press, 1981. XV, 127 pp. Pr. £ 12.50." Mnemosyne 41, no. 3-4 (1988): 402–5. http://dx.doi.org/10.1163/156852588x00732.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Newton, Rick M. "Ino in Euripides' Medea." American Journal of Philology 106, no. 4 (1985): 496. http://dx.doi.org/10.2307/295201.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Holzhausen, Jens. "Die Diener in Euripides, Kyklops 83." Hermes 150, no. 3 (2022): 363. http://dx.doi.org/10.25162/hermes-2022-0023.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Winter, Sarah. "Freud and Ion - (V.) Pedrick Euripides, Freud, and the Romance of Belonging. Pp. xii + 257. Baltimore: The Johns Hopkins University Press, 2007. Cased, £40, US$60. ISBN: 978-0-8018-8594-5." Classical Review 59, no. 1 (March 11, 2009): 38–40. http://dx.doi.org/10.1017/s0009840x0800173x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Schramm, 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 text

APA, Harvard, Vancouver, ISO, and other styles

43

Ryzman, Marlene. "The reversal of Agamemnon and Menelaus in Euripides’ Iphigenia at Aulis." Emerita 57, no. 1 (June 30, 1989): 111–18. http://dx.doi.org/10.3989/emerita.1989.v57.i1.581.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Luschnig, Cecelia Eaton. "(D.) Arnson Svarlien (trans.) Euripides: Ion, Helen, Orestes. Introduction and Notes by Matthew Wright. Pp. xlvi + 312, maps. Indianapolis and Cambridge: Hackett Publishing Company, Inc, 2016. Paper, £10.99, US$13 (Cased, £33.50, US$39.95). ISBN: 978-1-62466-480-9 (978-1-62466-481-6 hbk)." Classical Review 67, no. 2 (April 11, 2017): 568–69. http://dx.doi.org/10.1017/s0009840x17000609.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Cerrato, Daniele. "DONNE CHE SI SACRIFICANO NELLA GRECIA ANTICA: ALCESTI." Revista Internacional de Culturas y Literaturas, no. 8 (2009): 111–19. http://dx.doi.org/10.12795/ricl.2009.i08.09.

Full text

Abstract:

Nella Grecia del V secolo a.C. era molto frequente che le donne venissero sacrificate in onore della patria. Polissena nell’Ecuba di Euripide, Ifigenia nell’Ifigenia in Aulide e Macaria negli Eraclidi sono tre esempi di vergini costrette al sacrificio. Un caso a parte è quello di Alcesti: il suo sacrificio non consiste solo nella distruzione della donna, ma della relazione che ha con suo marito: avviene lo sconvolgimento di un ordine coniugale.

APA, Harvard, Vancouver, ISO, and other styles

46

Kukri, Márta Mária. "Die Literatursatire im Kontext der deutschen Antikerezeption im 18. Jahrhundert." Initium, no. 1 (September 14, 2020): 28–56. http://dx.doi.org/10.33934/initium.2020.1.3.

Full text

Abstract:

Im 18. Jahrhundert wurde das Kulturgut der Antike einfacher zugänglich, deshalb stellte sich die Frage seiner adäquaten Rezeption. Im literarischen Feld wurde vor allem die Rezeption des antiken Mythos diskutiert, die stark von der Querelle des Anciens et des Modernes geprägt war. In der zweiten Hälfte des 18. Jahrhunderts bildeten sich einander gegenüberstehende Autorengruppen, die mit dem Erlangen von stabilen Publikationsmöglichkeiten eine feste Position in der literarischen Welt gewinnen wollten. Beliebtes Mittel dieses Kampfes und des Gedankenaustauschs war die Literatursatire, wie etwa Goethes Farce „Götter, Helden und Wieland“. In meiner Arbeit wird der Meinungsunterschied von Goethe und Wieland in Bezug auf die Antikerezeption diskutiert. Dabei orientiere ich mich vor allem an Falk Strehlows Ansatz, der den grundlegenden Unterschied darin sieht, ob der Autor den Mythos zu rekonstruieren berufen ist oder ihn bloß als Sujet verwenden kann. Als Novum der Forschung können der Vergleich der einzelnen Figuren von Euripides’, Wielands und Goethes Werken bzw. die semiotische Annäherung hervorgehoben werden. Es wird ebenfalls versucht, die unterschiedlichenArgumentationsschichten in Goethes Farce in Bezug auf die Figurengestaltung und die poetologischen Ansichten zu analysieren. Zum Schluss geht die Arbeit kurz auf die Kritik an Wielands Person ein.

APA, Harvard, Vancouver, ISO, and other styles

47

Verdenius, W. J. "J. DIGGLE, Euripidis Fabulae, vol. II: Supplices, Electra, Hercules, Troades, Iphigenia in Tauris, Ion (Oxford Classical Texts). Oxford University Press, 1981. XIII, 373 pp." Mnemosyne 40, no. 3-4 (1987): 439–40. http://dx.doi.org/10.1163/156852587x00661.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

BIEHL, WERNER. "TEXTPROBLEME IN EURIPIDES' ION." Philologus 136, no. 1 (January 1, 1992). http://dx.doi.org/10.1524/phil.1992.136.1.14.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Strawson, Harry. "Spectres of Euripides: Time, Translation and Modernism in H.D.’s Euripides." International Journal of the Classical Tradition, June 24, 2021. http://dx.doi.org/10.1007/s12138-020-00588-7.

Full text

Abstract:

AbstractThe modernist period was one of intense engagement with antiquity. It was also a period concerned with radical ideas about time put forward by Henri Bergson and Albert Einstein that questioned traditional understandings of the relationship between past and present. This article considers these two aspects of the modernist period through H.D.’s translations of Euripides: it argues that H.D.’s equivocal position in literary modernism and the imagist movement (as demonstrated by her translations from Hippolytus), her prosodic experimentation with Greek verse forms in her translations from Hecuba and Iphigenia at Aulis and finally her emphasis on temporal themes in her Freud-inspired translation of Ion can be all read in such a way to cast new light on the complex temporalities of the translation of classical texts and the modernist reception of the classics.

APA, Harvard, Vancouver, ISO, and other styles

50

"Euripides, Hecuba 905-22, Ion 763-803, Bacchae 402-331): text and metre." Mnemosyne 57, no. 1 (2004): 45–79. http://dx.doi.org/10.1163/156852504322960804.

Full text

Abstract:

AbstractThree passages in the cantica of Euripides are discussed, one from each of the three volumes of the latest Oxford Classical Text. All, in various ways, are of metrical interest, and all contain textual cruces.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!