Journal articles on the topic 'Hippolyta (greek mythology) – drama'
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1
Showerman, Earl. "A Century of Scholarly Neglect: Shakespeare and Greek Drama." Journal of Scientific Exploration 37, no. 2 (August 11, 2023): 201–17. http://dx.doi.org/10.31275/20233109.
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In the late 19th and early 20th centuries, a number of Shakespeare scholars, including Israel Gollancz (1894), H.R.D. Anders (1904), J. Churton Collins (1904), and Gilbert Murray (1914) wrote convincingly of Shakespeare’s debt to classical Greek drama. However, in the century since, most scholars and editors have repeatedly held that Shakespeare was not familiar with Greek drama. In Classical Mythology in Shakespeare (1903), Robert Kilburn Root expressed the opinion on Shakespeare’s ‘lesse Greek’ that presaged this enduring dismissal: “It is at any rate certain that he nowhere alludes to any characters or episodes of Greek drama, that they extended no influence whatsoever on his conception of mythology.” (p. 6) This century-long consensus against Attic dramatic influence was reinforced by A.D. Nutall, who wrote, “that Shakespeare was cut off from Greek poetry and drama is probably a bleak truth that we should accept.” (Nutall, 2004, p.210) Scholars have preferred to maintain that Plutarch or Ovid were Shakespeare’s surrogate literary mediators for the playwright’s adaptations from Greek myth and theatre. Other scholars, however, have questioned these assumptions, including Laurie Maguire, who observed that “invoking Shakespeare’s imagined conversations in the Mermaid tavern is not a methodology likely to convince skeptics that Shakespeare knew Greek drama.” (p. 98) This near-universal rejection of Greek drama as Shakespeare sources have profound philological implications. Indeed, this essay argues that the proscription against recognizing the Attic canon as an influence in Shakespeare has been driven by the belief that Will Shakspere of Stratford had, at most, an education that was Latin-based. The examples show that the real author had to have been exposed to both the Greek language and the Greek dramatists. Evidence for alternative candidates, including Edward de Vere, shows that many were schooled in Greek and that some even collected and supported translations of Greek works. It is my contention that Shakespeare’s dramatic imagination was actually fired by the Greeks, and Shakespeare research has clearly suffered from a century of denial.
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De Chiara-Quenzer, Deborah. "Commentary on Pappas." Proceedings of the Boston Area Colloquium of Ancient Philosophy 32, no. 1 (July 25, 2017): 59–65. http://dx.doi.org/10.1163/22134417-00321p06.
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This commentary on Nicholas Pappas’s paper, “Telling Good Love from Bad in Plato’s Phaedrus,” reflects on a number of Pappas’s thoughtful observations and interpretations of features woven into the drama of the discussion (for example, Typho and Boreas, wings, left and right). However, unlike Pappas, who refrains from claiming that divinely inspired human love (good love) can be discerned by turning to the earthly, this commentary suggests that Pappas’s contrasts of wings which conceal versus wings which elevate, of left and right, and my added contrast of traditional Greek mythology versus Platonic mythology, lay the groundwork to discern the divine in the earthly, and to distinguish concomitantly bad from good human love. Additionally, the commentary discusses how Plato’s use of collection and division is used to distinguish good and bad human love.
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Aboelazm, Ingy. "Africanizing Greek Mythology: Femi Osofisan’s Retelling of Euripides’the Trojan Women." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 87. http://dx.doi.org/10.26417/ejls.v4i1.p87-103.
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Nigerian writer Femi Osofisan’s new version of Euripides' The Trojan Women, is an African retelling of the Greek tragedy. In Women of Owu (2004), Osofisan relocates the action of Euripides' classical drama outside the walls of the defeated Kingdom of Owu in nineteenth century Yorubaland, what is now known as Nigeria. In a “Note on the Play’s Genesis”, Osofisan refers to the correspondences between the stories of Owu and Troy. He explains that Women of Owu deals with the Owu War, which started when the allied forces of the southern Yoruba kingdoms Ijebu and Ife, together with recruited mercenaries from Oyo, attacked Owu with the pretext of liberating the flourishing market of Apomu from Owu’s control. When asked to write an adaptation of Euripides’ tragedy, in the season of the Iraqi War, Osofisan thought of the tragic Owu War. The Owu War similarly started over a woman, when Iyunloye, the favourite wife of Ife’s leader Okunade, was captured and given as a wife to one of Owu’s princes. Like Troy, Owu did not surrender easily, for it lasted out a seven-year siege until its defeat. Moreover, the fate of the people of Owu at the hands of the allied forces is similar to that of the people of Troy at the hands of the Greeks: the males were slaughtered and the women enslaved. The play sheds light on the aftermath experiences of war, the defeat and the accompanied agony of the survivors, namely the women of Owu. The aim of this study is to emphasize the play’s similarities to as well as shed light on its differences from the classical Greek text, since the understanding of Osofisan’s African play ought to be informed by the Euripidean source text.
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Kim, Gongsook. "The Archetype of Femme Fatale Character in K-drama: Focusing on the Heroine of Misty." Korean Society of Culture and Convergence 45, no. 4 (April 30, 2023): 291–308. http://dx.doi.org/10.33645/cnc.2023.04.45.04.291.
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The archetype of the femme fatale character of Go Hye-ran, the heroine of the K-drama Misty, was analyzed by applying the Greek mythology archetype theory of the Jungian School of Bolen and the discussion of the femme fatale character in literature. A femme fatale is a female type that maximizes the negative aspects of the archetype of the goddess Aphrodite. Misty shows the tragedy that can happen when an goddess Aphrodite-archetypal woman rushes for her desire through the modern success-oriented femme fatale Go Hye-ran. She reproduces the archetype of femme fatale as a beautiful and menacing villainess, an unknown woman wrapped in a veil, and the incarnation of narcissistic desire. The femme fatale's counterpart is an immature and weak male type. Lee Jae-young is analyzed as the archetype of Ares, the goddess Aphrodite's lover, Myung-woo Ha as the archetype of Hephaestus, the husband chosen by Aphrodite, and Tae-wook Kang as the archetype of Apollo. Go Hye-ran can be said to be a true femme fatale in K-drama, which completed Misty as an archetypal drama by embodying femme fatale characters in myths and classics in a modern way.
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Luton, Jane Isobel, and Jacqueline Hood. "A Sisyphean task? Doing drama online with Year 9 students in a COVID-19 lockdown." Teachers and Curriculum 22, no. 1 (August 3, 2022): 39–45. http://dx.doi.org/10.15663/tandc.v22i1.385.
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Using the allegory of Sisyphus from ancient Greek mythology, we examine the problems that arose while teaching Year 9 drama classes online during the COVID-19 pandemic lockdowns in Aotearoa, New Zealand. At times we have felt like Sisyphus, forced to push a boulder uphill forever. We became adept at using the school’s chosen online platform, in this case, Microsoft Teams. For all teachers, this meant that students were no longer in an actual classroom with their peers but met in a virtual space as a series of little icons on a screen. For drama, this disrupted the very essence of the praxis. Drama is, at its heart, an embodied, interactive “subject”, requiring collaboration, cooperation and participation. Like Sisyphus, we have, at times, felt the task of teaching drama cannot be truly accomplished. In this article, we focus specifically on the Year 9 drama students, the youngest year group at secondary colleges in New Zealand. They are part of the generation defined as Gen Z (Beresford Research, 2022), “digital natives who have little or no memory of the world as it existed before smartphones” (Parker & Igielnik, 2020., para. 4). We compare the expectations and interactions of a traditional drama classroom with those online. We explore the approaches we took to encourage student participation in this new forum, trying to find dramatic strategies to mitigate some of the problems that arose. We discuss the consequences and outcomes of teaching drama remotely. Unlike Sisyphus, can we learn from successes and failures, or are we as drama teachers doomed forever to roll a large rock uphill?
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Śmiechowicz, Olga. "Pure Propaganda or Great Art, Patriotism and Civic Engagement? How Aeschylus and Euripides Used Their Plots to Support Athenian Politics towards the Allies." Symbolae Philologorum Posnaniensium Graecae et Latinae 29, no. 2 (December 15, 2019): 5–16. http://dx.doi.org/10.14746/sppgl.2020.xxix.2.1.
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In this article I would like to focus on one research topic: how ancient tragedians manipulated their drama plots (based on Greek mythology) so as to use them for influencing Athenian “international policies.” Those were not any mistakes or airs of nonchalance on the part of the Athenian tragedians; it was just their carefully premeditated strategy of creating persuasive messages to function as pure propaganda. I am chiefly directing my attention to the topic of how the Athenians established their relations with the allies. Meaning the closest neighbours as well as some of those who did not belong in the circle of the Hellenic civilization. I have decided to devote all of my attention to Aeschylus’ and Euripides’ works, as both of them were obvious supporters of the democratic faction. I focused my attention on the texts: Aeschylus: The Suppliants, Oresteia; Euripides: Heracleidae, Andromache, Archelaus,Temenos.
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Mostafa Hussein, Wafaa A. "Freedom as the Antithesis of Commitment in Jean-Paul Sartre’s The Flies (Les Mouches)." International Journal of Linguistics, Literature and Culture 8, no. 2 (June 30, 2021): 1–17. http://dx.doi.org/10.19044/llc.v8no2a1.
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In the mid of the twentieth century, French Existentialism was a predominant doctrine that significantly enriched and influenced the literary scene in Europe during the Post-War area. Jean-Paul Sartre (1905-1980), the founder of Existentialism, is both a professional philosopher and a talented man of letters whose literary achievements represent a declarative embodiment of his Existentialist philosophy. In his 1943 drama, The Flies (Les Mouches), Sartre puts the Greek myth into a drastically innovative structure, where contemporary issues and values are presented through classical outlines. The current study aims to present a critical analysis of Sartre's depiction of the Electra/Orestes myth in The Flies through demonstrating how Greek mythology becomes an essential substructure of the play's Existentialistic framework, on the one hand, and questioning the credibility of the Sartrean concept of freedom and commitment, as illustrated in the play, on the other hand. The study utilizes the Existentialist philosophy as a theoretical framework in order to elucidate that the Sartrean conception of freedom and commitment is paradoxically antithetical. The research investigates how Orestes has been theoretically free and the extent to which he strives, throughout the drama, to transform this abstract freedom into a concrete experience by committing himself to a specific action: murdering Aegisthus and Clytemnestra. However, as the study proves, this Existentialist freedom becomes an illusion in the sense that Orestes' commitment to the Argives makes him a captive of society; by choosing commitment, he dismisses his freedom. The researcher has chosen "Freedom" and "Commitment" as the main topic of the present study in order to expose Sartre's existentialistic awareness of modern human beings' dilemma under the influence of all forms of aggression and highlight the discrepancy between theoretical philosophy and real-life experiences. The study adopts an interdisciplinary analytical approach where myth, philosophy, and drama are dovetailed and fused in order to expand the scope of the analysis.
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Kumukova, Dzhamilya. "Strindberg’s A Dream Play and Gumilyov’s Allah’s Child. A mystery plot." Scandinavian Philology 20, no. 2 (2022): 311–27. http://dx.doi.org/10.21638/11701/spbu21.2022.206.
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Тhe article explores the issue of implementation of a mystery plot in the dramaturgy of the turn of 19th–20th centuries. Within the aspect of the given topic, two plays are considered — A. Strindberg’s drama A Dream Play, and N. S. Gumilyov’s fairy tale Allah’s Child. It is an attempt to demonstrate that in these works one can find the same plotline, which can be traced back to the myth of Persephone. With various interpretations still around as to the content of the ancient Greek mystery, is can generally be acknowledged that the myth comprised the foundation of the sacred action at Eleusis; the debate only concerns its “stage” adaptation. At the turn of 19th–20th centuries, the story of Persephone is already creating its own, new myth about the trials of a wandering soul on the path of knowledge. In Strindberg’s and Gumilyov’s plays, the soul (Persephone) is played by a divine being: in A Dream Play it is the daughter of god Indra of ancient Indian mythology, and in Allah’s Child it is the daughter of a god from the mythology of peoples of Central and Minor Asia. Both heroines go through a hard path of earthly sorrows, and in the denouement return to the divine world. This plot structure, which mirrors the development of an ancient mystery, both playwrights — Swedish and Russian — introduce the Poet as a character. In both A Dream Play and Allah’s Child the Poet becomes an intermediary between the earthly and divine lives, bridging the gap between those worlds, and, in essence, acting as Dionysus. The general trend, whereby the dramaturgy of “the turn” looked back to ancient mythology, speaks to the ongoing process of myth structuring, as it acquires new meaningful layers.
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Koci, Katerina. "Whose Story? Which Sacrifice? On the Story of Jephthah’s Daughter." Open Theology 7, no. 1 (January 1, 2021): 331–44. http://dx.doi.org/10.1515/opth-2020-0167.
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Abstract The story of Jephthah and his daughter (Judg. 11:29–40) is a peculiar and problematic text. This article explores the question of the accountability for the sacrificial act with which the story culminates, and which provokes sharp disapproval in certain quarters, especially because of its gender bias. Applying the hermeneutical framework of René Girard and his distinction between sacrifice in Greek mythology (divinity in charge) and sacrifice in Judeo-Christian revelation (everyone responsible for his/her actions), I investigate the question: Is Jephthah’s daughter a mute puppet in a drama staged by her tyrannical father, or perhaps fate, or is she rather a woman who is responsible for her own actions and accountable only to herself? The answer is twofold: she is a woman fully responsible for herself; however, the responsibility for her premature and violent death is shared by her father, herself, and the biblical author–redactor. After identifying Jephthah’s daughter as a person responsible for her own actions, I aim to overcome the dialectic of “the text of terror” (post-structuralist interpretation) and the search for “herstory” (neoliberal interpretation). I suggest that in her powerlessness against patriarchal tyranny, Jephthah’s daughter nonetheless exerts power and authority in condemning the existing power structures. Without approving any form of sacrifice, reading the story through a lens of powerful powerlessness can help us discern different forms of power and, ultimately, reject the aggression and violence that has dominated our world to this very day.
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Apene, Dickson Nkehmengwe. "Intertextuality Across Genres: A Study of Homer’s the Odyssey and Suzan-Lori Parks’s Father Comes Home from the Wars." Global Academic Journal of Linguistics and Literature 5, no. 05 (September 23, 2023): 81–86. http://dx.doi.org/10.36348/gajll.2023.v05i05.003.
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This research work aims to show the relationship between Homer’s The Odyssey and Parks’s Father Comes Home from the Wars. It has as objective, to debunk the stereotypical norms of writing literary works, which shows that comparative analysis can only be limited to a particular genre, that is (novel to novel, play to play and poetry to poetry). This intertextual study proclaims that a literary work cannot be limited only to a particular genre but can equally cut across genres. This explains why Parks rewrites Homer’s epic poem The Odyssey into a play, Father Comes Home from the Wars, which she transforms into the American scenario. Thus, the researcher is going to carry out a comparative analysis between Homer’s epic poem and Parks’s play. Our study of the selected works has considered the way meanings are constructed by a network of cultural and social discourses which embody distinct codes, expectations and assumptions. Besides, the thematic and linguistic similarities and differences between the works of the European and American authour selected have enabled the researcher to have an insight into literary influences and affinities. This article has also studied the life experiences of the authours selected, and their historical contexts and has demonstrated that Homer had no direct influence on Parks. This work is premised on the hypothesis that intertextuality is not limited to a particular genre of writing, be it prose, poetry or drama but can equally cut across genres. Intertextuality foregrounds the notions of interconnectedness and interdependence in culture. To analyse these works, the researcher used deconstruction to debunk traditional norms of writing in contrastive studies. Although Parks subscribes to Greek mythology and the Theatre of the Absurd respectively, she deviates from her European forebear of this convention, as she presents her play Father Comes Home from the Wars, which is again not written in acts and scenes but in parts, through American realism, as she is somewhat a social critic.
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Chrzanowska-Kluczewska, Elżbieta. "Transmedial Creation of Text Worlds. Pictorial Narration in Response to Verbal Texts." Discourses on Culture 19, no. 1 (June 1, 2023): 25–64. http://dx.doi.org/10.2478/doc-2023-0002.
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Abstract With the narrative and visual turn engaging research in several scholarly disciplines over the last decades, the author of this article intends to approach the issue of world-formation in such pictorial representations that have originated in response to verbal texts, mostly literary. The study assumes a semiotic vantage point, with text understood broadly as any meaningful sequence or network of signs. It draws also from Intermedial Studies, following in particular the idea of media transformation (transmediation) as proposed by Lars Elleström (2014), especially in application to “qualified” media such as artistic forms. An analysis will be carried on the set of images (mostly Western paintings and one instance of Oriental sculpture) produced by 19th and 20th-century artists, all induced by well-known verbal narratives that represent three categories: a) Greek mythology, b) religious and literary-religious texts (The New Testament, the Rāmāyana) and c) English-language literature (drama and poetry). As such, these visual renditions — a reversal of traditionally conceived ekphrasis in which verbal descriptions commented on visual artefacts — qualify as transmedial phenomena. The author’s main concern is to what extent storytelling static visual works, the instances of secondary narrativity (Stampoulidis, 2019), are capable of creating text worlds (partly) similar to storyworlds postulated for verbal narratives. Starting with her own taxonomy of picturing endowed with a narratorial potential (inspired by several typologies proposed for narrative images), the author will discuss the formation by pictorial means of two world-building units, namely: 1) scenes and 2) small worlds/sub-worlds, both of them only parts of full-blown text worlds. Temporality emerges as a foundational but not exclusive property of text worlds in the verbal and pictorial arts. This study is a continuation of the author’s previous research (Chrzanowska-Kluczewska, 2009, 2016, 2019) that points to an incremental growth of possible worlds into text worlds into discourse worlds in verbal and visual media.
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Rahayuningtiar, Titis. "Penciptaan Naskah Drama Narcissus Berdasarkan Mitologi Yunani." Resital: Jurnal Seni Pertunjukan 13, no. 2 (November 2, 2013). http://dx.doi.org/10.24821/resital.v13i2.519.
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Naskah drama Narcissus adalah sebuah naskah drama dengan genre klasik yang mengusung irama tragis. Narcissus adalah sebuah tokoh yang berasal dari cerita mitologi Yunani. Narcissus merupakan seorang pemuda sombong yang sangat mengagungkan keindahan yang ada dalam dirinya. Hingga suatu hari Narcissus dikutuk untuk jatuh cinta pada bayangannya sendiri. Penciptaan naskah drama Narcissus bertujuan untuk mengisi kelangkaan naskah drama yang sumber idenya berasal dari fenomena narsis di masyarakat dan konsep irama tragis dalam mitologi Yunani. Metode penciptaan mengusung sebuah metode kreatif yang terdiri dari tahap eksplorasi, pembentukan dan improvisasi. Hasil penciptaan naskah ini adalah sebuah naskah bergenre klasik yang memiliki pesan moral bahwasanya seseorang yang menganggap dirinya sempurna akan memberi akibat buruk untuk dirinya sendiri. Kesempurnaan hanyalah milik Tuhan.Kata kunci: Narcissus, Yunani, mitologi.ABSTRACTThe Creation of the Drama Script of Narcissus Based on the Greek Mythology. The script of Narcissus drama is a script of drama with a classical genre which carries the tragic rhythm on it. Narcissus is a character in the story of the Greek Mythology. He is an arrogant young man who really likes to glorify himself on the beauty of what he has. Unfortunatelly, one day he was cursed to fall in love with his own reflection. The creation of drama script of Narcissus is aimed to fill the scarcity of drama scripts in which the basic sources of idea come from narcissistic phenomena in a society and the concept of the tragic rhythm in the Greek mythology. The method of creation brings a creative method comprising the steps of exploration, creation, and improvisation. The result of this script creation is a classical genre script which has a moral message in which a person who considers himself perfectly will give a bad impact to himself. Nevertheles, perfection belongs to God only.Key words: Narcissius, Greek , mythology
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SUMARNO, RANO. "Penciptaan Naskah Drama Pemberontakan Sisifus." Resital: Jurnal Seni Pertunjukan 10, no. 1 (November 2, 2013). http://dx.doi.org/10.24821/resital.v10i1.473.
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The Rebellion of Syssiphus. The Rebellion of Syssiphus play script is an effort to response suicide phenomenonin Indonesia. Joining two different social lives among human life in Indonesia and Greek mythology constructsthis creation as a surrealism play script. The purpose of this creation is: 1) to create a joint script of two differentrealms between Sissyphus’ life and recent reality of Indonesian people’s life in surrealist plot, (2) to produce a scriptconstantly contextual with man’s problem in life, (3) to enrich Indonesia Drama documentation through a scriptwith high motivational contents as an alternative of destiny. As a anti-suicide campaign for Indonesians, the authorinvokes a brilliant thinking of existentialist philosopher, Albert Camus, within the script to be performed andwatched. The implementation is not wholesome, but adapting Pancasila values. Therefore, this script is importantas a reference for students who teach and perform absurd scripts. Most drama observers say that the emergence ofabsurd script proposed by group of dramatist in 1950’s could not be released from Camus’ thought
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Tessaro, Camila Lorenzini, João Gabriel Cavazzani Doubek, and Matheus Kahakura Franco Pedro. "BEYOND THE NEUROLOGIST: CHARLES FOIX AS A POET AND A PLAYWRIGHT." European Neurology, May 4, 2024. http://dx.doi.org/10.1159/000539145.
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Background: Charles Foix (1882-1927) may be mostly remembered today due to his contributions to vascular neurology and the syndromes that bear his name, such as the Foix-Alajouanine syndrome. However, he also developed a literary career and composed poetry and a vast collection of plays, often dealing with biblical themes or figures from Greek mythology. Summary: His poetry was often inspired by his own experiences during the First World War, in which he was assigned to serve as medical officer in Greece, becoming enamored with his surroundings and the classical lore. Key messages: The authors explore Foix's poetry and drama and their relationship to his overall work as a neurologist, including his wartime experiences.
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JIN, Xusheng. "The Ethical Mystery of the Sphinx Riddle." Iris Online Journal of Arts and Social Sciences 1, no. 1 (January 31, 2023). http://dx.doi.org/10.33552/iojass.2023.01.000501.
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This thesis embarks upon a polemic trek by poring over the origin of human ethical consciousness in Adam and Eve after their eating of the Tree of Good and Evil in the Bible, then goes on to explore the ethical mystery of the Sphinx Riddle in Greek Mythology, illustrate the ethical dilemma of Hamlet in Shakespeare’s renowned drama, and finally wind up with a new vision on Robert Frost’s poem with Lawrence’s idea of the Noble Wild Beast. Believing that there has appeared the binary of animality and rationality in man since the Biblical time, this thesis believes that human beings have repeatedly prized rationality over animality, emphasized ethical order over native desire, thus adoring knowledge and power while despising emotion and love. It tries to explore into such questions as: Why does God forbid Adam and Eve from plucking from the Tree of the Knowledge of Good and Evil? Is Eve making a sort of ethical choice by eating the Forbidden Fruit? What is the ethical significance of Sphinx itself?