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Books on the topic 'Greek tragedy; Athens; Eleusis'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Consult the top 29 books for your research on the topic 'Greek tragedy; Athens; Eleusis.'

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1

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

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2

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

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3

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

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4

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

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5

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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6

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

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7

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

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8

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

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9

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

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10

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

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11

Los dorismos del Corpus Bucolicorum. Amsterdam: A.M. Hakkert, 1990.

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12

Wiles, David. Tragedy in Athens: Performance Space and Theatrical Meaning. Cambridge University Press, 1999.

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13

The Politics of Youth in Greek Tragedy: Gangs of Athens. Bloomsbury Academic, 2018.

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14

Hanink, Johanna. Lycurgan Athens and the Making of Classical Tragedy. Cambridge University Press, 2017.

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15

Lycurgan Athens and the Making of Classical Tragedy. Cambridge University Press, 2014.

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16

ed, McHardy Fiona, Robson J. E. ed, and Harvey David 1937 ed, eds. Lost dramas of classical Athens: Greek tragic fragments. Exeter: University of Exeter Press, 2005.

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17

(Editor), Fiona McHardy, James Robson (Editor), and David Harvey (Editor), eds. Lost Dramas of Classical Athens: Greek Tragic Fragments. University of Exeter Press, 2005.

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18

Cavanaugh, Maureen B. Eleusis and Athens: Documents in Finance, Religion, and Politics in the Fifth Century B.C. (American Classical Studies ; No. 35). An American Philological Association Book, 2000.

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19

Stewart, Edmund. Greek Tragedy on the Move. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747260.001.0001.

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This work is one of the first full studies of the dissemination of Greek tragedy in the archaic and classical periods. Drawing on recent research in network theory, it seeks to reinterpret classical tragedy as a Panhellenic art form. It thereby offers a radically new perspective on the interpretation of the extant tragic texts, which have often been seen as the product of the fifth-century Athenian democracy. Tragedy grew out of, and became part of, a common Greek (or Panhellenic) culture, which was itself sustained by frequent travel and exchange. This book shows how Athens was a major Panhellenic centre within a wider and, by the fifth century, well-established network of festivals and patrons. The part played by non-Athenians in the festival culture of Attica is fully reassessed and it is estimated that as much as a quarter of all tragic poets who produced plays in Athens during the classical period were non-citizens. In addition, the book re-examines the evidence for tragedies that were probably or certainly performed outside Athens and shows how and why they were calculated to appeal to a broad Panhellenic audience. The stories they contained were themselves tales of travel. Together the works of the tragedians told and reworked the history of the Greek peoples and showed how they were connected through the wanderings of their ancestors. Tragedy, like the poets and their creations, was meant to travel and this is the first full study of tragedy on the move in the archaic and classical periods.

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20

R, Pelling C. B., ed. Greek tragedy and the historian. Oxford: Clarendon Press, 1997.

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21

Griffiths, Emma M. Children in Greek Tragedy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198826071.001.0001.

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Astyanax is thrown off the walls of Troy, Medeia kills her children to take revenge on her husband, and Aias reflects sadly on his son’s inheritance, yet he kills himself and leaves Eurysakes vulnerable to his enemies. The pathos created by threats to children is a notable feature of Greek tragedy, but does not explain the range of situations where the playwrights chose to employ them. Although they are largely silent, passive figures, children exert a dramatic force that goes beyond their limited onstage presence. This book proposes a new paradigm to understand the roles of children in tragedy, emphasizing their dangerous potential as the future adults of myth. Their multiple projected lives create dramatic palimpsests which are paradoxically more significant than the immediate emotional effects. Children are never killed because of their immediate weakness, but because of their potential strength. Staging considerations underpin this re-evaluation, as the embodied identities of children are central to their roles. A new examination of the evidence for child actors concludes that the physical presence of children was a significant factor in their presentation. The socio-historical context of fifth-century Athens gives some pointers, but child roles can only be fully appreciated as theatrical phenomena, utilizing the inherent ambiguities of drama.

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22

In the Theatre of Dionysos: Democracy and Tragedy in Ancient Athens. McFarland & Company, 2007.

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23

Laera, Margherita. Reaching Athens: Community, Democracy and Other Mythologies in Adaptations of Greek Tragedy (New Comparative Criticism). Peter Lang AG, Internationaler Verlag der Wissenschaften, 2013.

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24

Markantonatos, Andreas, and Bernhard Zimmermann. Crisis on Stage: Tragedy and Comedy in Late Fifth-Century Athens. De Gruyter, Inc., 2012.

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25

Stewart, Edmund. Tragedy in Attica c.500–300 BC. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747260.003.0004.

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Chapter 3 examines Athenian festival culture in the fifth and fourth centuries. It is argued that the process of tragedy’s dissemination began not with the ‘export’ of plays out of Athens, but even at the very moment of their first performance in the theatre of Dionysus. Athens attracted a wide range of visitors to its festivals, who could be both performers and spectators. Here we examine the evidence for the activities of ninety non-citizen musicians, poets, and actors and the contribution they made to the Dionysia and other festivals. We shall see that Athens is best understood as a major Panhellenic centre within a broader network of other Greek cities and sanctuaries.

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26

Stewart, Edmund. Tragedy outside Attica c.450–400 BC. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747260.003.0006.

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Chapter 5 demonstrates how the works of Euripides, like those of Aeschylus, served to create or highlight connections between different elements within the broader Hellenic race. It examines three sets of plays that were probably or certainly performed outside Athens. Firstly, the Archelaus, Temenus and Temenidae celebrate the Argive ancestry of the Macedonian kings and were almost certainly produced for Euripides’ patron, Archelaus of Macedon. Secondly, the Andomache is a travel play that ends with the establishment of Neoptolemus’ descendants in Molossia. Finally, the Melanippe Bound and Aeolus tell the story of the founding heroes of the Western Greek cities of Metapontum and Lipari.

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27

Stewart, Edmund. Tragedy outside Attica c.400–300 BC. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747260.003.0007.

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Chapter 6 seeks to counter the common assumption that tragedy was exported from Athens to the Greek world over the course of the fourth century. In the fourth century we have strong evidence for an increase in numbers of dramatic competitions across the Greek world as the area traversed by tragedians expanded. However, it is argued that this expansion is the direct result of the efforts of travelling poets and actors in the previous generations. The dissemination of tragedy is thus a continuous process that begins simultaneously with the genre’s development. By the fourth century, tragedy had become an integral and canonical part of a vibrant Panhellenic festival culture.

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28

Murray, Chris. China from the Ruins of Athens and Rome. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198767015.001.0001.

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Fascinated and often baffled by China, Anglophone writers turned to classics for answers. In poetry, essays, and travel narratives, ancient Greece and Rome lent interpretative paradigms and narrative shape to Britain’s information on the Middle Kingdom. While memoirists of the diplomatic missions in 1793 and 1816 used classical ideas to introduce Chinese concepts, Roman history held ominous precedents for Sino–British relations according to Edward Gibbon and Samuel Taylor Coleridge. John Keats illuminated how peculiar such contemporary processes of Orientalist knowledge-formation were. In Britain, popular opinion on Chinese culture wavered during the nineteenth century, as Charles Lamb and Joanna Baillie demonstrated in ekphrastic responses to chinoiserie. A former reverence for China yielded gradually to hostility, and the classical inheritance informed a national identity-crisis over whether Britain’s treatment of China was civilized or barbaric. Amidst this uncertainty, the melancholy conclusion to Virgil’s Aeneid became the master-text for the controversy over British conduct at the Summer Palace in 1860. Yet if Rome was to be the model for the British Empire, Tennyson, Sara Coleridge, and Thomas de Quincey found closer analogues for the Opium Wars in Greek tragedy and Homeric epic. Meanwhile, Sinology advanced considerably during the Victorian age, with translations of Laozi and Zhuangzi placed in dialogue with the classical tradition. Classics changed too, with not only canonical figures invoked in discussions of China, but current interests such as Philostratus and Porphyry. Britain broadened its horizons by interrogating the cultural past anew as it turned to Asia: Anglophone readers were cosmopolitans in time as well as space, aggregating knowledge of Periclean Athens, imperial Rome, and many other polities in their encounters with Qing Dynasty China.

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29

Fischer-Lichte, Erika. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199651634.003.0012.

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The book concludes with an epilogue entitled ‘The Return of Dionysus. From Festive Performances to Global Spectacle’. It very briefly retraces the exchange of productions of Greek tragedies between Germany and other countries and ends with the role played by productions of Greek tragedies today, at German as well as international theatre festivals, thus linking them back to the most important festival in ancient Athens, the Great Dionysia. After explaining how such festivals in Germany reassert the central position held by theatre in German culture, the epilogue ends with a short discussion of Jan Fabre’s twenty-four-hour performance Mount Olympus—to Glorify the Cult of Tragedy (Berliner Festspiele, June 2015) as an allegory of and a reflection on Greek tragedy’s endurance on the German stage.

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