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Добірка наукової літератури з теми "Reception of Greek Tragedy"

Автор: Grafiati
Опубліковано: 11 березня 2023

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Статті в журналах з теми "Reception of Greek Tragedy"

1

Nikolarea, Ekaterini. "Oedipus the King: A Greek Tragedy, Philosophy, Politics and Philology." TTR : traduction, terminologie, rédaction 7, no. 1 (February 27, 2007): 219–67. http://dx.doi.org/10.7202/037174ar.

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Abstract Oedipus the King: A Greek Tragedy, Philosophy, Politics and Philology — This study tries to show that the abundance of translations, imitations and radical re-interpretations of a genre like tragedy is due to various social discourses of target societies. Taking as an example Sophocles' Oedipus the King, the acclaimed tragedy par excellence, this essay discusses how the discourses of philosophy, politics and philology influenced the reception of this classical Greek tragedy by the French and British target systems (TSs) during the late 17th and early 18th century and the late 19th and early 20th century. The first section shows how, by offering Sophocles' Oedipus the King as a Greek model of tragedy, Aristotle's Poetics has formed the Western literary criticism and playwriting. The second section attempts to demonstrate why three imitations of Oedipus by Corneille (Oedipe), Dryden {Oedipus) and Voltaire {Oedipe) became more popular than any other contemporary "real" translation of the Sophoclean Oedipus. The third and final part holds that the observed revival of Oedipus the King in late 19th- and early 20th-century France and England was due to the different degrees of influence of three conflicting but overlapping discourses: philosophy, philology and politics. It illustrates how these discourses resulted in different reception of the Greek play by the French and British TSs.
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2

Holmes, Brooke. "Tragedy in the Crosshairs of the Present." Daedalus 145, no. 2 (April 2016): 20–29. http://dx.doi.org/10.1162/daed_a_00372.

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A number of developments in the study of Greek literature over the past few decades have broken down boundaries of canon and genre, opening up a wide range of texts once deemed degenerate or unavailable to literary analysis, expanding the networks within which literary texts are interpreted, and bringing renewed attention to the reception of ancient texts in later periods up to the present. The rise of reception studies, in particular, raises new questions about how our own position within specific present moments not only imposes constraints on the interpretation of ancient texts but also enables it. In this essay, I survey these developments using Greek tragedy, the most canonical of genres, as a case study. I argue that we need to develop strategies of interpretation more attuned to resonances between contemporary quandaries and our extant tragedies while remaining committed to forms of social and historical difference. I pay particular attention to the problems of agency that tragedy raises at the juncture of the human and the nonhuman worlds.
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3

Kaltsounas, Efthymios, Tonia Karaoglou, Natalie Minioti, and Eleni Papazoglou. "‘Communal Hellenism’ and ancient tragedy performances in Greece (1975‐95): The ritual quest." Journal of Greek Media & Culture 7, no. 1 (April 1, 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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4

Budelmann, Felix. "Greek tragedies in West African adaptations." Proceedings of the Cambridge Philological Society 50 (2004): 1–28. http://dx.doi.org/10.1017/s0068673500001036.

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Not so many years ago African adaptations of Greek tragedy would have been a most obscure subject for a classicist to write about. But since then, as a result of the everincreasing academic interest in post-colonialism on the one hand, and in the reception of Greek tragedy on the other, a number of discussions have been published, not only by experts in African, and more generally post-colonial literatures, but also by classicists. This article continues their work, focusing in more detail on a narrower, though still large and varied, geographical area:WestAfrica. Much more work, including work within Africa itself, will be necessary in the future to gain a more complete and nuanced picture. Moreover, I should state clearly that, as a classicist, I have only an incomplete knowledge of African literatures and cultures. Therefore, inevitably, much of what I say can itself only be a starting-point for more. However, I believe that such a start is well worth making, as the plays in question hold considerable interest for classicists.
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5

Lazarus, Micha. "Tragedy at Wittenberg: Sophocles in Reformation Europe." Renaissance Quarterly 73, no. 1 (2020): 33–77. http://dx.doi.org/10.1017/rqx.2019.494.

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Amid the devastation of the Schmalkaldic War (1546–47), Philip Melanchthon and his colleagues at Wittenberg hastily compiled a Latin edition of Sophocles from fifteen years of teaching materials and sent it to Edward VI of England within weeks of his coronation. Wittenberg tragedy reconciled Aristotelian technology, Reformation politics, and Lutheran theology, offering consolation in the face of events that themselves seemed to be unfolding on a tragic stage. A crucial but neglected source of English and Continental literary thought, the Wittenberg Sophocles shaped the reception of Greek tragedy, tragic poetics, and Neo-Latin and vernacular composition throughout the sixteenth century.
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6

Foley, Helene. "Classics and Contemporary Theatre." Theatre Survey 47, no. 2 (September 12, 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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7

Zaggia, Nicolò. "Tragédie sur scène : la traduction, l’adaptation et le corps dans la pratique dramatique contemporaine." Symbolon 22, no. 1 (2021): 55–64. http://dx.doi.org/10.46522/s.2021.01.06.

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"Tragedy has always been an important literary genre. Topics dealt with these plays have so deeply penetrated the imaginary worldwide, in a way that in every century one can find rewritings of those scenarios. The aim of this paper is to stimulate a reflection on the reception of Greek tragedies in the contemporary age. More specifically, we will look at the fortune of the “Oresteia”. This issue will be the starting point for a discussion concerning the ways in which the Classics enter the contemporary theatrical repertoire. With the aid of some examples, we will delve into some approaches in this practice. At first we will examine the difference between the translation of a Greek tragedy and an adaptation of such type of play. The comparison will lead us to some relevant considerations on the function of the actor’s body in these mises en scène."
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8

Barroso, Gabriel Lago de Sousa. "Tradução e revelação: a recepção dos nomes divinos na tradução da Antígona de Sófocles por Hölderlin." Nuntius Antiquus 8, no. 1 (June 30, 2012): 91–103. http://dx.doi.org/10.17851/1983-3636.8.1.91-103.

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Abstract: This paper aims to analyze the German poet Friedrich Hölderlin’s reception of the Greek tragedy, by examining his translations of two of Sophocles’ tragedies – Oedipus the King and Antigone –, which became a model for translation theory later on the 20th century. It intends to demonstrate Hölderlin’s peculiar view of Greece, acknowledged in the background of his work, which is reflected on the religious patterns of his translation, as he emphasizes the divine elements of Sophocles’ plays. This is more explicit in his transgressions of the original text, especially where he translates the Greek gods’ names.
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9

Billing, Christian M. "Representations of Greek Tragedy in Ancient Pottery: a Theatrical Perspective." New Theatre Quarterly 24, no. 3 (August 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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10

Mastrothanasis, Konstantinos, and Theodore Grammatas. "Reception of the values of the Aeschylus drama and mnemonic imprints by ancient tragedy spectators." Open Research Europe 2 (November 3, 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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Дисертації з теми "Reception of Greek Tragedy"

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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3

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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4

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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5

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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7

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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Книги з теми "Reception of Greek Tragedy"

1

The living art of Greek tragedy. Bloomington: Indiana University Press, 2003.

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2

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

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3

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

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4

Rabinowitz, Nancy Sorkin, ed. Greek Tragedy. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470694053.

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5

Herington, C. J., and Thomas Gould. Greek tragedy. Cambridge: Cambridge University Press, 2009.

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6

Greek tragedy. Malden, MA: Blackwell Pub., 2008.

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7

Shomit, Dutta, ed. Greek tragedy. London: Penguin, 2004.

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8

Reading Greek tragedy. Cambridge: Cambridge University Press, 1986.

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9

Garland, Robert. Surviving Greek tragedy. London: Duckworth, 2004.

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10

Achilles in Greek tragedy. Cambridge, U.K: Cambridge University Press, 2002.

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Частини книг з теми "Reception of Greek Tragedy"

1

MacKinnon, Kenneth. "Filmed Tragedy." In A Handbook to the Reception of Greek Drama, 486–505. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch25.

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2

Manuwald, Gesine. "Roman Tragedy." In A Handbook to the Reception of Greek Drama, 78–93. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch5.

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Wetmore, Kevin J. "The Reception of Greek Tragedy in Japan." In A Handbook to the Reception of Greek Drama, 382–96. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch20.

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Revermann, Martin. "The Reception of Greek Tragedy from 500 to 323 BC." In A Handbook to the Reception of Greek Drama, 11–28. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch1.

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Gurchiani, Ketevan. "Greek Tragedy on the Georgian Stage in the Twentieth Century." In A Handbook to Classical Reception in Eastern and Central Europe, 548–59. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118832813.ch46.

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Gildenhard, Ingo. "Buskins & SPQR: Roman Receptions of Greek Tragedy." In Beyond the Fifth Century, edited by Ingo Gildenhard and Martin Revermann, 151–86. Berlin, New York: De Gruyter, 2010. http://dx.doi.org/10.1515/9783110223781.151.

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Griffiths, Jane Montgomery. "Compromise, Contingency, and Gendered Reception." In Adapting Greek Tragedy, 206–26. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781316659168.012.

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Carter, D. M. "The Political Reception of Greek Tragedy." In The Politics of Greek Tragedy, 143–60. Liverpool University Press, 2008. http://dx.doi.org/10.5949/liverpool/9781904675501.003.0005.

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"Greek Tragedy and the Socratic Tradition." In Brill's Companion to the Reception of Socrates, 41–74. BRILL, 2019. http://dx.doi.org/10.1163/9789004396753_003.

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Prins, Yopie. "Hippolytus in Ladies’ Greek (with the Accents)." In Ladies' Greek. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691141893.003.0005.

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Анотація:
This chapter examines how women contributed to a major shift in the reception of Euripides by focusing on his tragedy Hippolytus. There was growing interest toward the end of the nineteenth century in the female tragic heroines of Euripidean tragedy and in its “feminine” lyricism. Hippolytus's highly eroticized, lyricized language appealed to British aesthetes such as John Addington Symonds, who engaged in an elaborate literary correspondence with the young Agnes Mary Francis Robinson and encouraged her to translate Hippolytus. The chapter begins with a reading of the letters of Symonds and Robinson (and Greek letters in their letters) and goes on to analyze Robinson's 1881 translation of Euripides in The Crowned Hippolytus. It shows how the metrical virtuosity of Robinson's translation made it possible to read Ladies' Greek “with” the accents and argues that the early work of Hilda Doolittle owes much to this late Victorian vision of Euripidean tragedy.
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Тези доповідей конференцій з теми "Reception of Greek Tragedy"

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Gessiou, Eleni, Alexandros Labrinidis, and Sotiris Ioannidis. "A Greek (privacy) tragedy." In the 8th ACM workshop. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1655188.1655203.

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Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

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Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.
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Звіти організацій з теми "Reception of Greek Tragedy"

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Scot, Barbara. Hegel and the Concept of Religion in Greek Tragedy. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2260.

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