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Готові списки джерел за темами / Reception of Greek Tragedy / Статті в журналах

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Статті в журналах з теми "Reception of Greek Tragedy"

Автор: Grafiati

Опубліковано: 11 березня 2023

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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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11

Spies, B. "Representation and function of characters from Greek antiquity in Benjamin Britten’s Death in Venice." Literator 23, no. 1 (August 6, 2002): 1–18. http://dx.doi.org/10.4102/lit.v23i1.316.

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Lack of insight into Greek antiquity, more specifically the nature of classical tragedy and mythology, could be one reason for the negative reception of Benjamin Britten’s last opera Death in Venice. In the first place, this article considers Britten’s opera based on Thomas Mann’s novella as a manifestation of classical tragedy. Secondly, it is shown how mythological characters in Mann’s novella represent abstract ideas2 in Britten’s opera, thereby enhancing the dramatic impact of the opera considerably. On the one hand it is shown how the artist’s inner conflict manifests itself in a dialectic relationship between discipline and inspirat ion in Plato’s Phaedrus dialogue that forms the basis of Aschenbach’s monologue at the end of the opera. The conflict between Aschenbach’s rational consciousness and his irrational subconscious, on the other hand, is depicted by means of mythological figures, Apollo and Dionysus. Two focal points in the opera, namely the Games of Apollo at the end of Act 1 and the nightmare scene which forms the climax of the opera in Act 2, are used to illustrate the musical manifestation of this conflict.

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12

Sgouridou, Maria, and Georgios Bitsakos. "The Atrides Saga and Power Play: The Dilemma Between Freedom and Death on the Theatrical Scene." European Journal of Language and Literature 9, no. 1 (June 10, 2017): 10. http://dx.doi.org/10.26417/ejls.v9i1.p10-17.

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Thyestes’ myth is difficult to read: cruel, abominable, but also multidimensional. And this is why it is adaptable to multiple interpretations, highlighting the different aspects of tyranny within different political, socio-cultural and philosophical contexts during the centuries. Thyestes, the protagonist of the tragedy, serves, with his unique characteristics, as an example to the spectator in order to understand and improve his own situation, even his very existence. First, we will take a look upon the theatrical production by Petros Katsaitis, author of a tragedy based upon this myth in 1721. At that time, Greece does not yet exist as a national state, being under the rule of the Ottoman Empire. Thus, Katsaitis highlights the complex historical reality in which he lives in person. The German author Christian Felix Weiße writes his Atreus und Thyest in 1766 in the philosophical context of Enlightenment, with a focus on the anthropological education of his audience. Ugo Foscolo, being between Italy and Greece, between Neoclassicism and Romanticism, in his Tieste (1797) recalls the memories of modernity’s Ancient Greek roots and re-elaborates the myth by reinvesting it with civil and political sense. Thus, the purpose of this paper is to present three versions of an ancient Greek myth composed during the eighteenth-century in three different regions of Europe in order to highlight the potential impact of this tragedy on the viewer's reception and in relation to the historical-cultural and philosophical trends of the time.

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13

Nooter, Sarah. "Reception Studies and Cultural Reinvention in Aristophanes and Tawfiq Al-Hakim." Ramus 42, no. 1-2 (2013): 138–61. http://dx.doi.org/10.1017/s0048671x00000114.

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We look on the totality of the past as dreams, certainly interesting ones, and regard only the latest state of science as true, and that only provisionally so. This is culture.Paul Veyne, Did the Greeks Believe in Their Myths?Reception studies in classics live a complicated scholarly life. On one hand, a healthy collection of new monographs appears on the market every year that shows the strength of this subfield, including such recent additions as Gonda Van Steen's Theatre of the Condemned: Classical Tragedy on Greek Prison Islands and Simon Goldhil's work on the Victorian reception of classics called Victorian Culture and Classical Antiquity: Art, Opera, Fiction and the Proclamation of Modernity. Collections of essays that contribute to the field are also copiously produced. Thus two scholars could lately declare that ‘[n]o sub-field in the discipline of Classics has experienced such growth, in both quantitative and qualitative terms, over the past fifteen years or so as the study of reception of classical material’. Charles Martindale, credited with throwing down the receptive gauntlet some twenty years ago, recently wrote an essay on the flourishing state of this subfield within classics, reporting that reception studies have proven classics to be not ‘something fixed, whose boundaries can be shown.’ He adds the following:Many classicists (though by no means the majority) are in consequence reasonably happy, if only to keep the discipline alive in some form, to work with an enlarged sense of what classics might be, no longer confined to the study of classical antiquity ‘in itself’—so that classics can include writing about Paradise Lost, or the mythological poesie of Titian, or the film Gladiator, or the iconography of fascism.

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14

Scheijnen, Tine. "Homerus lezen met Quintus van Smyrna." Lampas 51, no. 2 (January 1, 2018): 126–43. http://dx.doi.org/10.5117/lam2017.2.005.sche.

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Summary The death of Priam by the hands of Achilles’ son Neoptolemus (Pyrrhus) is a popular episode in the Trojan tradition. Quintus of Smyrna’s version invites a creative dialogue with Vergil’s (Latin) Aeneid and Triphiodorus’ (Greek) Sack of Ilion. All of these texts look back on Iliad 24 from varying perspectives, creating a complex interplay which Quintus thematizes in book 13 of his Greek epic sequel to Homer (Posthomerica, third century AD). A diptych of two scenes, in which old men are killed by Greek heroes, serves to juxtapose two possible interpretations of this situation – one underlining the cruelty of the sack of Troy, the other bewailing the misery of a long life – and presents the reader with a moral dilemma. Heroic ideology and the tragedy of mortality clash on a level more explicit than in the Iliad. Quintus’ choices on an intertextual level thus enhance the overall narrative agenda of his own epic, on an intratextual level. This episode broaches a wide scope of narrative reflections, including the complex interaction of literary sources (mainly Homer reception), narrative composition and characterization, and themes such as heroism and pathos in war literature.

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15

Gerolemou, Maria. "Zur Auffassung des Wunders in der griechischen Tragödie." Mnemosyne 71, no. 5 (September 13, 2018): 750–76. http://dx.doi.org/10.1163/1568525x-12342310.

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AbstractThe article focuses on miracles in Greek tragedy as an essential factor in pushing forward the frontiers of intellectual experience based on the notion of credibility rather than on the negative analysis of the term as an affirmation of truth conditions. Three questions are raised: a) How and when are certain events and phenomena perceived as miracles? b) Do miracles as phenomena beyond the cognitive grasp question the authenticity of human experience and knowledge? c) Does the miraculous contribute to the construction of an authorial identity? The study concentrates on Euripides’ tragedies which, in indicating a feeble human understanding and reception, recognize the limits of human’s cognitive reach; Euripides draws a clear line between the sophos, god or man, who can design a miracle-scene and thus form and reform religious consciousness and the receiver of the wonder-spectacle from whom the mechanisms that govern the miracle are hidden.

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16

LADA-RICHARDS, ISMENE. ""By Means of Performance": Western Greek Mythological Vase-Paintings, Tragic "Enrichment," and the Early Reception of Fifth-century Athenian Tragedy." Arion: A Journal of the Humanities and the Classics 17, no. 2 (2009): 99–166. http://dx.doi.org/10.1353/arn.2009.0002.

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17

Zvonska, Lesia. "UKRAINIAN TRANSLATIONS OF ANCIENT GREEK LITERATURE: ACHIEVEMENTS AND PROSPECTS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 30 (2021): 17–20. http://dx.doi.org/10.17721/1728-2659.2021.30.5.

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The article presents the history of Ukrainian translations of ancient Greek literature and describes the translation work of Ukrainian classical philologists, poets and prose writers. The reception of literary works of antiquity is represented by texts of different styles, poetic schools and Ukrainian language of different periods, which demonstrate the glorious tradition of domestic translation studies. It is noted that Ukrainian translations have a long history (from the first translation in 1788 and the first textbook in 1809); they were published in separate periodicals, collections, almanacs, as well as complete books and in textbooks and anthologies. Ukrainian translations of literature in the ancient Greek language of the аrchaic, сlassical and Hellenistic periods are analyzed. Translations of poetry (epic, elegy, iambic, monodic and choral lyrics, tragedy, comedy, folk lyrics, mimiyamb, epilium, bucolic, idyll, epigram) and prose (fable, historiography, philosophy, rhetoric, fiction, ancient novel, New Testament and Septuagint, early Christian patristic) are described. Significant in the history of translations are the achievements of the brilliant connoisseur of antiquity I. Franko. The high level of linguistic and stylistic assimilation of ancient Greek prose and poetic texts is demonstrated by the creative style of such outstanding translators as Borys Ten, V.Svidzinsky, M. Bilyk, G. Kochur, A. Smotrych, V. Derzhavуn, V. Samonenko, P. Striltsiv, A. Tsisyk, Y.Mushak, A. Biletsky, V. Maslyuk, J. Kobiv, Y. Tsymbalyuk, L. Pavlenko.The glorious traditions are continued by well-known antiquaries, writers and poets, among whom A. Sodomora has a prominent place. At the level of world biblical studies there are four translations of the Holy Scripture in Ukrainian (P. Kulish, I. Pulyuy, I. Nechuy-Levytsky, I. Ogienko, I. Khomenko, R. Turkonyuk). Іt is summarized that despite numerous Ukrainian translations of various genres of ancient Greek literature there is a need to create a corpus of translations of ancient Greek historiography, rhetoric, philosophy, natural science texts, Greek patristic.

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18

Bridges, Emma, and Joanna Paul. "Reception." Greece and Rome 65, no. 2 (September 17, 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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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, no. 3 (November 22, 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.

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Анотація:

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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20

Kocijančič, Matic. "Truly Bewept, Full of Strife: The Myth of Antigone, the Burial of Enemies, and the Ideal of Reconciliation in Ancient Greek Literature." Clotho 3, no. 2 (December 24, 2021): 55–72. http://dx.doi.org/10.4312/clotho.3.2.55-72.

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In postwar Western culture, the myth of Antigone has been the subject of noted literary, literary-critical, dramatic, philosophical, and philological treatments, not least due to the strong influence of one of the key plays of the twentieth century, Jean Anouilh’s Antigone. The rich discussion of the myth has often dealt with its most famous formulation, Sophocles’ Antigone, but has paid less attention to the broader ancient context; the epic sources (the Iliad, Odyssey, Thebaid, and Oedipodea); the other tragic versions (Aeschylus’s Seven Against Thebes and his lost Eleusinians; Euripides’s Suppliants, Phoenician Women, and Antigone, of which only a few short fragments have been preserved); and the responses of late antiquity. This paper analyses the basic features of this nearly thousand-year-long ancient tradition and shows how they connect in surprising ways – sometimes even more directly than Sophoclean tragedy does – with the main issues in some unique contemporary traditions of its reception (especially the Slovenian, Polish and Argentine ones): the question of burying the wartime (or postwar) dead and the ideal of reconciliation.

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21

Valls-Russell, Janice. "Book review: Homer and Greek Tragedy in Early Modern England’s Theatres, Classical Receptions Journal." Cahiers Élisabéthains: A Journal of English Renaissance Studies 98, no. 1 (March 22, 2019): 132–35. http://dx.doi.org/10.1177/0184767818821603a.

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22

Griffiths, E. M. "Reception and history of scholarship - (S.) Goldhill How to Stage Greek Tragedy Today. Chicago: University of Chicago Press, 2007. Pp. 248. £10.50. 9780226301280." Journal of Hellenic Studies 129 (November 2009): 264–65. http://dx.doi.org/10.1017/s0075426900004195.

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23

Smit, Betine Van Zyl. "US RECEPTION OF GREEK TRAGEDY - (H.P.) Foley Reimagining Greek Tragedy on the American Stage. (Sather Classical Lectures 70.) Pp. xvi + 375, ills. Berkeley, Los Angeles and London: University of California Press, 2012. Cased, £65, US$95. ISBN: 978-0-520-27244-6." Classical Review 64, no. 1 (March 20, 2014): 287–89. http://dx.doi.org/10.1017/s0009840x13003405.

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24

Samoylova, Mariya P. "Reception of the Ancient Myth of the Atreides in Woody Allen’s Cassandra’s Dream." Imagologiya i komparativistika, no. 17 (2022): 112–21. http://dx.doi.org/10.17223/24099554/17/6.

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Анотація:

Modern Western artistic culture receives the Antiquity as the ancient myth. The myth of the Atreides enjoys an increased attention of playwrights in Western Europe and the United States, since it raises the universal issues of crime and punishment, awareness of guilt and assertion of truth. This article focuses on the reception of the Atreides myth in Woody Allen’s Cassandra ’s Dream. The article analyses the cultural dialogue between Antiquity and Modernity: the director has transferred the ancient plot to modern reality and endowed the Americans with the features of ancient heroes. The plot of the film develops around a murder committed by the brothers for financial gain. It correlates with the murder of Agamemnon as well as his wife and Aegisthus. Ian’s determination is reminiscent of Elektra’s behavior: he incites his brother to commit a crime and feels no repentance after the murder has occurred. Like Euripides’s Orestes, the other brother, Terry, cannot calm down after the crime, saying that he repents and wants to open himself to the police in order to suffer a well-deserved punishment. In the conflict between the brothers, killing a brother is the only way out of the situation, although Ian says that he feels the same “strange vision”: he must kill again. While ancient heroes act under the will of gods, which gives the impression of conscious and controlled actions, modern heroes are driven by circumstances. While heroes of ancient literature take murders for granted, as a legitimate revenge or even a feat, modern artistic culture focuses on the ethical side of the bloodshed. A modern human is dominated by a new Christian morality, which though oftentimes unrealized, affects human desires and functions as a source of ethical reflections. The story of the heroes, consisting of a chain of uncontrollable events, would seem to confirm the unpredictability of life and the total dependence of people on circumstances. Fatalism is an integral part of the ancient worldview: it is not by chance that “Fate” is personified and becomes a separate character in ancient Greek tragedy. However, modern culture affirms human independence and freedom, which Terry discoveres at a moment of spiritual enlightenment after committing a crime, followed by utter repentance. The finale of the film is strikingly different from the ancient interpretations of the myth of the Atreides: the killer-heroes die. The reception of antiquity in American culture of the 21st century is a reflection on what determines the behavior of a modern person in a critical situation, similar to that in ancient mythology, as well as what is the modern attitude of a criminal to their crime. Appealing to the ancient myth, Woody Allen proves that Christian morality allows making the right, “human” decision even in the most difficult circumstances. At the same time, he shows the duality of modern culture: the imposed ideals of mass culture beguile a morally developed person, who gets illusory freedom for a lost self-identity. The author declares no conflicts of interests.

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25

Mairowitz, David Zane. "Greek Tragedy." Missouri Review 39, no. 1 (2016): 142–55. http://dx.doi.org/10.1353/mis.2016.0013.

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26

Grigoriadis, Ioannis N. "Greek Tragedy." World Policy Journal 28, no. 2 (2011): 101–9. http://dx.doi.org/10.1177/0740277511411665.

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27

Fischer-Lichte, Erika. "V. LIAPIS, M. PAVLOU and A.K. PETRIDES (eds) Debating with the Eumenides: Aspects of the Reception of Greek Tragedy in Modern Greece (Pierides 8). Newcastle upon Tyne: Cambridge Scholars Publishing, 2017. Pp. 260. £61.99. 9781443879644." Journal of Hellenic Studies 139 (October 11, 2019): 287–88. http://dx.doi.org/10.1017/s0075426919000533.

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28

Ranger, Holly. "N. WORMAN Virginia Woolf’s Greek Tragedy. (Classical Receptions in Twentieth-Century Writing). London and New York: Bloomsbury Academic, 2018. Pp. 168. ￡80. 9781474277822." Journal of Hellenic Studies 141 (November 2021): 313–14. http://dx.doi.org/10.1017/s0075426921000811.

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29

Thalmann, William G., and Simon Goldhill. "Reading Greek Tragedy." Classical World 81, no. 4 (1988): 328. http://dx.doi.org/10.2307/4350217.

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30

Torrance, Isabelle, and R. Garland. "Surviving Greek Tragedy." Classics Ireland 12 (2005): 93. http://dx.doi.org/10.2307/25528428.

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31

Kovacs, George. "Introducing Greek Tragedy." Mouseion: Journal of the Classical Association of Canada 10, no. 1 (2010): 69–75. http://dx.doi.org/10.1353/mou.2010.0028.

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32

Campbell, Peter A. "Postdramatic Greek Tragedy." Journal of Dramatic Theory and Criticism 25, no. 1 (2010): 55–74. http://dx.doi.org/10.1353/dtc.2010.0017.

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33

Varakis-Martin, Angeliki. "Acting Greek Tragedy." Studies in Theatre and Performance 36, no. 1 (December 16, 2015): 89–90. http://dx.doi.org/10.1080/14682761.2015.1099214.

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34

Costas Douzinas. "The Greek Tragedy." Journal of Modern Greek Studies 28, no. 2 (2010): 285–92. http://dx.doi.org/10.1353/mgs.2010.0419.

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35

Kokkoris, Ioannis, Rodrigo Olivares-Caminal, and Kiriakos Papadakis. "The Greek Tragedy." Journal of Banking Regulation 11, no. 4 (September 2010): 257–59. http://dx.doi.org/10.1057/jbr.2010.19.

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36

Kritikos,, Alexander S., and Christian Dreger. "The Greek Crisis: A Greek Tragedy?" Vierteljahrshefte zur Wirtschaftsforschung 84, no. 3 (September 2015): 5–8. http://dx.doi.org/10.3790/vjh.84.3.5.

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37

ChoiHaeYoung. "Book Review - Greek Tragedy." Journal of Classical Studies ll, no. 53 (December 2018): 283–87. http://dx.doi.org/10.20975/jcskor.2018..53.283.

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38

Buxton, R. G. A. "Bafflement in Greek Tragedy." Mètis. Anthropologie des mondes grecs anciens 3, no. 1 (1988): 41–51. http://dx.doi.org/10.3406/metis.1988.903.

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39

Koulouris, Theodore. "Virginia Woolf’s Greek Tragedy." Contemporary Women's Writing 13, no. 2 (July 2019): 249–51. http://dx.doi.org/10.1093/cww/vpz013.

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40

Easterling, P. E. "Anachronism in Greek tragedy." Journal of Hellenic Studies 105 (November 1985): 1–10. http://dx.doi.org/10.2307/631518.

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Анотація:

Anachronism-hunting has been out of fashion with scholars in recent times, for the good reason that it can easily seem like a rather trivial sort of parlour game. But given that Greek tragedy draws so heavily on the past, a close look at some examples may perhaps throw light on a far from trivial subject, the dramatists' perception of the heroic world.So long as anachronism was treated as an artistic failing the debate was bound to be unproductive; one can symphathise with Jebb's view (on Soph. El. 48 ff.) that Attic tragedy was ‘wholly indifferent’ to it. And one can see why later scholars have objected to the very idea of anachronism as irrelevant and misleading. Ehrenberg, for example, wrote in 1954: ‘It is entirely mistaken to distinguish between mythical and thus quasi-historical features on the one hand and contemporary and thus anachronistic on the other. There is always the unity of the one poem or play, displaying the ancient myth, although shaped in the spirit of the poet's mind and time.’

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41

Silk, M. S. "Heracles and Greek Tragedy." Greece and Rome 32, no. 1 (April 1985): 1–22. http://dx.doi.org/10.1017/s0017383500030096.

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Heracles was the greatest and the strangest of all the Greek heroes. A long list of superhuman acts of strength and courage stood to his name, and above all else the famous twelve labours, which began with the killing of the Nemean lion and.ended in the capture of the monstrous watchdog Cerberus in Hades. He was a great slayer of monsters, also a great civilizer, founding cities, warm springs, and (as Pindar was fond of reminding his audiences) the Olympic festival. He suffered prodigiously, and he maintained prodigious appetites, for food, drink, and women. He may have had friends, but none close (as, say, Patroclus and Achilles were close), but he did have one implacable and jealous enemy, the goddess Hera. He had two marriages: the first set of wife and children he killed in a fit of madness; the second brought about his own death. He was the son of a mortal woman, Alcmena, and the god Zeus, with Amphitryon as a second, mortal, father; and after his death (by most accounts) he became a god himself and lived on Olympus.

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42

Rosslyn, F. "Lorca and Greek Tragedy." Cambridge Quarterly XXIX, no. 3 (March 1, 2000): 215–36. http://dx.doi.org/10.1093/camqtly/xxix.3.215.

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43

Rogers, Arthur. "Greek human-rights tragedy." Lancet 344, no. 8936 (December 1994): 1563. http://dx.doi.org/10.1016/s0140-6736(94)90363-8.

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44

Rosslyn, F. "Lorca and Greek Tragedy." Cambridge Quarterly 29, no. 3 (March 1, 2000): 215–36. http://dx.doi.org/10.1093/camqtly/29.3.215.

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45

Williams, Nigel. "A Greek summer tragedy." Current Biology 17, no. 16 (August 2007): R615. http://dx.doi.org/10.1016/j.cub.2007.07.051.

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46

Foley. "Choral Identity in Greek Tragedy." Classical Philology 98, no. 1 (2003): 1. http://dx.doi.org/10.2307/1215532.

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47

Gurd, Sean, and Helene P. Foley. "Female Acts in Greek Tragedy." Phoenix 57, no. 1/2 (2003): 150. http://dx.doi.org/10.2307/3648495.

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48

Åslund, Anders. "Lessons from the Greek tragedy." Acta Oeconomica 68, s2 (December 2018): 71–84. http://dx.doi.org/10.1556/032.2018.68.s2.4.

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The Greek financial crisis that erupted in 2010 was possibly cured after 8 years in 2018. It has been extraordinary in its social cost and its cost to European taxpayers. The causes of this failure are multiple. The main burden lies with consecutive Greek governments that did not carry out the necessary fiscal adjustment and reforms. In their lack of urgency they were strongly supported by American economists, especially Paul Krugman, who opposed austerity and instead called for fiscal stimulus, ignoring the need for financial stability. Much of this discussion was devoted to the benefits or harm of the Eurozone, which eventually hardly mattered. The crisis resolution was complicated by the European Union wanting to play a big role but not knowing how and weakening the traditional role of the International Monetary Fund. The key lessons are back to basics: A government needs to act hard and fast to resolve a severe financial crisis. The IMF is the best leader for financial stabilization. Early and fast fiscal adjustment brings about early financial stabilization, more structural reforms and early and higher growth.

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49

Bowman, Laurel. "Tragedy and Archaic Greek Thought." Phoenix 68, no. 1-2 (2014): 157–59. http://dx.doi.org/10.1353/phx.2014.0037.

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50

Clark. "Reported Speech in Greek Tragedy." Illinois Classical Studies 45, no. 1 (2020): 1. http://dx.doi.org/10.5406/illiclasstud.45.1.0001.

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