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1
Jackson, Lucy. "Ghostly Reception and Translation ad spiritum: The Case of Nicholas Grimald’s Archipropheta (1548)". Translation and Literature 32, n.º 2 (julho de 2023): 139–56. http://dx.doi.org/10.3366/tal.2023.0546.
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When considering the landscape of drama and theatre performance in the sixteenth century in terms of classical reception, original plays written in Latin have not been accorded full attention. The many hundreds of Latin plays written and performed in England alone in this century were potentially vital locations for experimentation and for the reception not only of obvious Roman models but also of ancient Greek plays. In this article, one example, the biblical Latin drama Archipropheta by the scholar, poet, and playwright Nicholas Grimald (1519–1562), is examined to show how it is haunted by ancient Greek tragedy. This haunting speaks to the anti-chronological way in which reception of this kind might have worked, with audiences’ first encounters with Greek tragedy as such being shaped by the receptions of Greek tragedy they had already witnessed in original Latin plays such as this.
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Revermann, Martin. "Reception Studies of Greek Drama". Journal of Hellenic Studies 128 (novembro de 2008): 175–78. http://dx.doi.org/10.1017/s0075426900000124.
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Pormann, Peter E. "Greek Thought, Modern Arabic Culture: Classical Receptions since the Nahḍa". Intellectual History of the Islamicate World 3, n.º 1-2 (2015): 291–315. http://dx.doi.org/10.1163/2212943x-00301011.
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This article surveys the growing, yet largely understudied field of classical receptions in the modern Arab world, with a specific focus on Egypt and the Levant. After giving a short account of the state of the field and reviewing a small number of previous studies, the article discusses how classical studies as a discipline fared in Egypt; and how this discipline informed modern debates about religous identity, and notably views on the textual history of the Qurʾān. It then turns to three literary genres, epic poetry, drama, and lyrical poetry, and explores the reception of classical literature and myth in each of them. It concludes with an appeal to study this reception phenomenon on a much broader scale.
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Hamilton, John T. "Aspects of reception: reading Goethe’s Iphigenie auf Tauris with Adorno, Fassbinder, and Jauss". Classical Receptions Journal 12, n.º 2 (17 de outubro de 2019): 129–48. http://dx.doi.org/10.1093/crj/clz016.
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Abstract In staging his Iphigenie auf Tauris, Johann Wolfgang Goethe stages reception itself. The story about a Mycenaean maiden who, exiled from her home in the South, was welcomed and sheltered by the barbarian people of the North, readily represents how the corpus of ancient Greek culture, detached from its native historical context, came to be received and curated by German artists, poets, and scholars, including, of course, by Goethe himself. If Goethe’s text is indeed understood as an allegory of reception, then subsequent readings of his Iphigenie should exhibit any number of ways in which reception itself has been formulated and assessed. The investigations here all turn on the issue of verbal aspect. By turning to key German interpretations of Goethe’s drama by Theodor Adorno, Rainer Werner Fassbinder, and Hans Robert Jauss, which emerged during the socially and politically tumultuous period of 1967–73, the present study aims to give a critical account of receptive paradigms — an account based on an investigation into the varied aspects that distinguish different historical receptions of reception.
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Foley, Helene. "Classics and Contemporary Theatre". Theatre Survey 47, n.º 2 (12 de setembro de 2006): 239–44. http://dx.doi.org/10.1017/s0040557406000214.
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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associates Pantelis Michelakis and Amanda Wrigley—are at the forefront, along with Lorna Hardwick and her associates at the U.K.'s Open University, in organizing conferences and lecture series; these have already resulted in several volumes that aim to understand the recent explosion of performances as well as to develop a more extensive picture of earlier reception of Greek and Roman drama (above all, Greek tragedy, to which this essay will be largely confined).2 These scholars, along with others, have also tried to confront conceptual issues involved in the theatrical reception of classical texts.3 Most earlier work has confined itself to studies of individual performances and adaptations or to significant directors and playwrights; an important and exemplary exception is Hall and Macintosh's recent Greek Tragedy and British Theatre 1660–1914.4 This massive study profits from an unusually advantageous set of archival materials preserved in part due to official efforts to censor works presented on the British stage. Oedipus Rex, for example, was not licensed for a professional production until 1910 due to its scandalous incest theme. This study makes a particular effort to locate performances in their social and historical contexts, a goal shared by other recent studies of postcolonial reception discussed below.5 For example, British Medeas, which repeatedly responded to controversies over the legal and political status of women, always represented the heroine's choice to kill her children as forced on her from the outside rather than as an autonomous choice. Such connections between the performance of Greek tragedy and historical feminism have proved significant in many later contexts worldwide. Work on the aesthetic side of performances of Greek drama, including translation, is at an earlier stage, but has begun to take advantage of important recent work on ancient staging, acting, and performance space.6
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Georgopoulou, Varvara. "Theatre in Greece during the Interwar Period: A General Overview". CONCEPT 27, n.º 2 (15 de julho de 2024): 26–41. http://dx.doi.org/10.37130/8a1ny819.
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The article attempts to provide an overall overview of the Greek theatre during the interwar period. Specifically, it examines the conditions that influenced playwriting and the establishment and operation of theatrical troupes and institutions. The interwar period sheds light on modern Greek theatre and its darker side, leading up to the current theatrical landscape. The article summarises its impact on theatrical practice, the reception of ancient drama, and the emergence and consolidation of important domains such as directing and theatre criticism within the institutionalisation of basic demands.
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Özalpman, Deniz, e Katharine Sarikakis. "The politics of pleasure in global drama: A case study of the TV series, The Magnificent Century (Muhteşem Yüzyıl)". Global Media and Communication 14, n.º 3 (11 de julho de 2018): 249–64. http://dx.doi.org/10.1177/1742766518780168.
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This article is concerned with the ways in which local/national drama becomes a global success, which strategies are developed to appeal to viewers within different cultural settings and how far this shift is important when re/thinking audience reception studies. The study answers this question by exploring the television (TV) drama series, The Magnificent Century (2011–2014) by conducting in-depth interviews in the Greek capital Athens and the Moroccan capital Rabat with viewers and the production and distribution team of the series. The findings show that potentials for pleasure in the consumption of drama are designed from the very beginning when thinking globally, to reduce cultural differences to a minimum, to finally fuse audiences’ interpretative practices beyond cultural polarization to common understandings.
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Αθήνη, Στέση. "Οι νεοελληνικές τύχες του Αλκιβιάδη ως το τέλος του 19ου αιώνα". Σύγκριση 25 (16 de maio de 2016): 1. http://dx.doi.org/10.12681/comparison.8787.
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The beginning of the closer acquaintance of Modern Greek literature with Alcibiades’ forceful personality is located during the years of Greek Enlightenment, with the discovery of the world of History and the “return to the antiquity” through foreign texts, translated into Greek. Nevertheless, Alcibiades’ appearance as a literary character was delayed compared with his reach European literary fortunes. Alcibiades appears in 1837 through Alcibiades byAugustusGottliebMeissner, a translated “bildungsroman” from German, and half a century later through a second translation, from Italian this time, the homonymous FelicioCavallotti’s historical drama (1889). Examining closely these two texts and considering their presence in the source literatures as well as the terms of their reception in Greek it is concluded that Socrates’ disciple array with literary raiment served the ideological schema aiming at the strengthening of the relations between Modern Greek culture and antiquity and simultaneously the European family.
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Kaltsounas, Efthymios, Tonia Karaoglou, Natalie Minioti e Eleni Papazoglou. "‘Communal Hellenism’ and ancient tragedy performances in Greece (1975‐95): The ritual quest". Journal of Greek Media & Culture 7, n.º 1 (1 de abril de 2021): 69–103. http://dx.doi.org/10.1386/jgmc_00028_1.
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For the better part of the twentieth century, the quest for a ‘Greek’ continuity in the so-called revival of ancient drama in Greece was inextricably linked to what is termed and studied in this paper as a Ritual Quest. Rituality was understood in two forms: one was aesthetic and neoclassicist in its hermeneutic and performative codes, which were established and recycled ‐ and as such: ritualized ‐ in ancient tragedy productions of the National Theatre of Greece from the 1930s to the 1970s; the other, cultivated mainly during the 1980s, was cultural and centred around the idea that continuity can be traced and explored through the direct employment of Byzantine and folk ritual elements. Both aimed at eliciting the cohesive collective response of their spectators: their turning into a liminal ritual community. This was a community tied together under an ethnocentric identity, that of Greeks participating in a Greek (theatrical) phenomenon. At first through neoclassicism, then through folklore, this artistic phenomenon was seen as documenting a diachronic and essentially political modern Greek desideratum: continuity with the ancient past.Such developments were in tune with broader cultural movements in the period under study, which were reflected on the common imaginings of Antiquity in the modern Greek collective ‐ consciousness ‐ a sort of ‘Communal Hellenism’. The press reception of performances, apart from being a productive vehicle for the study of the productions as such, provides indispensable indexes to audience reception. Through the study of theatre reviews, we propose to explore the crucial shifts registered in the definition of Greekness and its dynamic connections to Antiquity.
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Morrison, A. D. "Dead Letter Office? Making Sense of Greek Letter Collections". Bulletin of the John Rylands Library 97, n.º 2 (22 de dezembro de 2021): 1–18. http://dx.doi.org/10.7227/bjrl.97.2.1.
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The letter collections of Greco-Roman antiquity dwarf in total size all of ancient drama or epic combined, but they have received far less attention than (say) the plays of Euripides or the epics of Homer or Virgil. Although classicists have long realised the crucial importance of the order and arrangement of poems into ‘poetry books’ for the reading and reception both of individual poems and the collection as a whole, the importance of order and arrangement in collections of letters and the consequences for their interpretation have long been neglected. This piece explores some of the most important Greek letter collections, such as the Letters attributed to Plato, and examines some of the key problems in studying and editing collections of such ancient letters.
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Ioannidou, Eleftheria. "Editorial Introduction". Fascism 12, n.º 2 (13 de dezembro de 2023): 107–15. http://dx.doi.org/10.1163/22116257-bja10067.
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Abstract This special issue examines the use of classical antiquity within artistic, cultural, and political events under fascist regimes in the interwar period. Fascist Italy and Nazi Germany promoted the production of ancient drama, alongside forms of theater modelled on Greek antiquity, organized grand-scale classical spectacles, and deployed ancient themes and classical-looking symbols and insignia at political gatherings and displays. The analyses presented in this special issue bring into dialogue the scholarship on theater and culture under fascist regimes with the growing literature on the reception of the classics to foreground the significance of performative practices in reconfiguring the classicizing mythologies of fascism. It is the hope of the guest editors that the findings presented here will contribute to the study of performances that strove to re-enact historical pasts beyond the scope of classical reception.
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Bosher, †Kathryn. "Problems in Non-Athenian Drama: Some Questions about South Italy and Sicily". Ramus 42, n.º 1-2 (2013): 89–103. http://dx.doi.org/10.1017/s0048671x00000084.
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As Martin Revermann forecast in 1999, the reception history of Greek drama has become ‘big business’ and, as the present volume demonstrates, we are indeed trying to move beyond the ‘Atheno-centric civic ideology approach to Greek drama, which has, fruitfully, been dominating our mode of thinking for quite some time now'. Nevertheless, like Revermann, I believe that work on the reciprocity between social context and theatre that Nothing to do with Dionysos? Athenian Drama in its Social Context (1990) so well exemplifies has been and continues to be an important approach to the field. Examining plays not simply as literary works, but as integral parts of social and political systems, remains a useful method of inquiry. Indeed, one strand of useful research may build on the work that has been done to situate Greek drama in Athens to ask similar questions about theatre outside Athens.In the case of South Italy and Sicily, the problem is particularly pressing. This is not only because of the traditional separation between the fields of philology, epigraphy, history, archaeology, art history and political science, which made comprehensive examination of theatre as a social and political phenomenon difficult in Athens, but also because of competing histories of the development of theatre in the ancient Greek world. In particular, the history of Athenian theatre, both from the literary perspective and now from the socio-political perspective, is so dominant that it often incorporates into its own narrative what evidence there is for theatre outside Attica. Likewise, from the later period, Roman theatre includes the evidence from Sicily and South Italy into its own history, though to a lesser extent. Nothing to Do with Dionysos? may nevertheless serve as a model for the development of a vital, and still missing, perspective on the theatrical evidence that remains from the West. How did drama and the theatre fit into the socio-political contexts of Greek cities outside Attica? Is it possible to write the history of Sicilian and South Italian theatre, or were these new world cities only recipients of the Attic theatre and stepping stones to that of Rome?I attempt below to set out a few of the questions that, I think, frame the debate. This is a preliminary, tentative examination of some of the problems that arise in this field, and it is not in any way exhaustive.
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Billing, Christian M. "Representations of Greek Tragedy in Ancient Pottery: a Theatrical Perspective". New Theatre Quarterly 24, n.º 3 (agosto de 2008): 229–45. http://dx.doi.org/10.1017/s0266464x08000298.
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In this article, Christian M. Billing considers the relationship between representations of mythic narratives found on ancient pottery (primarily found at sites relating to the Greek colonies of south Italy in the fourth century BC, but also to certain vases found in Attica) and the tragic theatre of the fifth century BC. The author argues against the current resurgence in critical accounts that seek to connect such ceramics directly to performance of tragedies by the major tragedians: Aeschylus, Sophocles, and Euripides. Using five significant examples of what he considers to be errors of method in recent philologically inspired accounts of ancient pottery, Billing argues for a more nuanced approach to the interpretation of such artefacts – one that moves beyond an understanding of literary texts and art history towards a more performance-conscious approach, while also acknowledging that a multiplicity of spheres of artistic influence, drawn from a variety of artistic media, operated in the production and reception of such artefacts. Christian M. Billing is an academic and theatre practitioner working in the fields of ancient Athenian and early modern English and European drama. He has extensive experience as a director, designer, and actor, and has taught at a number of universities in the UK and the USA. He is currently Lecturer in Drama at the University of Hull.
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Karamanou, Ioanna. "Prometheus Bound Reappropriated: A Modern Greek Promethean ‘Palimpsest’ by Νikiforos Vrettakos". Trends in Classics 14, n.º 1 (1 de julho de 2022): 168–98. http://dx.doi.org/10.1515/tc-2022-0007.
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Abstract This article seeks to investigate the cultural and ideological processes conditioning the reception of Prometheus Bound ascribed to Aeschylus in the so far unexplored poetic drama Prometheus or The Play of a Day (1978) by the renowned Modern Greek poet Nikiforos Vrettakos. It is argued that his rewriting of the tragic myth bears the features of a palimpsest, whose layers include archetypal features of Prometheus Bound, such as the Titan’s dignified struggle, his philanthropy, and the concept of human progress, filtered in varying ways through the mediating receptions (Goethe, Camus, Kazantzakis, Sikelianos, Varnalis, Michalakeas) of the ancient exemplum. At the same time, Vrettakos chooses to deploy Prometheus as his self-image and grafts the poetic ego onto the title-character to raise critical awareness and convey his ideological and ethical stance. These elements contribute to the play’s distinctiveness, as well as its power to move beyond the immediate socio-political circumstances of the military dictatorship in Greece (1967–1974) and offer a diachronic perspective on intrinsic aspects of the human condition: the dignified resistance to oppression, the limits of human intellect and the sense of humanism emerging from the perception of mankind and nature as an inseparable entity – a feature of Vrettakos’ poetics par excellence.
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Seidensticker, Bernd. "Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)". Keria: Studia Latina et Graeca 20, n.º 3 (22 de novembro de 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.
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Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.
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Mastrothanasis, Konstantinos, e Theodore Grammatas. "Reception of the values of the Aeschylus drama and mnemonic imprints by ancient tragedy spectators". Open Research Europe 2 (3 de novembro de 2022): 124. http://dx.doi.org/10.12688/openreseurope.15179.1.
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Background: Ancient Greek tragedy remains today a special dramatic genre that expresses the concept of the classic through time, perhaps better than any other form of art and culture, representing, as a theatrical expression, the vision of the conception and expression of values of a particular era. In this context, the purpose of the present research is to study the humanitarian values of European culture, as they are expressed in ancient Greek drama, and to highlight the way in which these values are projected through modern drama and are impressed on the spectators. Methods: To achieve this goal, 105 spectators watched the tragedy of Aeschylus ‘Seven against Thebes’ directed by Cesaris Grauzinis and answered, both immediately after watching the performance and six months later, a questionnaire, in order to record their opinions about the theatre performance they had attended. Results: According to the findings of the comparative analyses, it emerged that the messages and values governing the work remain unchanged for its viewers over time. The memory is based on original audio-visual elements and directorial findings, confirming that it preserves the messages of the symbolism of the performance as well as the channels through which they were conveyed to the audience. Conclusions: The correspondences between the past and the present, as well as the contrasts on stage, contributed to the reproduction of the fundamental moral values that the dramatic work brought, highlighting the work and messages of Aeschylus.
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Papadopoulou, Thalia. "Herakles and Hercules: The Hero's Ambivalence in Euripides and Seneca". Mnemosyne 57, n.º 3 (2004): 257–83. http://dx.doi.org/10.1163/1568525041317967.
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AbstractMadness presents Herakles/Hercules in an unprecedented state of extreme vulnerability and becomes an apt device for dramatizing the fragility of life and the responses to tragic reversals of fortune. The present article compares the dramatic treatments of this theme by Euripides and Seneca not in terms of a strict adaptation of a source/model but in terms of the dramatic purposes underlying and determining both similarities and differences. It investigates the connotations of madness and explores the ways in which the associations of themes such as the reversal of fortune, the nature of violence or the political overtones may have guided the reception of each drama by a Greek and a Roman audience respectively.
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Bridges, Emma, e Joanna Paul. "Reception". Greece and Rome 65, n.º 2 (17 de setembro de 2018): 277–82. http://dx.doi.org/10.1017/s0017383518000232.
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The cinematic and televisual reception of the ancient world remains one of the most active strands of classical reception study, so a new addition to the Wiley-Blackwell Companions series focusing on Ancient Greece and Rome on Screen is sure to be of use to students and scholars alike (especially given how often ‘Classics and Film’ courses are offered as a reception component of an undergraduate Classical Studies programme). The editor, Arthur Pomeroy, himself a respected and prolific ‘early adopter’ of this branch of scholarship, has assembled many of the leading names in cinematic reception studies (including Maria Wyke, Pantelis Michelakis, Alastair Blanshard, and Monica Cyrino), alongside a good number of more junior colleagues, resulting in a varied and rewarding compendium that will provide a useful accompaniment to more detailed explorations of this field. (Some, though not all, chapters offer further reading suggestions, and most are pitched at an accessible level.) The twenty-three contributions span the ‘canonical’ and already widely treated aspects of screen reception, from 1950s Hollywood epics to adaptations of Greek tragedy, as well as ranging across material which has only more recently began to attract the attention it deserves, such as TV documentary, or adaptations for younger audiences. The volume is not as easily navigable as it might be, with the four-part division of the chapters sometimes seeming a little arbitrary. (So, for example, a chapter which discusses ‘The Return of the Genre’ in films like Gladiator appears under the heading ‘Comedy, Drama, and Adaptation’, when it might have been better placed in the first section, on ‘The Development of the Depiction of Ancient Greece and Rome on Screen’.) But rich discussions are not hard to find, especially in those chapters which show how cinematic receptions are indicators of more widely felt concerns relating to our reception of the past, as in Blanshard's assessment of ‘High Art and Low Art Expectations: Ancient Greece in Film and Popular Culture’. Michelakis’ chapter on the early days of cinema is also a valuable distillation of some of his recent work on silent film, crisply and concisely setting out the plurality of approaches that must inform our understanding of the cinematic medium (for example, spectatorship, colour, and relationships to other media). More broadly, the collection makes a solid and welcome attempt to put this pluralism into practice, with Pomeroy stressing ‘the complexity of understanding film’ early in his introduction (3). Chapters focusing on music, and costumes, for example, allow us to see productions ‘in the round’, a panoptical perspective which is still too readily avoided by much classical reception scholarship. (It is also good to see at least one chapter which ranges beyond screen media in the West.) Other vital areas of film and TV studies could arguably have received more attention. Some contributors touch on the importance of assessing audience receptions of these films, or the impact of marketing and other industrial considerations (such as screening practices), but more chapters dedicated to these approaches might have been a more sustained reminder to readers of just how widely screen scholarship can (and often needs to) range. To that end, a particularly significant chapter in the book – one of only 3 by non-Classicists – is Harriet Margolis’ account of how film historians might evaluate ancient world film. Newcomers to this field should pay particular attention to this, and to Pomeroy's introductory comments on how we should regard film as much more than a quasi-literary medium.
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Perris, Simon. "Review of Van Zyl Smit, B. 2016. A Handbook to the Reception of Greek Drama". Acta Classica 60, annual (2017): 213–18. http://dx.doi.org/10.15731/aclass.060.18.
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Glytzouris, Antonis. "Karolos Koun in the 1930s and the Birth of Modernist Shakespeare in Greece". New Theatre Quarterly 30, n.º 1 (fevereiro de 2014): 40–50. http://dx.doi.org/10.1017/s0266464x14000062.
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The author aims in this article is to highlight a significant moment in the history of the reception of Shakespeare in modern Greek theatre. The article outlines the main developments in the perception of Shakespeare's work in Greece from the mid-nineteenth century until the Second World War, and examines Karolos Koun's early experiments in Shakespearean production. Koun's initiatives were diametrically opposed to local theatre traditions, which emphasized psychological or historical realism and pictorial or spectacular illusion. The use of non-realistic stage conventions such as masks and simple, abstract and allusive settings, flamboyant costumes, stylized acting, and the fact that all roles were played by young boys demonstrate the significance of Koun's contribution to a modernist Shakespeare in Greece, culminating in his Romeo and Juliet with the Royal Shakespeare Company at Stratford in 1967. Antonis Glytzouris is Associate Professor in the School of Drama at the Aristotle University Thessaloniki, and is author of Stage Direction in Greece: the Rise and Consolidation of the Stage Director in Modern Greek Theatre (Herakleio: Crete University Press, 2011), among other publications.
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Kulishova, Oksana. "Traditions and Interpretations of the Ancient Theater in Post-Revolutionary Petrograd". ISTORIYA 14, n.º 2 (124) (2023): 0. http://dx.doi.org/10.18254/s207987840024511-1.
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The attention to the ancient drama characterized European culture at the turn of the 19—20th centuries was reflected in Russia in the search for new forms in theatrical art both at the very beginning of the 20th century and after the events of 1917. The author focuses on the most remarkable performances of Sophocles’ Oedipus Rex in 1910s in St. Petersburg/Petrograd at the Ciniselli Circus: in 1911 this Greek tragedy was staged by the famous German director Max Reinhardt, and in 1918 renewed by the famous Russian actor Yury Yuriev. The analysis of the important sources — the memoirs of participants and eyewitnesses of these performances, reviews and various publications in theater magazines, as well as surviving archival materials, etc. — makes it possible to trace the features of the interpretation and reception of this tragedy, which was especially consonant with the turbulent era of world cataclysms and wars.
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Cole, Emma. "GREEK DRAMA AND ITS RECEPTION - (B.) van Zyl Smit (ed.) A Handbook to the Reception of Greek Drama. Pp. xviii + 601, figs, ills. Malden, MA and Oxford: Wiley Blackwell, 2016. Cased, £120, €150, US$195. ISBN: 978-1-118-34775-1." Classical Review 67, n.º 2 (29 de agosto de 2017): 555–57. http://dx.doi.org/10.1017/s0009840x17001044.
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Bakola, Emmanuela. "The drunk, the reformer and the teacher: agonistic poetics and the construction of persona in the comic poets of the fifth century". Cambridge Classical Journal 54 (2008): 1–29. http://dx.doi.org/10.1017/s1750270500000555.
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Although the role of competition in Greek cultural and social practices has been well documented and studied, it is only in the last decades that the extent to which it permeates Athenian drama has been realised. The element of competition in Athenian dramatic performances is now widely used as an interpretative tool, especially in Old comedy, where the competitive conditions of performance are overtly articulated. As research on the fragmentary comic poets proliferates, Aristophanes' rivals have become a far more visible element in the scenery of Old Attic comedy and, as a result, the fiercely competitive dimension of comic performances is more easily traced. We are now able to ask questions from new perspectives, and understand better such issues as authorial collaboration, charges of plagiarism, claims of degeneration and decline in the quality of plays and their authors, as well as illustrate the enormous role of audience reception in the interpretation of Old comedy. Aristophanes' bombastic and self-righteous comments regarding himself and his poetry are now read in a more nuanced manner, as a competitive poetic strategy which constructs a fictionalised ‘Aristophanes’.
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Axanta, Vernan. "PEMAKNAAN RASISME DALAM FILM (ANALISIS RESEPSI FILM GREEN BOOK)". SOURCE : Jurnal Ilmu Komunikasi 6, n.º 2 (31 de outubro de 2020): 226. http://dx.doi.org/10.35308/source.v6i2.2385.
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As a mass communication media, film can make an impact to the audience such as psychological and social impacts. Green Book is a biographical film with the genre of comedy-drama, and directed by Peter Farrelly. This film tells the relationship of mutualism between talented black pianist Dr.Donald Shirley with his driver as well as bodyguard named Tony Vallelonga. This study uses a descriptive qualitative research method with the Stuart Hall reception analysis approach. Reception analysis considers the audience can be a culture agent that means capable of producing meaning from the various discourses offered by a media. The purpose of this study is to determine the position of the audience according to Stuart Hall's three reading positions in interpreting racism in the green book film. The three positions are dominant hegemony position, negotiation position, and opposition position. This research shows that the reading of the audience towards racism in the Green Book film is interpreted differently. Of the eight scenes selected, the informant's reading position is dominated by the opposition's position. But in some scenes, there are also informants who are in a negotiating position and few who are in a dominant hegemony position.
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Sprengel, Peter. "Schiffbruch im Totenreich". Philologus 162, n.º 1 (1 de junho de 2018): 92–111. http://dx.doi.org/10.1515/phil-2017-0018.
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AbstractIn Hauptmann’s reception of antiquity there is an overlap between the ‘dark’ (i.e. chthonic, Dionysiac, barbaric) understanding of the Greeks, which had been introduced by Bachofen and Nietzsche and which was characteristic of modernism as a whole around 1900, and a late neoclassical view of the Hellenic legacy, which is manifested not least in his drawing on the literary translations of the nineteenth century (in the case of the three tragedians, Donner’s translations “in the original metres”). The same tension is a feature also of his late Atrides Tetralogy. Its second part, Agamemnons Tod (‘Agamemnon’s Death’) not only recurs to Aeschylus’ Oresteia, to which Hauptmann had responded with enthusiasm in his youth, but is also influenced by the chthonic Homer interpretation of his first drama on a theme from the ancient world, Der Bogen des Odysseus (‘Odysseus’ Bow’), and by nineteenth-century archaeology at Mycenae.
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Tsykhovska, Ellina. "Reception of the Series “Squid Game” in the World Media: the Reasons for Popularity". Scientific notes of the Institute of Journalism, n.º 2(81) (2022): 9–22. http://dx.doi.org/10.17721/2522-1272.2022.81.1.
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The article studies the phenomenon of the popularity of the South Korean dystopian series “Squid Game”, which was released on September 17, 2021 on the streaming service “Netflix” and became its biggest success, as well as a global cultural sensation by the number of views in at least 90 different countries. Many world media outlets reacted to this success with the articles not only of a news nature, but also with their own hypotheses regarding its causes. Therefore, the objective of the article is to investigate the reasons for the popularity of the TV series “Squid Game” based on reception of the world’s leading English-language media. Thus, the object of this study was the reports about the series “Squid Game” in “BBC News”, “BuzzFeed News”, “CNN”, “Financial Times”, “Forbes”, “London Review of books”, “NBC News”, “The New Yorker”, “The Guardian”, “The New York Times”, “The Wall Street Journal”, “The Washington Post”, “Time”, “New York Post”, as well as “Digital Trends”, “Impacter”, “The Sun”, “The Straits Times”, “Vox”, “USA Today”, “Vulture”, etc. The subject is their meaning palette. It was found that the global interest in the Korean cultural product was listed among the reasons for the popularity of “Squid Game” in the media; advertising in social networks from the users based on the principle of “word of mouth”; the genre “competition for survival”; the topic “economic inequality”, known to the most consumers; the heroes are selected from the different strata of population, which promotes empathy. In turn, we believe that the popularity of the series “Squid Game” is due to its relevance, namely: reflection of the modern viewer’s fears about the lack of money and debts, aggravation of conspiracy theories with the emergence of coronavirus pandemic and the markers of fairy tales familiar from childhood, which represent the same plots similar as in the series. Developing the citation by one of the journalists that the unexpected brutality of the show contributes to catharsis, we believe that, indeed, the series operates according to the scheme of the ancient Greek theater, where the main function of watching the heroes of drama was to clear oneself of one’s fears and problems.
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Ivashchenko, Iryna, e Victoriya Strelchuk. "Innovation of the director's vocabulario of Oskaras Korshunovas". Collection of scientific works “Notes on Art Criticism”, n.º 39 (1 de setembro de 2021): 261–66. http://dx.doi.org/10.32461/2226-2180.39.2021.238737.
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The purpose of the article is to reveal the peculiarities of the theatrical direction of O. Korsunovas and analyze the innovation of his director's vocabulary. Methodology. Comparative and structural methods were applied, which contributed to the identification of the originality and diversity of innovative directorial vocabulary; the method of art history analysis, the typological-structural method, and the method of artistic-compositional analysis of stage works, thanks to which the director's "toolbox" has been studied and structured, etc. Scientific novelty. The directorial activity of Oskaras Koršunovas is investigated in the context of the leading strategies of modern European theater; based on the art historical analysis of the performances "There to be here", "Old" by D. Kharms, "Hello Sonya, New Year" by A. Vvedensky, "P.S. case OK "S. Parulskis," Roberto Zucco "B.-M. Colts, “Hamlet” by W. Shakespeare and others, the innovative ways of representation applied by the director were revealed and analyzed; the characteristic features of the director's vocabulary were determined and it was proved that it is an open and dynamic system that develops under the influence of urgent problems of modern society; previously unknown factual material was introduced into scientific circulation. Conclusions. The art of directing by O. Korsunovas is one of the most striking examples of contemporary theater, which deals with the problems of a modern person, and the specificity of its content and form emphasizes the crisis of representation of the late 20th - early 21st centuries, manifests itself through deep changes in relation to action, feelings, scene perception, fragmentation, the crisis of bodily mediation and invariant supports of representation, both at the level of setting and at the level of reception. Directing by O. Korsunovas is distinguished by a fundamental innovation of views, a desire to destroy the ideological, artistic, and methodological limitations of theatrical direction, a unique interpretation of classical plays as modern ones, with an emphasis on contemporary moments, an experimental development on the basis of a theatrical laboratory of unique metaphor and imagery. The research revealed that the characteristic features of O. Korsunovas' directorial vocabulary are: application of the principle of deformation, contrast, and transformation, which take the form of a tragic grotesque; coding in elements of presentation of principles related to the specifics of drama; using the subject as an abstract construction; the use of the chorus - an element of classical Greek theater - in the performances of works of modern drama, etc.
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Bakogianni, Anastasia. "K.P. Nikoloutsos Ed. Reception of Greek and Roman Drama in Latin America (Special issue of Romance Quarterly 59.1). Philadelphia: Taylor and Francis Group, 2012. Pp. 65. £39. 08831157." Journal of Hellenic Studies 134 (2014): 282–83. http://dx.doi.org/10.1017/s0075426914002602.
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Nietzsche, Friedrich. "Greek Music-Drama". New Nietzsche Studies 10, n.º 3 (2017): 1–13. http://dx.doi.org/10.5840/newnietzsche2017/2018103/41.
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Κοσμοπούλου, Δ. "Illicit love affairs of mortal women with gods: Cassandra’s Annunciation by Dimitriadis and Κassi by Flourakis". Kathedra, n.º 16(3) (21 de setembro de 2023): 140–51. http://dx.doi.org/10.52607/26587157_2023_16_140.
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Οι παράνομοι έρωτες γυναικών με θεούς είναι το νήμα που ξετυλίγεται σε ένα τεράστιο εύρος αρχαίων μύθων και εξακολουθεί να προσλαμβάνεται και να διασκευάζεται στο σύγχρονο δράμα με ποικίλους τρόπους. Στην περίπτωση της μεταμοντέρνας λογοτεχνίας και αντίστοιχα του θεάτρου, το θέμα προτιμάται να διερευνάται υπό το πρίσμα θεωριών του φεμινισμού με πολλούς συγγραφείς να εκμεταλλεύονται την αλληγορία της άνομης αγάπης μεταξύ γυναικών και θεών προκειμένου να μελετήσουν ζητήματα δύναμης, εξουσίας και φύλου. Στον σύγχρονο ελληνικό θεατρικό χώρο, ο συγγραφέας Δημήτρης Δημητριάδης συνθέτει τον μονόλογο Ο Ευαγγελισμός της Κασσάνδρας, μέσω του οποίου η Κασσάνδρα, ως γυναίκα μάγισσα, αμφισβητεί τον προσωπικό της μύθο και επιχειρεί να καταρρίψει κάθε μορφή ηθικού εγκλεισμού, απαγόρευσης ή δέσμευσης. Στο έργο Τα Φύλλα της Κάσσυ του συγγραφέα Ανδρέα Φλουράκη, η ομώνυμη ηρωίδα, ως γυναίκα λάφυρο του Αγαμέμνονα, δεν έχει κανένα δικαίωμα στον δημόσιο λόγο, εντούτοις επιλέγει να εκφράζει τη γνώμη της και να υποστηρίζει αυτή την επιλογή μέχρι τέλους. Πρόκειται για δύο αρχαιόθεμους μονολόγους οι οποίοι, ως διακείμενα του τραγικού μύθου της Κασσάνδρας, προβάλλουν τον λόγο ως όπλο των δύο γυναικών. Συνεπώς, αυτό που καλείται να πραγματευθεί η παρούσα εισήγηση, μέσω των θεωριών συγκριτικής γραμματολογίας, πρόσληψης και διακειμενικότητας, είναι η διερεύνηση της δυναμικής των αρχαίων μύθων έρωτος και αγάπης, προσλαμβανόμενης στο μεταμοντέρνο πλαίσιο της παγκοσμιοποίησης. Illicit love affairs of women with gods is the thread that runs through a vast range of ancient myths and is still taken up and adapted in modern drama in a variety of ways. In the case of postmodern literature and theater respectively, the topic is preferred to be explored in the light of feminist theories with many writers exploiting the allegory of illicit love between women and gods in order to study issues of power, authority and gender. In the modern Greek theater, the playwright Dimitris Dimitriadis composes the monologue Cassandra’s Annunciation, through which Cassandra, as a female witch, challenges her personal myth and attempts to break down any form of moral confinement, prohibition or commitment. In the play Κassi by the playwright Andreas Flourakis, the eponymous heroine, as Agamemnon’s female prey, has no right to public speech, yet she chooses to express her opinion and support this choice to the end. These are two ancient-themed monologues which, as subjects of the tragic myth of Cassandra, present speech as a weapon of the two women. Subsequently, what this presentation is called to do, through the theories of comparative grammar, reception and intertextuality, is the investigation of the dynamics of the ancient myths of love and love, employed in the postmodern context of globalization.
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Barbosa, Tereza Virgínia Ribeiro. "Greek drama in Brazil". Phoînix 20, n.º 2 (2014): 75–90. http://dx.doi.org/10.14195/1413-5787_20-2_5.
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Saliba, George. "Islamic reception of Greek astronomy". Proceedings of the International Astronomical Union 5, S260 (janeiro de 2009): 149–65. http://dx.doi.org/10.1017/s1743921311002237.
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AbstractResearch in Islamic science over the last half century or so has clearly established that such old myths as Islamic science being a preservation of Greek science, or that science was always in conflict with religion in Islamic civilization as it was in Europe, or that the European scientific Renaissance was independent of outside influences –a European phenomenon par excellence– are now all subjects of great dispute if not altogether dead. In what follows I will illustrate the evidence that has put such myths into question with only few examples, since time and space do not allow me to elaborate more.
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Gvozdeva, Tatiana Borisovna. "Great Panathenaia in Greek drama". RUDN Journal of World History 10, n.º 4 (15 de dezembro de 2018): 403–14. http://dx.doi.org/10.22363/2312-8127-2018-10-4-403-414.
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The works of the Greek playwrights of the classical period are an interesting source on the history of the panatheniac festival. The tragedies of Aeschylus, Sophocles, Euripides, and the comedies of Aristophanes contain information about both the sacred part of the Great Panathenaia and agones the Panathenaic games. Of the elements of the sacral part of the Panathenaic festival were most often mentioned holiday peplos for Athena, the participants of the Panathenaic procession, the night procession, sacrifi ce. Part of the Panathenaic games were both in agony, which is characteristic for the Panhellenic games available for the citizens of Greece and local competitions, participation in which was limited only to the citizens of Athens. The mention of agones inherent in the Panhellenic games can be found in many works of Greek playwrights, but nowhere is there a clarifi cation that we are talking about the Panathenaic games. But it is interesting to note that more mentioned in the tragedies, and especially in the comedies of Aristophanes local competitions, which were sacred.
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Jacobson, David J. "Vocative ΟΥΤΟΣ in Greek Drama". Classical Philology 110, n.º 3 (julho de 2015): 193–214. http://dx.doi.org/10.1086/681706.
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Jackson, Lucy. "Proximate Translation: George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama". Translation and Literature 29, n.º 1 (março de 2020): 85–100. http://dx.doi.org/10.3366/tal.2020.0410.
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This essay takes up the question of what impact Greek tragedy had on original plays written in Latin in the sixteenth century. In exploring George Buchanan's biblical drama Baptistes sive calumnia (printed 1577) and its reworking of scenes and images from Sophocles' Antigone, we see how neo-Latin drama provided a valuable channel for the sharing and shaping of early modern ideas about Greek tragedy. The impact of the Baptistes on English drama is then examined, with particular reference to Thomas Watson's celebrated Latin translation of Antigone (1581). The strange affinities between Watson's and Buchanan's plays reveal the potential for Greek tragedy to shape early modern drama, but also for early modern drama to shape how Greek tragedy itself was read and received in early modern England.
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Takahashi, Hidemi. "Syriac as the Intermediary in Scientific Graeco-Arabica: Some Historical and Philological Observations". Intellectual History of the Islamicate World 3, n.º 1-2 (2015): 66–97. http://dx.doi.org/10.1163/2212943x-00301004.
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The reception of Greek scientific and philosophical literature in Syriac, which had a major influence on the later reception in Arabic, is an area that has been the subject of a renewed wave of research in the past few years. This paper provides a brief overview of the reception of the Greek sciences in Syriac, citing some of the latest research in the field. This is followed by the presentation of an example to illustrate how the Syriac intermediary text, when available, can help to elucidate the process of translation into Arabic, together with some observations on the ways in which the Syriac reception of the Greek sciences influenced the later reception in Arabic.
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Showerman, Earl. "A Century of Scholarly Neglect: Shakespeare and Greek Drama". Journal of Scientific Exploration 37, n.º 2 (11 de agosto de 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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Sungkowati, Yulitin. "RESEPSI PEMBACA TERHADAP TJERITA NJAI DASIMA (Reader Reception toward Tjerita Njai Dasima)". METASASTRA: Jurnal Penelitian Sastra 4, n.º 2 (15 de março de 2016): 195. http://dx.doi.org/10.26610/metasastra.2011.v4i2.195-207.
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Tulisan ini bertujuan mendeskripsikan bentuk dan perubahan resepsi pembaca terhadap Tjerita Njai Dasima dengan teori resepsi sastra dan metode resepsi diakronis. Penelitian ini menghasilkan temuan bahwa sejak era kolonial hingga era reformasi Tjerita Njai Dasima telah mendapat tanggapan berupa karya-karya baru dalam bentuk puisi, prosa, teks drama, skenario film, film, sinetron, dan drama musikal. Perubahan resepsi terjadi dari generasi ke generasi seiring dengan perubahan zaman dan perubahan horison harapan pembacanya. Resepsi pada masa sebelum kemerdekaan menunjukkan ideologi prokolonial dan pada era awal kemerdekaan sebaliknya, antikolonial. Resepsi pembaca yang muncul di era Orde Baru berisi kritik sosial terhadap pembangunan dan di era reformasi memperlihatkan semangat pluralisme dan kebebasan.Abstract:This paper is aimed at describing the form and the change reader reception toward Tjerita Njai Dasima by using reception of literary theory and diachronic reception method. This research revealed that since colonial period until reformation period, Tjerita Njai Dasima got appreciation in the form of new literary works such as poem, prose, drama text, film scenario, film, series, and musical drama. The change of reception can be seen from generation to generation, together with the development and reader ’s horizon expectation. The reception before indepen- dence showed procolonial ideology. While, in the early independence period tended to be antico- lonial. Reader reception emerged in the new era period showed social critic toward development, while in the reformation period was in the form of spirit of pluralism and freedom.
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Vaseneva, Nadezhda Vladimirovna. "Reception of the B. Shaw’s play "Pygmalion" in Russian literature". SHS Web of Conferences 101 (2021): 01004. http://dx.doi.org/10.1051/shsconf/202110101004.
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The article is devoted to the analysis of reception of B. Shaw's play «Pygmalion» in Russian literature. The article emphasizes that Russian literature had a huge impact on the formation and development of B. Shaw's aesthetic system and drama, as a result of which B. Shaw's drama acquired an epic character. The standard of «epic drama» is B. Shaw's play «Pygmalion». The extreme popularity, relevance and significance of B. Shaw's comedy «Pygmalion» for Russian literature are noted. The article examines translations of B. Shaw's play «Pygmalion» and individual-author's interpretations of Russian directors of English comedy as a form of reception of B. Shaw's play in Russian literature. It is said that the plot and images of B. Shaw's play «Pygmalion» received a new life in Russian literature. The author analyzes allusions and reminiscences with B. Shaw's comedy «Pygmalion» in Soviet prose and drama of the 20th – early 21st centuries. It is proved that B. Shaw's play «Pygmalion» is characterized by a rich reception in Russian literature.
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Čiripová, Dáša. "Greek Drama in the Hellenistic Period". Slovenske divadlo /The Slovak Theatre 65, n.º 4 (1 de dezembro de 2017): 373–82. http://dx.doi.org/10.1515/sd-2017-0022.
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Abstract This study deals with a period of the Greeco-Roman history related to theatre. Hellenism is a period which is often overlooked by theatre scholars although it is an immensely important and rich transformatory and revolutionary period from a historical point of view. Hellenism is not only marked with the encounter of two worlds, but also with their mutual enrichment. In the world of diverse peoples, theatre and drama turn to lighter themes (comedy is more popular than tragedy), show preference for entertaining theatre forms, gradually divert their attention from serious textual levels and turn to non-verbal genres. Menandros is a typical representative of Hellenistic drama. Unfortunately, a great number of texts and files, which would contain at least mentions of drama production at that time, have been lost.
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Demetriou, Tania, e Tanya Pollard. "Milton, drama, and Greek texts: preface". Seventeenth Century 31, n.º 2 (2 de abril de 2016): 131–37. http://dx.doi.org/10.1080/0268117x.2016.1193290.
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Klaassen, Johann A. "Moral Taint in Classic Greek Drama". Philosophy and Literature 24, n.º 2 (2000): 327–45. http://dx.doi.org/10.1353/phl.2000.0040.
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Konstandaras, Nikos. "Greek Drama on a Global Stage". World Policy Journal 29, n.º 4 (2012): 74–84. http://dx.doi.org/10.1177/0740277512470931.
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Figueira, Dorothy. "Fear in Greek and Sanskrit Drama". Rocznik Komparatystyczny 8 (2017): 191–202. http://dx.doi.org/10.18276/rk.2017.8-09.
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Kuch, Heinrich. "Problems of communication in Greek Drama". Acta Antiqua Academiae Scientiarum Hungaricae 41, n.º 3-4 (dezembro de 2001): 313–21. http://dx.doi.org/10.1556/068.2001.41.3-4.11.
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Constantinidis, Stratos E. "Greek Drama and Multiculturalism: Is It Drama? Is It Modern? Is It Greek?: A Prolonged Prologue". Journal of Modern Greek Studies 14, n.º 1 (1996): 1–30. http://dx.doi.org/10.1353/mgs.1996.0008.
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Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film". Journal of Flm Arts and Film Studies 7, n.º 2 (15 de junho de 2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.
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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages of the film-opera. The screen adaptation of opera is very actual and has special aspects. It is obvious, that opera enriches cinema language and cinema reforms traditional theatrical musical drama. There is a number of works, which are devoted to the problem of the opera- film (mostly written by music experts), but there are no special research on the part of cinema theoreticians. Cinema-opera differs from theater-opera. Cooperation between image and music is defined by specific features of the camera. The opportunities of cinema are wider in some aspects and may advance reform of stage. Integration of arts in opera-film is connected with integration of arts in the Greek tragedy. The Athenian drama, grown up from ancient cults, is connected with ancient rituals. Since the ancient sources of drama find their reflection in film-opera, the latter reaches out these cults.
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Näsström, Britt-Mari. "The rites in the mysteries of Dionysus: the birth of the drama". Scripta Instituti Donneriani Aboensis 18 (1 de janeiro de 2003): 139–48. http://dx.doi.org/10.30674/scripta.67288.
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The Greek drama can be apprehended as an extended ritual, originating in the ceremonies of the Dionysus cult. In particular, tragedy derived its origin from the sacrifice of goats and the hymns which were sung on that occasion. Tragedia means "song of the male goat" and these hymns later developed into choruses and eventually into tragedy, in the sense of a solemn and purifying drama. The presence of the god Dionysus is evident in the history and development of the Greek drama at the beginning of the fifth century B.C. and its sudden decline 150 years later. Its rise seems to correspond with the Greek polis, where questions of justice and divine law in conflict with the individual were obviously a matter of discussion and where the drama had individual and collective catharsis (purifying) in mind.
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Rivga Agusta e Elvira Wahyuni. "Bullying dalam Drama Korea (Analisis Resepsi dalam Drama Korea True Beauty 2020)". MUKASI: Jurnal Ilmu Komunikasi 2, n.º 1 (28 de fevereiro de 2023): 98–110. http://dx.doi.org/10.54259/mukasi.v2i1.1489.
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This study analyzes the audience’s meaning of the bullying’s message contained in the Korean drama series entitled True Beauty. Audience reception studies see that the audience is a communication element that actively receives and interprets messages transmitted by the media, including the drama series True Beauty. True Beauty is one of the best and popular Korean dramas adapted from a Korean webtoon series entitled The Secret Of Angel. This drama series explores the phenomenon of bullying that occurs in the school environment based on the factor of physical beauty. The purpose of this research is to find out how Indonesian teenage audiences perceive bullying scenes in the 2020 Korean drama True Beauty. The data in this study were obtained through an in-depth interview process with 6 Indonesian teenage audiences, namely 5 female teenagers and 1 male teenager. The research method used is the reception analysis method on Stuart Hall's encoding-decoding theory with a descriptive qualitative approach. In selecting informants in this study using purposive sampling technique which includes people who will be selected based on predetermined characteristics. The results of this study are that there are 5 informants in the dominant hegemony position, 4 people are in the negotiation position and 1 person is in the opposition position.
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Saro, Anneli. "Leedu draama retseptsioon Eestis". Eesti ja soome-ugri keeleteaduse ajakiri. Journal of Estonian and Finno-Ugric Linguistics 8, n.º 1 (21 de março de 2017): 221–40. http://dx.doi.org/10.12697/jeful.2017.8.1.12.
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Eesti teatril on ajaloolises plaanis kõige tihedamad sidemed olnud saksa- ja venekeelse ning angloameerika kultuuriruumiga, kuid sidemed lõunapoolsete lähinaabritega on olnud üsna sporaadilised. Käesolev uurimus käsitleb Leedu draama vastuvõttu Eestis ja Eesti teatris. Artikli eesmärgiks on (1) anda statistiline ajalooline ülevaade Eestis ilmunud ja lavastatud Leedu näitekirjandusest ning (2) uurida Leedu draama retseptsiooni Eestis, tuginedes näidendite lähilugemisele, audio- ja videosalvestustele ja ilmunud kriitikale ning tõlgendades nimetatud allikaid Eesti kultuurikontekstist lähtuvalt.Abstract. Anneli Saro: Reception of Lithuanian drama in Estonia. The article has two aims: (1) to give a statistical overview of Lithuanian drama published and staged in Estonia, and (2) to investigate the reception of Lithuanian drama in Estonia, relying on close reading of the plays and analysis of audiovisual recordings and criticism, and interpreting the sources in the Estonian cultural context. The term “reception” here covers the creative work of translators, directors, actors, scenographers, etc., as well as diverse mental activities of readers and spectators. The first part of the article tackles the historical development of cultural relations between Estonia and Lithuania in the field of theatre, listing the Lithuanian plays published and staged in Estonia during different epochs and contextualizing the reception. In the second part, the plays of four influential playwrights are analyzed: works by Juozas Grušas, Kazys Saja, Justinas Marcinkevičius and Marius Ivaškevičius. There are approximately forty Lithuanian plays translated into Estonian, most of them by Mihkel Loodus. Twenty plays have been staged in professional theatres, and twenty have been published, although some are still in manuscript. There are three groups of plays translated into Estonian: (1) plays depicting Soviet society, staged in Estonia in the second half of the 1950s and in the first half of the 1960s, 2) plays depicting Lithuanian history, mostly published as books, and 3) existential plays that form the majority of Lithuanian drama in Estonian.Keywords: Lithuanian drama; Estonian theatre; reception; cultural relations between Estonia and Lithuania