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Libros sobre el tema "Reception of greek drama"

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Publicado: 23 de noviembre de 2024

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1

van Zyl Smit, Betine, ed. A Handbook to the Reception of Greek Drama. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.

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2

Reig, Montserrat y Montserrat Reig. Drama, philosophy, politics in Ancient Greece: Contexts and receptions. Barcelona: Universitat de Barcelona, Publicacions i Edicions, 2013.

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3

Hadas, Moses. Greek Drama. New York: Random House Publishing Group, 2006.

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4

Hunter, Gwen. Greek drama. Auckland, N.Z: Longman, 1996.

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5

Harold, Bloom, ed. Greek drama. Philadephia: Chelsea House, 2004.

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6

E, Easterling P. y Knox Bernard MacGregor Walker, eds. Greek drama. Cambridge: Cambridge University Press, 1989.

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7

1947-, Nardo Don, ed. Greek drama. San Diego, CA: Greenhaven Press, 2000.

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8

Hanna, Scolnicov y Holland Peter 1951-, eds. Reading plays: Interpretation and reception. Cambridge [England]: Cambridge University Press, 1991.

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9

Aeschylus, Euripides y Sophocles, eds. Classic Greek drama. Avenel, NJ: Gramercy Books, 1996.

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10

Fantuzzi, Marco y Christos Tsagalis, eds. The Greek Epic Cycle and Its Ancient Reception. Cambridge: Cambridge University Press, 2015. http://dx.doi.org/10.1017/cbo9780511998409.

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11

Bernard, Gredley, ed. Essays on Greek drama. London: Institute of Classical Studies, University of London, 1987.

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12

Sommerstein, Alan H. Greek drama and dramatists. New York: Routledge, 2002.

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13

Smit, Betine van Zyl. Handbook to the Reception of Greek Drama. Wiley & Sons, Incorporated, John, 2016.

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14

Smit, Betine van Zyl. Handbook to the Reception of Greek Drama. Wiley & Sons, Incorporated, John, 2016.

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15

Smit, Betine Van Zyl. Handbook to the Reception of Greek Drama. Wiley & Sons, Limited, John, 2016.

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16

Charalabopoulos, Nikos G. Platonic Drama and Its Ancient Reception. Cambridge University Press, 2017.

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17

Smit, Betine van Zyl. A handbook to the reception of Greek drama. 2016.

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18

Charalabopoulos, Nikos G. Platonic Drama and Its Ancient Reception. Cambridge University Press, 2012.

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19

Charalabopoulos, Nikos G. Platonic Drama and Its Ancient Reception. Cambridge University Press, 2012.

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20

Charalabopoulos, Nikos G. Platonic Drama and Its Ancient Reception. Cambridge University Press, 2012.

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21

Charalabopoulos, Nikos G. Platonic Drama and Its Ancient Reception. Cambridge University Press, 2012.

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22

Stuttard, David, ed. Looking at Greek Drama. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350320888.

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This is a vital and accessible overview of Greek drama from its origins to its later reception, including chapters on authors and dramas in their social and religious context as well as key aspects such as structure, character, staging and music. With contributions by 13 international scholars, world experts in their field, it provides readers with clear, authoritative, up-to-date considerations of both the theory and practice of Greek drama. While each chapter can stand in isolation, the overall structure takes readers on a natural progression – beginning with sources of evidence and origins, considering the major genres and their authors, examining the traditional Aristotelean components of drama in the context of performance, and ending with later reception. In doing so, it explores Greek drama as at once a religious act, a stage for political propaganda, an opportunity for questioning social issues, and pure entertainment – a stunning melange of poetry, music, dance, and visual spectacle, specific to, yet transcending, its immediate context. Written for students, practitioners and a general readership, it forms part of Bloomsbury’sLooking at…series, appealing to the same readership and providing context to existing volumes which focus on individual plays.
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23

Olson, S. Douglas. Ancient Comedy and Reception: Essays in Honor of Jeffrey Henderson. de Gruyter GmbH, Walter, 2013.

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24

Olson, S. Douglas. Ancient Comedy and Reception: Essays in Honor of Jeffrey Henderson. De Gruyter, Inc., 2013.

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25

Olson, S. Douglas. Ancient Comedy and Reception: Essays in Honor of Jeffrey Henderson. de Gruyter GmbH, Walter, 2013.

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26

Olson, S. Douglas. Ancient Comedy and Reception: Essays in Honor of Jeffrey Henderson. De Gruyter, Inc., 2013.

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27

Homer's Divine Audience: The Iliad's Reception on Mount Olympus. Oxford University Press, 2019.

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28

Dialogues with the Past: Classical Reception Theory and Practice. University of London, School of Advanced Study, Institute of Classical Studies, 2013.

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29

Taplin, Oliver Taplin, Wilson Peter y Martin Revermann. Performance, Iconography, Reception: Studies in Honour of Oliver Taplin. Oxford University Press, 2008.

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30

Nervegna, Sebastiana. Menander in Antiquity: The Contexts of Reception. Cambridge University Press, 2013.

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31

Nervegna, Sebastiana. Menander in Antiquity: The Contexts of Reception. Cambridge University Press, 2013.

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32

Nervegna, Sebastiana. Menander in Antiquity: The Contexts of Reception. Cambridge University Press, 2013.

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33

On Coming After Studies In Postclassical Greek Literature And Its Reception. Walter de Gruyter, 2008.

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34

Hartigan, Karelisa. Greek Tragedy on the American Stage. Praeger, 1995. http://dx.doi.org/10.5040/9798400659317.

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During the past century, the interpretation given by the various directors staging Greek drama has varied, and the critical reception accorded the productions has also altered. While the texts of Aeschylus, Sophocles, and Euripides remain constant, the meanings drawn from their plays do not. The director who decides to offer a Greek tragedy in the modern American commercial theater believes in the ability of the text to reach the contemporary audience, and the reviewers assess the success of the venture: their words become a record of both a particular performance and the time in which it played. Hartigan explores how drama and society interact and witnesses the continued vitality of the Greek tragedy.
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35

McDonald, Marianne. Living Art of Greek Tragedy. Indiana University Press, 2003.

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36

Christenson, David y Cynthia White, eds. Sublime Cosmos in Graeco-Roman Literature and Its Reception. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350344709.

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The essays collected in this volume examine manifestations of our sublime cosmos in ancient literature and its reception. Individual themes include religious mystery; calendrical and cyclical thinking as ordering principles of human experience; divine birth and the manifold nature of divinity (both awesome and terrifying); contemplation of the sky and meteorological (ir)regularity; fears associated with overpowering natural and anthropogenic events; and the aspirations and limitations of human expression. In texts ranging from Homer to Keats, the volume’s chapters apply diverse critical methods and approaches that engage with sublimity in various aesthetic, agential and metaphysical aspects. The ancient texts – epic, dramatic, historiographic and lyric – treated here are rooted in a remote world where, within a framework of (perceived) celestial order, literature, myth and science still communicated profoundly, a tradition that continued in literary receptions of these ancient works. This volume honours the intellectual legacy of Thomas D. Worthen, a scholar whose expertise and insights cut across multiple disciplines, and who influenced and inspired students and colleagues at the University of Arizona, USA, for over three decades. Beyond clarifying temporally and culturally distant contemplations of the human universe, these essays aim to inform the continuing sense of wonder and horror at the sublime heights and depths of our ever-changing cosmos. This volume honours Thomas D. Worthen, late Professor of Classics at the University of Arizona and author of The Myth of Replacement: Stars, Gods, and Order in the Universe. The individual chapters, focused on Greek and Roman literary texts and their post-classical receptions, are united in their engagement with ‘the sublime’, an ancient concept embraced here in its full breadth of aesthetic, agential, and metaphysical meanings. Across literary texts ranging from Homer to Keats, the contributors examine the many relationships of the cosmic and the sublime manifested in such themes as time’s subjectivity; ontological insecurity; divine birth and the nature of divinity; (im)mortality and regenerative rites; the play of reflection and distortion in our perception of the world; metatheatricality and the notion that humans are actors in a cosmic drama; the metaphysics of erōs; our confrontations with astronomical (ir)regularity and (dis)order; human fears of awesome technology; and the disruptive effects of epidemics. The ancient texts discussed in this volume, rooted as they are in a world where literature, myth, science, and metaphysics communicated profoundly, can offer contemporary readers distanced, palliative perspectives on our own technologically and economically knotted, and culturally siloed, moment in history.
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37

Baumbach, Manuel. Poets and Poetry. Editado por Daniel S. Richter y William A. Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199837472.013.23.

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This chapter gives an overview of the production and reception of Greek poetry in the Second Sophistic. It addresses questions of its performance and “setting in life,” looks at the generic tradition and creative innovation of epic, drama, melic poetry, epigram, and fable, and takes into account different cultural backgrounds and literary functions. Poetry was at the core of Greek paideia, functioned as a code for the educated elite, was regarded as an essential element of rhetoric, helped to shape Greek identity, and could be used for propaganda by poets belonging to the imperial court. Educated Greeks from all parts of the Roman Empire shared more or less the same knowledge of the Greek literary tradition regardless of their different cultural backgrounds, a function of the uniform Greek educational system based upon literary canons of established genres.
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38

Revenge in Attic and later tragedy. Berkeley: University of California Press, 1998.

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39

Powers, Melinda. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198777359.003.0001.

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The Introduction begins by providing a brief overview of the reception of Greek drama by under-represented communities in nineteenth- and early-twentieth-century America. After situating the book’s topic within this historical timeline, it proceeds to explain the development of the project, the focus on live theatre, the choice of productions, and the reasons for them. It defines terms, provides disclaimers, explains the methodology used, clarifies the topic, situates it within its historical moment, summarizes each of the chapters, describes the development of the ‘democratic turn’ in Greek drama, and finally speculates on the reasons for the appeal of Greek drama to artists working with under-represented communities.
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40

Harrison, Stephen, Fiona Macintosh y Helen Eastman, eds. Seamus Heaney and the Classics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.001.0001.

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The death of Seamus Heaney in 2013 is an appropriate point to honour the Irish poet’s contribution to classical reception in modern poetry in English; this is the first volume dedicated to that subject, though occasional essays have appeared in the past. The volume comprises literary criticism by scholars of classical reception and literature in English, and has some input from critics who are also poets and from theatre practitioners on their interpretations and productions of Heaney’s versions of Greek drama; it combines well-known names with early-career contributors, and friends and collaborators of Heaney with those who admired him from afar. The papers focus on two main areas: Heaney’s fascination with Greek drama and myth, shown primarily in his two Sophoclean versions but also in his engagement with Hesiod, with Aeschylus’ Agamemnon, and with myths such as that of Antaeus, and his interest in Latin poetry, primarily in Virgil but also in Horace. A number of the papers cover the same material, but from different angles; for example, Heaney’s interest in Virgil is linked with the traditions of Irish poetry, his capacity as a translator, and his annotations in his own text of a standard translation, as well as being investigated in its long development over his poetic career, while his Greek dramas are considered as verbal poetry, as comments on Irish politics, and as stage-plays with concomitant issues of production and interpretation. Heaney’s posthumous translation of Aeneid VI comes in for considerable attention, and this will be the first volume to study this major work.
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41

Yaari, Nurit. Between Jerusalem and Athens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.001.0001.

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How does a theatrical tradition emerge in the fields of dramatic writing and artistic performance? Can a culture, in which theatre played no part in the past, create a theatrical tradition in real time—and how? What was the contribution of classical Greek drama to the evolution of Israeli theatre? How do political and social conditions affect the encounter between cultures—and what role do they play in creating a theatre with a distinctive identity? This book, the first of its kind, attempts to answer these and other questions, by examining the reception of classical Greek drama in the Israeli theatre over the last seventy years. It deals with dramatic and aesthetic issues while analysing translations, adaptations, new writing, mise-en-scène, and ‘post dramatic’ performances of classical Greek drama that were created and staged at key points of the development of Israeli culture amidst fateful political, social, and cultural events in the country’s history.
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42

Yaari, Nurit. Israeli Theatre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0012.

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This chapter reviews the state of Israeli theatre today, seventy-two years since the production of Racine’s Phaedra at Habima Theatre, and sums up its notable achievements, and the myriad forms, styles, artists, and institutions that together provide fertile ground for Israeli theatre’s encounters with classical drama. An overview of the seventy-two years of reception of Greek tragedy in Israeli theatre (1945–2017) demonstrates clearly that the most important development appears to be that local theatre makers have relinquished previous preconceived ideas about classical Greek drama and performance and of Aristotle’s theatrical doctrine, in favour of personal reading, study, research, and decoding of the classical works. It also presents the young and talented artists that are bringing the results of their studies and experimentations to the translation, writing, directing, and acting of classical drama to the Israeli stage, and using that drama to deliver innovative and challenging productions for today’s audiences.
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43

On Germans & other Greeks: Tragedy and ethical life. Bloomington: Indiana University Press, 2001.

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44

Mouzala, Melina G. Ancient Greek Dialectic and Its Reception. de Gruyter GmbH, Walter, 2023.

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45

Mouzala, Melina G. Ancient Greek Dialectic and Its Reception. de Gruyter GmbH, Walter, 2023.

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46

Fries, Almut y Dimitrios Kanellakis. Ancient Greek Comedy: Genre - Texts - Reception. de Gruyter GmbH, Walter, 2020.

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47

Fries, Almut y Dimitrios Kanellakis. Ancient Greek Comedy: Genre - Texts - Reception. de Gruyter GmbH, Walter, 2020.

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48

Mouzala, Melina G. Ancient Greek Dialectic and Its Reception. de Gruyter GmbH, Walter, 2023.

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49

Schmidt, Dennis J. On Germans and Other Greeks: Tragedy and Ethical Life. Indiana University Press, 2001.

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50

Nardo, Don. Greek Drama. Rebound by Sagebrush, 2003.

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