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1
Stefanidou, Agapi. "The Reception of epic Kleos in Greek Tragedy". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386695983.
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Waters, M. "The reception of Ancient Greek tragedy in England 1660-1760". Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1435225/.
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The dissertation enquires into some of the forms that the reception of ancient Greek tragedy took in England between 1660 and 1760. It looks at those critics and translators who engaged most with ancient Greek tragedy and whose engagement was accompanied by an interest in ancient theory and native English literature. Chapter 1, after examining works by George Gascoigne and Francis Kinwelmershe, Thomas Goffe, Thomas May and Christopher Wase, considers William Joyner’s original tragedy The Roman Empress (1670) in order to see what use Joyner made of Sophocles’ Oedipus and Euripides’ Hippolytus and Medea. Chapter 2 turns to the writings of, especially, John Dryden, Thomas Rymer, John Dennis and Charles Gildon, who were the most prolific and interesting commentators on dramatic theory in England at this time, and assesses their different perspectives on the questions of tragedy and the modern stage. Chapter 3 addresses separately comments on ancient Greek tragedy contained in Jeremy Collier’s attack on contemporary English theatre in A Short View of the Immorality, and Profaneness of the English Stage (1698) and in replies to him. Chapter 4 concentrates on Lewis Theobald’s translations of Sophocles’ Electra (1714) and Oedipus (1715) and how his views of ancient Greek tragedy influenced, and were influenced by, his interest in Shakespeare, an edition of whose plays he published in 1733. Chapter 5 examines Thomas Francklin’s The Tragedies of Sophocles and A Dissertation on Antient Tragedy (both 1759) and how they reflect his interest in the contemporary stage and contemporary ideas about the value of simplicity in literature and art. I argue that the writers I examine reflect through their engagement with Greek tragedy ideas about the relationships between ancient and early modern English tragedy, particularly that of Shakespeare, and between the present and the past.
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Vedelago, Angelica. "The Reception of Sophocles'"Antigone" in Early Modern English Drama". Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3425407.
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This thesis analyses the reception of Sophocles’ Antigone in early modern English drama in the form of translation and adaptation. It focusses on the only two extant texts that can be defined as a translation or an adaptation of Sophocles’ Antigone by English authors in the early modern period: "Sophoclis Antigone" (1581), a Latin translation by Thomas Watson, and "The Tragedy of Antigone, The Theban Princesse" (1631), an English adaptation by Thomas May. Opting for the historicist strand within reception studies, I argue that these two English Antigones intersect at a crossroads of contexts – theoretical, cultural, literary, and political. Only within these perspectives can these plays be fully understood and their value reassessed. Combining Sophocles’ tragedy both with other classical sources and contemporary models, the two texts challenge the traditional understanding of the early modern compositional approaches of "translation" and "adaptation". Moreover, by potentially alluding to contemporary events, Watson’s and May’s versions of Antigone partly align with, partly destabilize modern interpretations of the Sophoclean original. As direct and declared engagements with the Sophoclean play, Watson’s and May’s "Antigones" are ideal case studies for the flexible conception of the practices of translation and adaptation and for the close relationship between politics and drama in the early modern period.
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SIDOTI, NELLO. "La circolazione della tragedia in età pre-alessandrina: le testimonianze". Doctoral thesis, Urbino, 2018. http://hdl.handle.net/11576/2657901.
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Kampourelli, Vassiliki. "Space in Greek tragedy". Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/space-in-greek-tragedy(bd3d0365-0a17-47b5-a2b0-e7739f9c0255).html.
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Kornarou, Eleni. "Kommoi in Greek tragedy". Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/kommoi-in-greek-tragedy(92dc04a2-5c8a-4fad-85b0-52423cd328bc).html.
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Pickering, Peter Edward. "Verbal repetition in Greek tragedy". Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/1318016/.
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This thesis examines the ways in which critics, ancient and modem, have looked at verbal repetitions in the texts of Greek tragedy, in particular those repetitions of lexical words which may seem careless or unintentional. It compares surviving plays (taking a sample of those of Euripides). An index of repetitiveness for each play is calculated; it emerges that while Aeschylus' plays have a wide range, there is a statistically significant difference between those of Sophocles and those of Euripides, the latter being more repetitive. The Prometheus, whose authenticity has been doubted, has a much lower index than any other tragedy examined (though that of the Alexandra of Lycophron is much lower still). A comparison of repetitiveness within a small sample of plays has failed to find systematic differences between passages of dialogue and continuous speeches, or according to the category of word. Some verbal repetitions may not have been in the original texts of tragedies, but may appear in manuscripts because of errors made by copyists. A systematic examination has been made of the manuscript tradition of selected plays to identify the instances where some manuscripts have a reading with a repetition, while others do not. The circumstances in which erroneous repetitions are introduced are identified; one conclusion reached is that copyists sometimes remove genuine repetitions. Modem psychological research has thrown light on the processes of language comprehension and production, in particular a process known as 'priming' whereby an earlier stimulus facilitates the naming of an object. The thesis discusses the relevance of this research to the observed phenomena of verbal repetitions by authors and copyists. The thesis concludes with a detailed examination of passages in three plays, and the remarks of commentators on them. Aesthetic and textual matters are discussed.
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Papadopoulos, Leonidas. "Sea journeys in ancient Greek tragedy". Thesis, King's College London (University of London), 2016. https://kclpure.kcl.ac.uk/portal/en/theses/sea-journeys-in-ancient-greek-tragedy(5b8915f7-8ae6-4531-b490-884dff6fa428).html.
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My field of interest concerns the representation of the sea and its prominent presence as a space with multiple dynamics, symbolism and interpretations in ancient Greek tragedy. Using the wanderings of mortals as a main axis, I will attempt to explore how the sea, as an open dramatic milieu, acquires a significant function, which is directly connected with mortals’ destiny. The sea’s unpredictable nature is projected as a metaphysical environment, which could be identified as a boundary between the Greeks and the barbarians, life and death, nostos and nostalgia. Increasingly, recent scholarship has produced a variety of detailed analyses and considerations concerning the spatial dynamics of tragedy. Although the seascape is recognized as an influential landscape at the centre of the Greek world, only a limited amount of scholarly attention has been devoted to this nautical realm as illustrated in ancient Greek tragedy. The aim of this thesis is to discuss the use and the perception of this powerful and effective space in a selection of tragedies, and to focus on the treatments of the sea as an intersection of multiple connotations and references. The thesis concludes that within the context of a world in constant turmoil, journeys at sea can be interpreted as illustrating and revealing, through the adventures and aspirations of mortals, the socio-political and historical framework of the Greek society contemporary with the tragedies. The poetic image of the sea, as expressed in the tragic texts and connected with the capability of the human imagination to re-create a personal vision of history and myth, forms a remarkable topographic environment full of instability which, in many cases, depicts humanity’s ambivalent emotions and uncertain future.
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Hamstead, Susan Dorothy. "Off-stage characters in Greek tragedy". Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421357.
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Alexopoulou, Marigo. "The homecoming (νóoτoσ) pattern in Greek tragedy". Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/7013/.
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This thesis is an analysis of the use of the homecoming ('nostos' in Greek) in Greek tragedy. I concentrate not just on the treatment of the nostos-theme within the plot and the imagery of the plays in question but also on nostos as part of Greek cultural experience. In order to illuminate the nature of nostos both as a life-event and as a story-pattern in the early literary tradition I begin with an overview of nostos in life and literature, and then give a detailed account of nostos in the Odyssey, since it is a major example of the nostos-pattern for Greek culture. By considering the literary treatment of nostos in the Odyssey one may understand the nature of nostos as a story-pattern and how that influences audience expectations. This is particularly important since the analysis of nostos in Greek tragedy will be especially related to the Odyssey. Specifically the thesis aims to describe and analyse common elements within the plot and the imagery of the plays that might be called nostos-plays. Primary nostos-plays are those where nostos serves as the fulcrum of the action, such as Aeschylus' 'Persians' and Agamemnon and Sophocles' 'Trachiniae'. The bulk of this study is devoted to the structural use of nostos in these plays. I stress at the outset, however, that the nostos-pattern in Greek tragedy is exploited more widely, and there are many occasions in Greek drama where nostos is an element of the plot. Among these, those with closest association to the treatment of nostos in the second half of the Odyssey are the Orestes-plots (notably Aeschylus' 'Choephori', Sophocles' 'Electra' and Euripides' 'Electra'). I also consider the use of nostos in Euripides' 'Andromache' and 'Heracles' since both plays illustrate that nostos is a means of creative variation on the part of the poet. Interpretation of the specific plays shows that the nostos-pattern common to these plays is a flexible set of conventions with significant variation in each case. Common themes and roles are developed in divergent ways, expectations raised are not necessarily met. Thus the thesis will recognise the variety of specific uses of the nostos-pattern on tragic stage. Finally, I suggest in the Appendix a new reading of Seferis' poem. In particular I relate the return of the exile in Seferis' poem to the return of Orestes, which underlines the idealistic nature of the notion of a return to the same. This notion is embodied in both the nostos-plays and Seferis' poem.
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Rochelle, Pauline. "Using and abusing children in Greek tragedy". Thesis, Open University, 2012. http://oro.open.ac.uk/54661/.
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Vulnerable children are crucial in Greek tragedy and to the philosophy of suffering that it explores. They attract high levels of emotional concern that spill over from the human arena into the divine. As a means of exposing the presence or absence of the power and influence of the gods, children in tragedy are pivotal voices in the integrity and survival of the tragic family. The literary, social and historical contexts within which this importance falls are set out in Chapter 1. Chapter 2 investigates how tragedy features important roles for vulnerable children and how ritual human sacrifice and murder highlight the importance of divine intervention in family life. Chapter 3 looks at the underlying reasons for parents killing their children and examines how this can destroy the family unit by eradicating the family line and preventing the continuance of name and inheritance. The chapter also analyses how divine interference can override a parent's will and sense of right. Chapter 4 considers how the killing of parents by children destroys the vertical family structure and so threatens a crucial aspect of social order. It analyses how the plays test allegiances, power relations and filial obligations to the limit and, within this context, the involvement of the gods creates different levels of liability and degrees of authority. Chapter 5 shows how when planning to murder the most vulnerable children, or in circumstances of abandonment or illegitimacy, the relative power and influence of the divine and human is brought under conclusive and central scrutiny. From this the Conclusion pinpoints the importance of children in Greek tragedy in (i) showing the family capable of repairing itself and establishing values sufficient for it to recover from the worst events, and (ii) suggesting that this can be done without the involvement, interference, or influence of the gods. This realisation offers a fresh aspect to further analyses of Greek tragedy, its form and implications.
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Ioannidou, Eleftheria. "Rewriting Greek Tragedy from 1970 to 2005". Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495699.
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Des, Bouvrie Synnøve. "Women in Greek tragedy : an anthropological approach /". Oslo : Norwegian university press, 1990. http://catalogue.bnf.fr/ark:/12148/cb35538271j.
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Katsouri, Antigoni. "Performing rituals in Ancient Greek tragedy today". Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17983.
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This thesis sets out to display the dynamic role fragmented rituals have in the plot of tragedy. It contends that the tragedians deployed fifth-century ancient Greek religious practices from their cultural milieu as independent objects in their plots. Whether concise or fragmented, enacted or reported, they are modified into dramaturgical tools that move the story forward by effecting chains of reactions and link the past and the present with the aim of enhancing the critical ability of the audiences. These ritual representations in performance are most often either perverted or fail for various reasons. This thesis contends that this fragmentary re-imagining of cultural practices are an essential part of the tragic texts. However, rituals by nature are complex modes of actions and it seems that they retain much of their purposes, intentions and performativity within the texts. This complexity draws the attention to their individual treatment when they go through the process of translation, the expected reconstruction of the text to fit in the time limit of a performance, the editing and the directorial decisions for their staging. This research does not call for a 'historically authentic' performance of the rituals within the plays. Indeed, the lack of evidence makes it impossible to articulate with accuracy any elements of those early performances, and it is not the purpose of this thesis. This study strives to establish an analytical basis for understanding the balance between the demands of the play-text of the tragedians and the productions of a director from the perspective of the ritual content. This analysis is a response to a gap in scholarship concerning this aspect of the performative turn in the studies of ancient Greek texts. This thesis analyses, as far as we can determine, the classical Athenian rituals that were deployed in tragedy and fills in the scholarly gap created by the performative turn with regard to the historical awareness one needs as a tool to perceive the embedded functional role of rituals in tragedy. Their defining role in the story-line is then demonstrated with the textual analysis of rituals in five tragic plays. These plays are then studied in performance terms through analysis of three productions by the Theatrical Organisation of Cyprus. The discussion analyses the extent to which the ritual fragments dramaturgical functions were preserved in the productions, and the effects of their treatment in the experience of the spectator. The textual analysis and the performance analyses both concentrating on the ritual content, reveal the way in which rituals constitute the substrata in tragedy, and as such they require special attention in both a textual analysis and for a text-based production. The concluding discussion analyses the implications of the relationship between rituals and tragedy for contemporary performances, and suggests ways in which one might stage these ritual fragments today for contemporary audiences.
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Cosme, Maria do Perpetuo Socorro Rego Reis. "Greek versus modern tragedy en Eugene O'Neill". reponame:Repositório Institucional da UFSC, 1998. http://repositorio.ufsc.br/xmlui/handle/123456789/77814.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoMade available in DSpace on 2012-10-17T07:44:55Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-09T00:17:52Z : No. of bitstreams: 1 149143.pdf: 5146304 bytes, checksum: 031af9816260d896508ff06753ddc62e (MD5)
Este presente trabalho concentra-se na questão se O'Neill, um teatrólogo moderno por definição e tempo, pode ser considerado um escritor trágico em tempos modernos. A dissertação investiga a presença de características da tragédia Grega em O'Neill, mostrando que ele segue o conceito clássico de tragédia encontrado na Poética de Aristóteles. Este trabalho também demonstra que O'Neill adota mitos, temas e estruturas do teatro Grego em suas tragédias modernas, especialmente na trilogia: Mourning Becomes Electra. Esta investigação é feita através do estudo comparativo entre a tragédia Grega, representada por três dramaturgos Gregos: Ésquilo com sua tragédia, a trilogia Oresteia, Sófocles com Electra e Eurípides com Electra, e a tragédia moderna representada pela trilogia de O'Neill Mourning Becomes Electra. No desenvolvimento da tese nós tentamos mostrar as semelhanças e diferenças entre O'Neill e os Gregos. Este trabalho também pretende iluminar a obra de O'Neill através do uso do método comparativo, desde que esta é basicamente uma dissertação em O'Neill como exemplo de teatrólogo moderno com características e temas clássicos.
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Bardel, Ruth. "Casting shadows on the Greek stage : the stage ghost in Greek tragedy". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323009.
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Cook, Kate. "Praise, blame and identity construction in Greek Tragedy". Thesis, University of Reading, 2016. http://centaur.reading.ac.uk/67678/.
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This thesis examines the use of praise and blame in Greek tragedy as a method of identity construction. It takes sociolinguistic theory as its starting point to show that the distribution of praise and blame, an important social function of archaic poetry, can be seen as contributing to the process of linguistic identity construction discussed by sociolinguists. However, in tragedy, the destructive or dangerous aspects of this process are explored, and the distribution of praise and blame becomes a way of destabilising or destroying identity rather than constructing positive identities for individuals. The thesis begins with a section exploring the importance of praise and blame as a vehicle for identity construction in the case of some of the mythical/heroic warriors who populate the tragic stage: Ajax, Heracles, and Theseus. I discuss the ways in which their own seeking after inappropriate praise leads to the destruction of Ajax and Heracles, and the lack of clear praise for Theseus in extant tragedy. The second half of the thesis examines the devastation caused by women's involvement in the process of identity construction, focusing on Deianira, Clytemnestra, and Medea. All of these women are involved in rejecting the praise discourses which construct the identities for their husbands. Clytemnestra and Medea further replace such praise with new discourses of blame. This process contributes to the destruction of all three women's husbands. Prioritising this important element in interpretations of tragedy, influenced by a greater recognition of the ways in which tragedy draws on older genres of poetry, leads to new readings of apparently well-known plays, and new conclusions on such iconic figures as Theseus. Furthermore, within the context of the extended scholarly discussion on women's speech in tragedy, this approach demonstrates an effective and destructive result of that speech from a new perspective.
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Hall, Edith. "Inventing the barbarian : Greek self definition through tragedy /". Oxford : Clarendon Pr, 1989. http://www.loc.gov/catdir/enhancements/fy0637/89003369-d.html.
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Yoon, Florence. "The use of anonymous characters in Greek tragedy". Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487164.
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This thesis is a study of the use of anonymous characters in tragedy, those figures in almost every extant play who can only be identified by role, not by name. The use of such characters is shaped by two important characteristics: they are flexible, unbound by the traditions that restrict the heroes drawn from mythology and history, and they are inherently self-effacing, due to their social and dramatic subordination to a particular hero. The anonymous characters therefore provide the tragedian with a very effective and subtle tool in realizing his particular interpretation of the common story. In particular, I consider the role of the nameless figure in the transformation of inherited mythological heroes into unique dramatic ·characters. Scenes with anonymous characters are never the only evidence of a playwright's interpretation of a hero, but serve subtly to confirm or, often, to introduce a trait that is further developed elsewhere in the play, influencing to a greater or lesser degree the audience's perception of that hero and his circumstances. The body of the thesis falls into three parts. The first is a brief description of those traits shared by anonymous characters belonging to comparable social classes, with a view to evaluating the influence of these roles on their function. The second and most substantial section consists of detailed analyses of individual passages in which a nameless figure contributes by his speech, actions, and/or identity to the characterization of a particular hero. I conclude with an examination of three exceptions that prove the rule and explore the boundaries between anonymity and naming.
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Laera, Margherita. "Appropriating Greek tragedy : community, democracy and other mythologies". Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/18237.
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Taking as its starting point Nancy's and Barthes' concepts of myth, this thesis investigates discourses around community, democracy, 'origin' and 'Western identity' in stage adaptations of 'classical' Greek tragedy on contemporary European stages. It addresses the ways in which the theatre produces and perpetuates the myth of 'classical' Greece as the 'origin' of Europe and how this narrative raises issues around the possibility of a transnational European community. Each chapter explores a pivotal problem around community in modern appropriations of Greek tragedy: Chapter 1 analyses the notion of collectivity as produced by approaches to the Greek chorus. It investigates shifting paradigms from Schiller to twentieth-century avant-garde experiments and focuses on case studies by Müller, Vinaver, Ravenhill and others. Chapter 2 explores the representation of violence and sex, assessing the 'obscene' as a historically-constructed notion, comprising those segments of reality that are deemed unsuitable for public consumption in a given cultural context. Through a comparative analysis of five adaptations of the myth of Phaedra - from Euripides to Sarah Kane - it assesses changing attitudes towards 'obscenity', touching upon legal, aesthetic and moral issues. The chapter concludes with a discussion of the limits of representation in relation to censorship through Castellucci's Purgatorio and Warlikowski's (A)pollonia. Chapter 3 explores the myth of the simultaneous birth of theatre and democracy in 'classical' Athens and investigates the ideological assumptions implied by imagining the audience as the demos of democracy. It argues that adaptations of Greek tragedy have been used in the 'democratic' West to achieve self-definition in the context of globalization and European 'transnationalisation'. This idea is explored through adaptations of Aeschylus's The Persians, which defined 'democratic' Athens in opposition to the 'barbarians'. Works by Sellars, Bieito, Gotscheff and Rimini Protokoll are discussed in this context. The thesis concludes with an analysis of Rimini Protokoll's Prometheus in Athens.
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Taietti, G. D. "The Greek reception of Alexander the Great". Thesis, University of Liverpool, 2017. http://livrepository.liverpool.ac.uk/3007776/.
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The present thesis explores how the personality, image, and deeds of Alexander the Great have been interpreted, reshaped, and exploited by the Greeks from Antiquity to the Modern era. The main focus is the understanding of the metamorphosis of the historical persona of Alexander into a god-like mythological figure and a Hellenic national hero, researching the origins of the Alexander-myth and how it operates in response to different historico-political, social and cultural stimuli for the Greeks. The thesis is structured in two sections: first, the modern, and secondly, the ancient, which, while displaying its variety, also highlight the overall organic nature of the ongoing Greek Alexander-Reception. The first section offers an introduction to the peculiarities of the Modern myth-making of Alexander (chapter one); it explores the reshaping of the Macedonian hero in Hellenic folk production, such as tales, myths, traditions, spells and songs (chapter two), and in Theodore Angelopoulos’ debated film Megalexandros (chapter three). The second section discusses the Ancient myth-making of Alexander and its relevance in the twenty-century Greek cultural and political milieu (chapter four); specifically, it focuses on the reshaping and interpretation of the king of Macedon by Ptolemy I (chapter five) and by Julian the Apostate and his entourage (chapter six). This section concludes with a study on the early representations of Alexander, which shows how his contemporary historians borrowed from Herodotus narrative tropes and descriptions of the Achaemenids to explain the Macedonian campaign against Persia, making him a Herototean-like Persian king and creating a fictional character that, to a certain extent, dates back before the historical persona. The case-studies jointly argue that Alexander is a historiographical mirage constantly reinvented by the Greeks, who ascribe to him new deeds, legends, and characteristics according to their historical and cultural needs. The Macedonian hero moves forward into the next period charged with all the previous meanings, which he will deliver to his new audience. In this way, Alexander is both the recipient and the bearer of the Greeks’ cultural identity.
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Geller, Grace. "Translations and adaptations of Euripides' Trojan Women /". Norton, Mass. : Wheaton College, 2010. http://hdl.handle.net/10090/15122.
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Theodorou, Zena. "The presentation of emotions in Euripidean tragedy". Thesis, King's College London (University of London), 1991. https://kclpure.kcl.ac.uk/portal/en/theses/the-presentation-of-emotions-in-euripidean-tragedy(881554d8-10f4-472c-b3b1-816cc3a3e6e1).html.
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Kavoulaki, Athena. "Pompai : processions in Athenian tragedy". Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:94049c7e-b93b-4d8a-a7e4-5e7d82adc7d1.
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This thesis investigates the significance of ritual movements in theatre and society of fifth-century Athens. The focus falls on processional movement, the definitive characteristics of which are drawn from the ancient Greek concept of pompe, i.e. a movement towards a defined destination, involving the conveyance of a ritual symbol (or an object or a person) between specific points of departure and arrival. The social contexts of divine and heroic cult, funerals and weddings prove to be the main occasions for the performance of such processional movements. In the world outside the theatre, processions are shown to be crucial in defining transitions, shaping social relations, and manifesting the action and inviting the attention of the divine. The socio-religious significance of processions is fully appropriated and explored by tragedy. Processional action, recurrently evoked in the tragic plays, proves to be crucial for the articulation of the tragic δρώμενα. This is argued in the collection and analysis of a number of scenes from extant fifth-century tragedy in which processional resonances permeate the action. The interpretation of the scenes in the light of the ritual background which shapes them considerably enhances the understanding and appreciation of the plays as theatrical experience - experience which explores the potential of spatial configurations and visual symbolism, in a context of symbolic communication which is largely defined by participation in the rituals of the community. The thesis argues that the importance of processions in the theatre is inextricably connected with their power - as manifested in the ritual life of the polis - to gather the community and to initiate the process of θεάσασθαι, implicating both active participants and θεαταί in the performed action. Greek tragic theatre builds upon this basic function of processions and activates their power. Thus it also combines their potential to define transitions with the significance of tragic μετάβασις; and with the importance of demarcation of space and transformation of time in the theatre. Ritual experience is activated, reshaped and enlarged, enabling the re-creation and transformation of the experience of the audience. Processions can illuminate the nature of tragedy itself.
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Abbott, P. J. "The power of place : spatial practice in Greek tragedy". Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595320.
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This study explores the dramatic and poetic evocation of place in Greek tragedy through close readings of eight days and the application of modern theories of place and space. Social space, rather than being an inert and homogeneous container of objects, is continually being produced and reproduced by human activity. Within that space, bodily orientation and the identification of spatial dimension occurs as a function of anatomical configuration. Social space is profoundly entangled with the fleshly facticity of the human body, and the founding of place—a more-or-less bounded region of space marked by affect, value and a capacity for gathering—is realised by that selfsame body, a realisation defined by its continually metamorphic nature. Places evolve (and devolve) over time as they are practiced and articulated by the bodies that inhabit them. Over the course of this articulation places, particularly the cherished place of the home, accrue histories and narratives, becoming coloured by human encounter and involvement. The human connection to places such as the dwelling is defined, moreover, by reciprocity. As the human body produces its cherished places and invests them with lived history, so those places influence and affect the bodies that dwell within. The result of this interchange is to bind tightly man and place in an enmeshing that renders human shelter immensely vulnerable to violent, ruinous incursion. Social space, and places of human care in particular, far from being impartially uniform, are powerfully and infinitely affective-for good and for bad. Such an analysis offers a way to illuminate the places and spaces of Greek tragedy and to show how tightly bound tragic men and women are to the places in which they dwell.
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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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Blaine, Wolfgang Joseph. "A philosophico-literary analysis of deliberation in Greek tragedy". Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394205.
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Shannon, Peggy. "Catharsis, trauma and war in Greek tragedy : an inquiry into the therapeutic potential of Greek tragedy with special reference to the female experience". Thesis, Royal Holloway, University of London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.643565.
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Moodie, Glenn A. "Tragic beginnings and beginning tragedy in Sophocles and Euripides". Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269366.
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Johnston, Alexandre Charles. "Time, alternation, and the failure of reason : Sophoclean tragedy and Archaic Greek thought". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/29592.
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This thesis examines the place, influence, and deployment of archaic Greek thought in Sophocles’ extant tragedies, paying close attention to the ethical and theological content of the plays as well as to their dramatic and literary fabric. I use archaic thought as an umbrella term for a constellation of ideas on the human condition and the gods which is first attested, in Greece, in Homeric epic, but has a long and variegated existence in other contexts and after the archaic period. The thesis consists of six chapters, divided in two parts. The first part provides a general conceptual framework, which is then applied in the detailed readings of Sophocles constituting the second part. The first chapter examines some of the main texts of archaic Greek thought, and offers an interpretation of it as a coherent nexus of ideas gravitating around the core notions of human vulnerability, short-sightedness, and the principle of alternation. Using the examples of Homer’s Iliad and Solon’s Elegy to the Muses, I argue that the narrative structure of archaic poetry can be used to formulate and “perform” archaic ideas. The second chapter formulates the principal argument of the thesis: that archaic thought is central to the ethical and religious content of tragedy as well as to its dramatic and literary fabric, that is, to the form of tragedy as a complex artefact designed to be performed on stage. I explore possible models for the interaction between archaic thought and literature and tragedy, from Aristotle’s Poetics to recent interpretations of tragedy as a hybrid of other literary and intellectual forms. I then examine the ways in which archaic ideas are deployed and performed in tragedy, both in passages that are explicitly archaic in content and diction, and in the complex interactions of dramatic form and intellectual content. This general discussion is illustrated with preliminary readings of four Sophoclean plays: Ajax, Oedipus Tyrannus, Philoctetes, and Oedipus at Colonus. The third chapter contextualises the approach adopted in the thesis as a whole by exploring two interpretations of Sophocles in German Idealist thought: Solger’s reading of Ajax and Hölderlin’s reading of Oedipus Tyrannus. It argues that these analyses, albeit under anachronistic conceptual categories such as “the tragic”, seize on some of the fundamental questions of archaic and tragic ethics and theology: the relationship between the human and divine spheres, and the limits of language and human understanding. In Chapters 4, 5, and 6, I offer detailed readings of Trachiniae, Antigone, and Electra, three plays chosen to reflect the diversity of contexts in which archaic ideas exist in Sophocles. I argue that archaic thought is central to the intellectual and dramatic fabric of all three plays, even though the deployment and emphasis of archaic patterns and ideas differs from one tragedy to the next.
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Slaney, Helen. "Language and the body in the performance reception of Senecan tragedy". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:72f9cf38-6e9c-40a1-b387-12a754e4d0ea.
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Seneca’s contribution to the development of Western European theatre and conceptions of theatricality has been underestimated in comparison to that of Greek tragedy. This thesis argues for the continuous importance of Senecan drama in theatrical theory and practice from the sixteenth century until the present day. It examines significant instances of Seneca in performance, and shows how these draw on particular aspects of Seneca’s style and dramaturgical technique to coalesce into a sub-genre of tragedy termed here ‘hypertragedy’ or the ‘senecan aesthetic’. The underlying premise of this representational mode is that verbal (vocal) performance is a physical act and induces physical responses. This entails the consequential inference that Senecan theatre is not mimetic – that is, based on an isomorphic identification of character with performer – but rather affective; like oratory, it functions through direct, quasi-musical manipulation of the auditor’s senses. The goal of this theatrical form is to articulate extreme states of mind or experiences which cannot be conveyed via conventional mimetic means: pain, frenzy, dissolution of the self. In tracing the theories of tragedy which comprise a narrative contrapuntal to the reception of Seneca onstage, it is possible to identify the factors which have successively constructed, promoted, suppressed, reviled and finally reinstated the senecan aesthetic as philhellenism’s other.
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Yazgan, Uzunefe Yasemin. "Vestiges Of Greek Tragedy In Three Modern Plays &". Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/1252238/index.pdf.
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This thesis analyses three modern plays that are identified as modern tragedies,
Equus, A View From the Bridge and Long Day’
s Journey Into the Night, to find out whether they share certain themes with classical Greek tragedies. These themes are namely values and conflict, hamartia and learning through suffering. Three Greek plays, Agamemnon, Oedipus Rex and Medea will be used as foils to conduct this comparative study. The study will aim to support the view that these major themes appear both in ancient Greek and modern tragedies.
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Thumiger, Chiara. "Hidden paths : self and characterization in Greek tragedy: Euripides' Bacchae /". London : Institute of Classical studies, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016267112&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Hall, E. "Inventing the barbarian : Ethnocentric interpretation of myth in Greek tragedy". Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384739.
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Salis, Loredana. "'So Greek with consequence' : classical tragedy in contemporary Irish Drama". Thesis, Ulster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421897.
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Dasteridou, Magdalini. "Fear and Healing Through the Serpent Imagery in Greek Tragedy". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078361.
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This work explores how the tragic poets, by means of snake imagery, convey the notion of disease. Moreover, it examines how snake imagery contributes to the process of healing through the emotion of fear that it triggers. My analysis of the tragedies in which the three main tragedians employ snake imagery builds upon findings from ancient authors that refer to snakes and their characteristics, and upon the findings of contemporary scholars. My overall method relies on tools from structuralism and psycholinguistics. Through snake imagery the tragic poets portray disease as it manifests itself through arrogance, deception, physical pain, and madness. For this purpose the poets employ images inspired by the particular anatomy and behavior of the snake.
Within the context of tragedy, and through the fear that it triggers, the snake imagery encourages self-knowledge and healing through self-correction.
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Latham, Caroline Susan. "Reanimating Greek tragedy : how contemporary poets translate for the stage". Thesis, King's College London (University of London), 2016. https://kclpure.kcl.ac.uk/portal/en/theses/reanimating-greek-tragedy(3afe603a-523b-419e-bbfa-784725b4e121).html.
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This thesis starts from the premise that modern poets have proved effective translators of Greek tragedy for the stage and is a hermeneutic consideration of why and how they succeeded. The spread of the close analysis is a period from 1981 to the present day. Four poets, Tony Harrison, Seamus Heaney, Ted Hughes and Tom Paulin, are considered in detail, while other translators, such as Liz Lochhead and Timberlake Wertenbaker, are used as comparators. The four poets’ translations are considered within the context of their whole poetic output, to enhance an understanding of each poet’s intentions. The major influences on these four poets are also scrutinized. The introduction provides the methodology, including the choice of modern scholarship to be cited in support or to be challenged. It provides a brief historical survey of translating the classics and describes the tools provided by modern academic disciplines which help to analyse the poets’ achievements. The bulk of the thesis consists of three chapters, each focusing on one aspect of poetic choice which contributes to the appeal of a work. In each chapter, a close comparison is made between the same source text but different translators. Thus, Harrison and Hughes both provide a version of the Oresteia, considered in terms of metre, rhyme and general structure, Heaney and Paulin both produced a version of Antigone, examined for the use of Ulster and Irish vernacular and Harrison and Paulin created very free adaptations of Prometheus, which are considered as part of a broad review of cultural overlay, modernising and democratising in producing Greek tragedy on the contemporary stage. The conclusion synthesises the strands, signposting possible further research. It celebrates the poets’ achievement - and contemporary British theatre for embracing Greek tragedy, as it currently does. It ends with a brief manifesto for the future.
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Hoyt, Maggie Sharon. "Giving Birth to Empowerment: Motherhood and Autonomy in Greek Tragedy". BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3613.
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The Greek tragedies of Classical Athens frequently portray mothers in central roles, but despite this significance, the relationship between mother and child has long been overshadowed in secondary scholarship by the relationship between husband and wife. This study demonstrates the direct relationship between a female character's active possession of her children and her autonomy, or her ability to act in her own interests, in three plays of Euripides: Electra, Medea, and Ion. In general, women who internalize their ownership of their children, expressed on stage both in word and action, have greater influence over the men around them and the power to enact the revenge they desire. Once their ends have been achieved, however, these tragic mothers often devalue their relationship with their children, leading to a decrease in power that restores the supremacy of the patriarchal order. Within this broad framework, Euripides achieves different results by adjusting aspects of this cycle of maternal empowerment. The Electra follows this outline just as its predecessor the Oresteia does; however, Euripides invents a fictional child for Electra, extending the concept of maternal empowerment to Electra and defining Clytemnestra as both mother and grandmother. In Medea, Euripides demonstrates the significance of Medea's children to her power, and Medea does devalue her children enough to destroy them, the source of her influence, but she is not punished and cannot be reabsorbed into the patriarchal structure, which leaves an audience with a heightened sense of anxiety at the threat of maternal empowerment. Finally, the Ion initially demonstrates a cycle similar to Medea: empowered by her ownership of the child she believes she has lost, Creusa attempts revenge against the young man who threatens her but is in fact her lost son. In the end, however, Creusa uses her empowerment to achieve recognition between mother and son and voluntarily relinquishes her ownership, resulting in a peaceful reabsorption into patriarchal society and a happy ending. Despite the variations on this cycle presented by Euripides, one theme persists: motherhood was both empowering and threatening, and it required strict male control to avoid tragic results. Thus as scholars of tragedy, we cannot ignore the mother-child relationship, not only for its power to illuminate the feminine, but also for its capacity to reveal the vulnerabilities of the masculine.
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Jones, Jonathan Hew Cabread. "A literary commentary on Euripides' Medea". Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307358.
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Beverley, Elizabeth Jane. "The dramatic function of actors' monody in later Euripedes". Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390263.
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Gutbrod, Hans Friedrich. "Irony, conflict and the dilemma : three tragic situations in international relations". Thesis, London School of Economics and Political Science (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272119.
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Silverblank, Hannah. "Monstrous soundscapes : listening to the voice of the monster in Greek epic, lyric, and tragedy". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:f66a7bb1-de17-46f2-b79f-c671c149c366.
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Although mythological monsters have rarely been examined in any collective and comprehensive manner, they constitute an important cosmic presence in archaic and classical Greek poetry. This thesis brings together insights from the scholarly areas of 'monster studies' and the 'sensory turn' in order to offer readings of the sounds made by monsters. I argue that the figure of the monster in Greek poetry, although it has positive attributes, does not have a fixed definition or position within the cosmos. Instead of using definitions of monstrosity to think about the role and status of Greek monsters, this thesis demonstrates that by listening to the sounds of the monster's voice, it is possible to chart its position in the cosmos. Monsters with incomprehensible, cacophonous, or dangerous voices pose greater threats to cosmic order; those whose voices are semiotic and anthropomorphic typically pose less serious threats. The thesis explores the shifting depictions of monsters according to genre and author. In Chapter 1, 'Hesiod's Theogony: The Role of Monstrosity in the Cosmos', I consider Hesiod's genealogies of monsters that circulate and threaten in the nonhuman realm, while the universe is still undergoing processes of organisation. Chapter 2, 'Homer's Odyssey: Mingling with Monsters', discusses the monster whom Odysseus encounters and even imitates in order to survive his exchanges with them. In Chapter 3, 'Monsters in Greek Lyric Poetry: Voices of Defeat', I examine Stesichorus' Geryoneis and the presence of Centaurs, Typhon, and Gorgons in Pindar's Pythian 1, 2, 3, and 12. In lyric, we find that these monsters are typically presented in terms of the monster's experience of defeat at the hands of a hero or a god. This discussion is followed by two chapters that explore the presence of the monster in Greek tragedy, entitled 'Centripetal Monsters in Aeschylus' Prometheus Bound and Oresteia' and 'Centrifugal Monsters in Greek Tragedy: Euripides and Sophocles.' Here, I argue that in tragedy the monster, or the abstractly 'monstrous', is located within the figure of the human being and within the polis. The coda, 'Monstrous Mimesis and the Power of Sound', considers not only monstrous voices, but monstrous music, examining the mythology surrounding the aulos and looking at the sonic developments generated by the New Musicians.
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Thumiger, Chiara. "Character in Greek tragedy and the Greek view of man : with special reference to Euripides' Bacchae". Thesis, King's College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419932.
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Yoneta, Lawrence Masakazu. "Shelley's reception of Greek antiquity : rationalism, idealism and historicism". Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.682720.
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The central argument of this thesis is that Percy Bysshe Shelley perceived modern relevance in the experience of the ancient Greeks. While their art, architecture, literature, philosophy and mythology were a constant inspiration for his thought and writing, a knowledge of their moral values, religious beliefs, social customs, political institutions and historical events provided him with clues to ideal society. Three chief factors are identified that determined the ways in which Shelley formed an idea of Greek antiquity: rationalism, idealism and historicism. Rationalism was an intellectual legacy from the Enlightenment of the late-seventeenth and eighteenth centuries. It played a principal role in his evaluation of the Greek achievement. Its central criteria were reason, wisdom and benevolence. These qualities were polemically opposed to tyranny and superstition. Greek philosophy, literature and morality were celebrated for their power of reason, as a source of wisdom, and as exemplifying the spirit of benevolence. While rationalism concerned value judgment, idealism was a form of poetic representation. It found expression in Shelley's tendency to present Greece as perfection, often as more perfect than his actual historical perception would have allowed it to be. In his poetic imagination Greece figured either as a metaphor for ideal qualities or as a land where great bards and sages had once lived and bequeathed examples of excellence. Historicism was a habit of mind that became prominent in Shelley's commentary on the Greeks later than the other two elements, namely in the Italian period between 1818 and 1822. The historicist approach -- an approach in which cultural particularities are examined in the light of contextual factors -- led him to conceive the character of the ancients in contradistinction to that of modern Europeans. His exploration of the Greek character was based on the principles of Enlightenment historiography including the spirit of systematisation and the consideration of causality and environmental influence; among notable historians of the eighteenth century were Montesquieu, Voltaire, Hume and Gibbon. The cultural dualism between ancient Greece and modern Europe had its immediate sources and specific intellectual context in the historicist discourse of German Hellenists in the latter half of the century, especially Winckelmann and August Schlegel.
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MUNTEANU, DANA LACOURSE. "ANCIENT SPECTATOR OF TRAGEDY FACETS OF EMOTION, PLEASURE, AND LEARNING". University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1100892095.
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Wang, Zhi-Zhong. "UNDER ATHENIAN EYES: A FOUCAULDIAN ANALYSIS OF ATHENIAN IDENTITY IN GREEK TRAGEDY". Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1050628367.
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Harrison, Rowena Jane. "Recapturing Greek tragedy : Aristotelian principles in eighteenth-century opera and oratorio". Thesis, University of Newcastle Upon Tyne, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313236.
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Parker, Janet Elaine. "Approaching Homer and Greek tragedy through translation : key words, elusive utterance". Thesis, Open University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361380.
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Brunini-Cronin, Corinna Maria. "Victims or objects? : the representation of sexual violence in Greek tragedy". Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11378/.
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This thesis concentrates on the representation of sexual violence committed against women of differing statuses in Greek tragedy in order to discern what designated sexual violence as negative in the opinion of the Athenian audience; how they regarded the issue of women’s consent; and how they viewed the victims of sexual violence. In order to get a comprehensive picture of sexual violence in tragedy, this study contains close readings of the extant plays and relevant fragments. I look at the descriptions of sexual violence and how it is represented throughout the plays. I also examine discussions of the imminent threat of sexual violence which feature in a number of plays. I take into account a number of factors: the status, motivation and subsequent actions of the aggressor; the locations and context of the assault; the status of the victim; how the victim is represented throughout the play; the reactions of other characters to the victim and any accounts of sexual violence and possible reasons for this. In this thesis I demonstrate that although not all instances of sexual violence would have been regarded as requiring punishment in ancient Athens that does not mean the Athenians had no appreciation for the issue of women’s consent to sexual intercourse. I show that in tragedy, regardless of the circumstances, the victims of sexual violence and enforced sexual relationships are regarded sympathetically. I also demonstrate that the tragedians use actual or potential sexual victimisation to make formerly unsympathetic mythic heroines more sympathetic.
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Bloxham, John Andrew. "The reception of Greek thought in American conservatism since 1945". Thesis, University of Nottingham, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.718464.
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This thesis examines appropriations of ancient Greek thought in modern American conservatism from World War II to the second Iraq War. It questions the depth of conservatives' engagement with antiquity and explores how contemporary concerns have influenced modern interpretations of ancient texts. It also examines how the application of these interpretations has reinforced and invigorated conservative critiques of modernity. Chapter One looks at the reception of Greek thought after World War II, when different factions joined together to form the modern conservative movement. Chapter Two examines two European immigrants whose thought influenced the right in the 1950s and 1960s: Leo Strauss and Eric Voegelin, who both engaged more deeply with Greek thought than their immediate predecessors. Chapter Three investigates the origins of neoconservatism in the 1960s and 1970s. Whereas earlier conservatives had been attracted to Platonic absolutism, neoconservatives were drawn to Aristotle when developing a conservative social science. Chapter Four evaluates conservative critiques of higher education in the 'Culture Wars' of the 1980s. During this period, the 'Great Books' approach, with its emphasis on 'western civilization', came to be viewed as elitist. A number of conservative polemicists sought to restore the former 'Great Books' focus, but the apogee of this reaction came with Allan Bloom's Plato-inspired The Closing of the American Mind (1987). In Chapter Five, the focus shifts to foreign policy debates in the 1990s and 2000s, when antiquity was used both as a rhetorical device to paper over irresolvable conflicts and in a genuine effort to theorise problematic issues. This thesis uses tools from reception theory and intellectual history to assess the decisions of modern appropriators - what they used, adapted or omitted - within the context of broader social and political shifts.