Academic literature on the topic 'Greek tragedy; Athens; Eleusis'

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Journal articles on the topic "Greek tragedy; Athens; Eleusis"

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Spawforth, A. J., and Susan Walker. "The World of the Panhellenion I. Athens and Eleusis." Journal of Roman Studies 75 (November 1985): 78–104. http://dx.doi.org/10.2307/300654.

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In A.D. 131/2 the emperor Hadrian created a new organization of Greek cities, the Panhellenion. This paper is the first of two in which we explore, from a provincial perspective, the implications of this novel initiative by Rome in Greek affairs.The foundation of the Panhellenion belongs to a series of interventions by Hadrian in the Greek world, the others mostly in the form of acts of benefaction towards individual communities. Although Hadrian's reign marked a watershed in Greek relations with Rome, these relations had already evolved significantly over the previous two generations. The two most obvious developments lay in the overlapping areas of cultural and political life. Not only did educated Greeks and Romans now share an intellectual milieu, but a renaissance of Greek literary and rhetorical activity had begun under the leadership of provincials enjoying (more often than not) close ties with Rome. At the same time, a Roman career had become more available to ambitious Greeks; a marked increase in the numbers of Greek senators may be dated to the last quarter of the first century.
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Spawforth, A. J., and Susan Walker. "The World of the Panhellenion II. Three Dorian Cities." Journal of Roman Studies 76 (November 1986): 88–105. http://dx.doi.org/10.2307/300367.

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The first part of this study (hereafter Panhellenion I) considered the nature of Hadrian's Panhellenion by looking at its known membership and activities and its social context, and reviewed the impact of the league's foundation on Athens, its capital city, and Eleusis, Attica's most prestigious sanctuary.Here we concentrate on three Dorian member-cities: Sparta and Argos in the province of Achaia, and Cyrene in Crete-and-Cyrene. In doing so we sometimes need to go beyond the evidence relating specifically to the Panhellenion, since certain features of Greek city-life under the Antonines are best explained in the larger framework of Hadrian's initiatives in the Greek world: in particular a pre-occupation with civic origins, relations of kinship (syngeneia) and recognition through ‘diplomacy’ of the historic primacy of Achaia's most famous cities. In the archaeology of Cyrene and Argos it is possible to discern, as at Athens, a phase of urban development which owed its impetus to Hadrian and which, at Cyrene, embraced a marked archaism of style.
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Che Jayoung. "Eleusis and Athens: The Flexibility of Political Structure and Regional Links in the Ancient Greek Polis." Journal of Classical Studies 2008, no. 22 (June 2008): 69–92. http://dx.doi.org/10.20975/jcskor.2008.2008.22.69.

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Carter, D. M. "Was Attic Tragedy Democratic?" Polis: The Journal for Ancient Greek Political Thought 21, no. 1-2 (2004): 1–25. http://dx.doi.org/10.1163/20512996-90000058.

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This article begins with a detailed response to Simon Goldhill's paper in the Journal of Hellenic Studies, 107 (1987), on the civic ideology surrounding Attic tragedy. His view, that the Dionysia was a festival promoting the values of the democratic polis, requires substantial qualification. I then suggest my own interpretation of the evidence Goldhill cites for ceremonies at the Dionysia, referring also to several of the dramas. Tragedy at the Dionysia was presented in front of an audience from all over the Greek world. As a result, (1) political ideas in tragedy for the most part are relevant both to democracies and to other cities; (2) where Athens appears in tragedy, it tends to be presented more as a benevolent imperial power, and less often as a democracy.
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Rock-McCutcheon, Bonnie. "The Politics of Youth in Greek Tragedy: Gangs of Athens by Matthew Shipton." Classical World 112, no. 3 (2019): 236–37. http://dx.doi.org/10.1353/clw.2019.0037.

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BEDFORD, DAVID, and THOM WORKMAN. "The tragic reading of the Thucydidean tragedy." Review of International Studies 27, no. 1 (January 2001): 051–67. http://dx.doi.org/10.1017/s0260210500010512.

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The Greek intellectual Thucydides has been widely identified by scholars of international relations as prefiguring twentieth century Realist thought. This appropriation fails to locate particular aspects of Thucydides' writing within the overall narrative structure of The Peloponnesian War. The narrative structure is in the form of a tragedy. Thucydides was critical of the excessive and unrestrained nature of Athenian and Hellenic conduct during the war. By taking up specific themes including the dominance of reason by the passions, the eclipse of logos by ergon, and the decline of nomos, he expressed this critique in a tragic form. In the end, an unrestrained Athens reached for Sicily and suffered Nemesian retribution in the form of ignominious defeat. To claim Thucydides as a precursor to Realist thought, therefore, is peculiar, and has the character of enlisting a critique of excess and immoderation on behalf of an intellectual discourse altogether lacking in reasoned moderation.
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Antoniou, Michaela. "Performing Ancient Greek Tragedy in Twentieth-Century Greece: Dimitris Rontiris and Karolos Koun." New Theatre Quarterly 33, no. 1 (January 10, 2017): 31–46. http://dx.doi.org/10.1017/s0266464x16000610.

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In this article Michaela Antoniou gives an account of the two prevailing acting schools in ancient Greek tragedy in the twentieth century, as formed and developed by Dimitris Rontiris at the National Theatre and Karolos Koun at the Theatro Technis (Art Theatre). She discusses how these two great theatre masters directed, guided, and taught their actors to perform tragedy, arguing that Rontiris's approach stemmed from a text-based perspective that focused on reciting and pronunciation, while Koun's developed from a physical and emotional approach that prioritzed actors and their abilities. Her article summarizes each director's philosophy regarding the Greek tragedies, and discusses the position of the genre within modern Greek theatre, mapping the process employed by the actors, and analyzing their method in order to illustrate the different perspectives that the two great directors had with regards to approaching and performing a role. Michaela Antoniou completed her PhD at Goldsmiths, University of London, and is currently working as an external collaborator of the Department of Theatre Studies, National and Kapodistrian University of Athens. She has also worked on the stage as an actress and playwright, and is a published author.
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De Tradução, Trupe. "Tradução inclusiva e performativa: dossiê de um processo tradutório." Nuntius Antiquus 4 (December 31, 2009): 119–37. http://dx.doi.org/10.17851/1983-3636.4..119-137.

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In this paper, we intend to report the process of a translation proposal, developed from translation theoretical studies applied to dramatic texts from the V century B.C theater in Athens. Among many texts that are currently available, we chose the tragedy Persians, by the greek author Aeschylus. In the process, which happened in a seminar of Greek language and literature, where we did the instrumental translation in class and, a posteriori, individually, the students gave to the translation an established format with scenic and aesthetic concerns. Each student reports in this article his/her experience and his/her focus of interest; finally, we offer a translation tested by actors and directors and presented orally in class with a relative success.
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Allan, William. "The Ethics of Retaliatory Violence in Athenian Tragedy." Mnemosyne 66, no. 4-5 (2013): 593–615. http://dx.doi.org/10.1163/156852512x617605.

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Abstract This article focuses on the presentation of retaliatory violence in Athenian tragedy. It suggests that such tit-for-tat violence is characterized as problematic from the earliest Greek literature onwards, but also stresses the continuing importance of anger, honour, and revenge in classical Athenian attitudes to punishment and justice. With these continuities in mind, it analyses the new process by which punishment and justice were achieved in Athens, and argues that the Athenians’ emphasis on the authority of their laws is central to understanding tragedy’s portrayal of personalized vengeance and the chaos that ensues from it. Though (for reasons of space) it focuses on only a selection of plays in detail (A. Eu., S. El., E. El., Or.), the article adduces further examples to show that the same socio-historical developments are central to the portrayal of retaliatory violence throughout the genre, and ends by considering how tragedy, in depicting revenge as problematic, offers a more positive alternative to such violence which does justice to the emotional and social needs of its audience.
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De Tradução, Trupe. "Tradução inclusiva e performativa: dossiê de um processo tradutório." Nuntius Antiquus 4 (December 31, 2009): 119. http://dx.doi.org/10.17851/1983-3636.4.0.119-137.

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<p>In this paper, we intend to report the process of a translation proposal, developed from translation theoretical studies applied to dramatic texts from the V century B.C theater in Athens. Among many texts that are currently available, we chose the tragedy <em>Persians, </em>by the greek author Aeschylus. In the process, which happened in a seminar of Greek language and literature, where we did the instrumental translation in class and, <em>a posteriori</em>, individually, the students gave to the translation an established format with scenic and aesthetic concerns. Each student reports in this article his/her experience and his/her focus of interest; finally, we offer a translation tested by actors and directors and presented orally in class with a relative success.</p>
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Dissertations / Theses on the topic "Greek tragedy; Athens; Eleusis"

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Markantonatos, Andreas. "Tragic narrative : a narratological study of Sophocles' Oedipus at Colonus." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365532.

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Butzbach, Lazaretta. "Classical Greek tragedy and the city culture of Athens." Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/1167/.

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As argued, the connection between Athenian BC society and tragedy - an area of research far from exhausted - should be examined on the basis of an anthropological/cultural, and rather comparatively oriented perspective, rather than a purely historical or literary one. A further defence holds that such an approach explores in a fresh way the connection between the two which is based on a model of self, on the one hand, and Sophocles' and Euripides' characters on the other - both proposed to consist of the same culturally framed, yet diversely expressed components which define an individual actor/self as would be portrayed by anthropological studies. Because of the proposed nexus of variously expressed components, the staged character is seen as an agent who exposes the complexity and ambiguity of one's own self of whom the individual agent was unaware of possessing. The above argument, approached mainly through primary sources, will be defended as follows. After defining in the introduction concepts such as `self' and `performance', the discussion on the components of self and character begins by exploring their background - the ideology and culture of Athens. As argued, because of particular factors linked to economic and military power, Athens is contrasted with other Greek cities, and at the same time, its performance culture becomes the topos of the performing self. The second chapter defends the concepts of self and dramatic character, as well as the elements associating them which are cultural projections of the society, but also are associated with the notion of `self as presented in recent anthropological discussions of human agency. Lastly, the third chapter argues on the actualisation of the self's model on stage; after the comparative analysis of the characters' actions in three plays by Sophocles, and three by Euripides, the conclusion reached is that the proposed model of self, cultural, but also self-reliant, is an entity which is utilised as a model agent of staged characters.
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Shipton, Matthew Thomas. "Gangs of Athens : an investigation into political representations of youth in Greek tragedy." Thesis, King's College London (University of London), 2015. https://kclpure.kcl.ac.uk/portal/en/theses/gangs-of-athens(8e2b89e1-3274-430c-8d89-eee0adc363f6).html.

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Classical scholarship makes frequent reference to presentations of youth in ancient Greek literature, most often in relation to characterisations and themes in Greek tragedy. And yet no rigorous study has to date been undertaken solely on these presentations within the genre. This dissertation addresses the gap in the scholarship, offering a comprehensive assessment of tragic presentations of youth. Moreover, this original contribution demonstrates how tragic presentations are a cultural response to the political context in which tragedy was produced. Evidence is offered to support the argument that contemporary social constructions of youth appear clearly in tragedy and that, as the material base for these conceptualisations changes, in relation to a dynamic political climate, so too do the tragic presentations. Each chapter focuses on a specific play and a theme relating to youth within that play. The investigation will move chronologically, beginning with the (undated but, I believe, pre-mid-century) Aeschylean Prometheus and ending with Euripides’ Bacchae, allowing comparison of different presentations over a well-defined historical period. Underpinning this methodology are a number of theoretical strands. First, I argue that themes in the plays reflect in some way the material reality of the social and culture milieu of which they are a product. This view ultimately derives from the Marxist model of the relationship between ideology and the material base, but I argue that the model needs to be flexible and open to alternative explanations of the content of literature. In support of this refinement, more recent sociological theory on the construction of popular conceptions of youth is employed to help establish how actualities of intergenerational anxieties are transformed through the thematic presentations of tragedy. Reference will also be made to psychoanalytic theory on relations between generations where arguments are made that youth in tragedy offers a local variant on a more universal anxiety about youth and ageing. These arguments, in turn, are informed by classical scholarship that focuses on anthropological explanations for the culturally specific yet universal nature of attitudes towards social groups. The final two chapters deal exclusively with how youth is represented in times of the most acute political crisis, as evidence for the link between the political and literary, before the concluding section which offers a view on what further research is required to embed a ‘youth studies’ within classical scholarship.
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Kennedy, Rebecca Futo. "Athena/Athens on Stage: Athena in the Tragedies of Aeschylus and Sophocles." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1053353618.

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Thesis (Ph. D.)--Ohio State University, 2003.
Document formatted into pages; contains viii, 204 p.; contains ills., map. Includes bibliographical references (p. 193-204). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 May 19.
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Hanink, Johanna Marie. "Classical tragedy in the age of Macedon : studies in the theatrical discourses of Athens." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609148.

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Hinkelman, Sarah A. "EURIPIDES’ WOMEN." Ohio University Art and Sciences Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouashonors1428872998.

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Dago, Djiriga Jean-Michel. "La lecture idéologique de Sophocle. Histoire d'un mythe contemporain : le théâtre démocratique." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-00968677.

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Depuis plus d'un siècle, la Grèce antique ne cesse d'éblouir philosophes et hommes de lettre en Occident. La tragédie occupe une place éminente dans cet émerveillement venu de l'Athènes du Ve siècle avant Jésus-Christ. C'est pour matérialiser cette fascination que ce théâtre a donné lieu à des interprétations de tout genre : philosophique, humaniste, politique et morale... Il s'agit de lectures idéologiques dont la tragédie en général et Sophocle en particulier a fait l'objet. Dans cette perspective, il importait d'effectuer un panorama des lectures de cette tragédie devenue un mythe contemporain. L'oeuvre de Sophocle a servi d'illustration à la visée idéologique d'un théâtre qui s'intégrait à l'origine dans le cadre des manifestations culturelles en l'honneur de Dionysos à Athènes. Y avait-il lieu d'universaliser et d'immortaliser ces interprétations, fruits de l'imaginaire occidental ? Fallait-il continuer la réincarnation des personnages de Sophocle qui aurait avec son Antigone et son OEdipe-roi réussi à élaborer des modèles inimitables de la tragédie et de l'existence de l'homme ? C'est pour questionner cette vision de Sophocle qu'il semble nécessaire d'exploiter les éléments esthétiques (chant, musique) de cette tragédie qui offrent de nouvelles pistes de réflexion en porte-à-faux avec la lecture idéologique observée dans la critique contemporaine.
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Sanders, Kyle Austin. "The concept of autochthony in Euripides' Phoenissae." Thesis, 2014. http://hdl.handle.net/2152/25781.

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Euripides’ Phoenissae is a challenging work that is often overlooked by scholars of Greek drama. This study analyzes how the concept of autochthony occupies a central thematic concern of the play. On the one hand, autochthony unites humans to soil, political claims to myths, and present to past. On the other hand, autochthony was often invoked to exclude foreigners, women and exiles from political life at Athens. We observe a similar dichotomy in the Phoenissae. Autochthony unites the episode action–the story of the fraternal conflict—with the very different subject matter of the choral odes, which treat the founding myths of Thebes. By focalizing the lyric material through the perspective of marginalized female voices (Antigone and the chorus), Euripides is able to problematize the myths and rhetoric associated with autochthony. At the same time, Antigone’s departure with her father at the play’s close offers a transformation of autochthonous power into a positive religious entity. I suggest that a careful examination of the many facets of autochthony can inform our understanding of the Phoenissae with respect to dramatic structure, apparent Euripidean innovations, character motivation, stage direction and audience reception.
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Books on the topic "Greek tragedy; Athens; Eleusis"

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Eleusis and Athens: Documents in finance, religion, and politics in the fifth century B.C. Atlanta, Ga: Scholars Press, 1996.

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Tragedy in Athens: Performance space and theatrical meaning. Cambridge: Cambridge University Press, 1997.

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Athena's justice: Athena, Athens, and the concept of justice in Greek tragedy. New York: Peter Lang, 2009.

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Crisis on stage: Tragedy and comedy in late fifth-century Athens. Berlin: De Gruyter, 2011.

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Sewell, Richard C. In the theatre of Dionysos: Democracy and tragedy in ancient Athens. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2007.

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Tragedie og bystat: Om fællesskab og konflikt i Athens dramatiske kultur. København: Museum Tusculanums forlag, Københavns universitet, 2010.

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Aristophanes and his tragic muse: Comedy, tragedy and the polis in 5th century Athens. Leiden: Brill, 2016.

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Why Athens?: A reappraisal of tragic politics. Oxford: Oxford University Press, 2011.

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Athens in Paris: Ancient Greece and the political in postwar French thought. Oxford: Oxford University Press, 2005.

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Euripides and Alcestis: Speculations, simulations, and stories of love in the Athenian culutre. Lanham, MD: University Press of America, 1998.

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Book chapters on the topic "Greek tragedy; Athens; Eleusis"

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Sourvinou-Inwood, Christiane. "Something to do with Athens: Tragedy and Ritual." In Greek Literature, 465–87. Routledge, 2018. http://dx.doi.org/10.4324/9780203055892-24.

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Murray, Chris. "A Greek Tragedy in China." In China from the Ruins of Athens and Rome, 169–94. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198767015.003.0006.

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Thomas de Quincey endorsed the Opium Wars in his journalism. Yet his China essays invoke ideas from Greek tragedy, and his ‘Theory of Greek Tragedy’ expresses British jingoism. Such a connection was topical: the Canton Register stirred controversy over Qing officials’ description of Europeans as yi (夷‎) with reference to classical conceptions of barbarism. Classical literature is crucial to de Quincey’s identity; he wields this as a master-knowledge against such Sinologists as Thomas Taylor Meadows when debating the Arrow crisis. Classical allusions reveal that his hatred of China is ultimately self-loathing: figures such as the classical daimon show that de Quincey identifies with those who have ceded agency to an outside force, and in his opium addiction he resembles China as much as he does the Malay in Confessions of an English Opium Eater. By reference to tragedy he proposes violence that is symbolic rather than real.
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Cline, Diane Harris. "Entanglement, Materiality and the Social Organisation of Construction Workers in Classical Athens." In Ancient Greek History and Contemporary Social Science, 512–28. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474421775.003.0019.

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This chapter views the “Periclean Building Program” through the lens of Actor Network Theory, in order to explore the ways in which the construction of these buildings transformed Athenian society and politics in the fifth century BC. It begins by applying some Actor Network Theory concepts to the process that was involved in getting approval for the building program as described by Thucydides and Plutarch in his Life of Pericles. Actor Network Theory blends entanglement (human-material thing interdependence) with network thinking, so it allows us to reframe our views to include social networks when we think about the political debate and social tensions in Athens that arose from Pericles’s proposal to construct the Parthenon and Propylaea on the Athenian Acropolis, the Telesterion at Eleusis, the Odeon at the base of the South slope of the Acropolis, and the long wall to Peiraeus. Social Network Analysis can model the social networks, and the clusters within them, that existed in mid-fifth century Athens. By using Social Network Analysis we can then show how the construction work itself transformed a fractious city into a harmonious one through sustained, collective efforts that engaged large numbers of lower class citizens, all responding to each other’s needs in a chaine operatoire..
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Leo, Russ. "Greek Tragedy and Hebrew Antiquity in John Milton’s 1671 Poems." In Tragedy as Philosophy in the Reformation World, 207–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198834212.003.0005.

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Chapter 5 examines Milton’s detailed engagements with Reformation poetics that render tragedy a precise philosophical and theological resource. In his 1671 poems Paradise Regain’d and Samson Agonistes Milton responds directly to Reformed poetics, pointing methodically to the limits of tragedy, exposing the extent to which divinity and its agencies exceed and confound the philosophical vision of the Poetics. In Paradise Regain’d, for instance, Milton’s Jesus relocates the birth of tragedy from Athens to the Levant, claiming that tragedy belongs first to the Hebrews. Greek tragedy is thus derivative and degraded; Sophocles, Euripides, and Aristotle, to say nothing of the traditions to which they gave rise, appropriated tragic forms and resources from Hebrew antiquity. Milton advances Pareus’ theses on tragedy and Scripture beyond the scope of Pareus’ own text, arguing for a more comprehensive Christian archive of tragedy as well as a daring account of tragedy’s sacred origins.
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Scioli, Emma. "Confronting the Ancient Greek Golden Age in Jules Dassin’s Phaedra (1962)." In Screening the Golden Ages of the Classical Tradition, 119–36. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474440844.003.0007.

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In the second of three chapters examining Athens’ golden-age legacy, Scioli traces how Jules Dassin repeatedly draws attention to the origins of his 1962 melodrama Phaedra in Greek myth and tragedy through visual imagery, as a complement to his 1960 comedy Never on Sunday. Phaedra’s use of ancient Athenian art, and its suggestive modernization of elements from the ancient Athenian tragedyHippolytusand Racine’s 1677 adaptation Phèdre, force a confrontation with a particular modern formulation of the ancient Greek past. Dassin draws upon the golden age to characterize the world of ancient Greece that irrupts into the early 1960s setting of the film both visually and thematically. Rather than fostering nostalgia for a golden age that might prompt a desire for its return, Phaedra presents it as an intrusive presence from which its characters feel alienated, only to demonstrate that they are inextricably bound, in their modern dress, to repeat what the tragic past has prescribed for them. Such self-conscious appropriation of Athens’ literary-dramatic and artistic-material remains informs the tragic belatedness of Phaedra and reflects upon the American expatriate director’s sense of foreignness in the homeland of his lover and artistic muse, Greek actress and activist Melina Mercouri.
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