1,720,967 research outputs found
Book Review: Sean Alexander Gurd, Iphigenias at Aulis: Textual Multiplicity, Radical Philology
No full textTemple University. College of Liberal ArtsGreek and Roman Classic
Euripides' Hippolytus and the Trials of Manhood (The Ephebia?)
No full textThis essay focuses on a particular aspect of Hippolytus' social nature in Euripides' drama, his status as an ephebe, and the relationship between Euripides' drama and the ephebia. My goal is to show how the drama engages certain Athenian social rituals as an integral part of its form and meaning. Through a close study of the play's language, we will find that the drama's text embodies and enacts these social structures as Hippolytus undergoes a passage to a manhood that he can only achieve in death. I pursue this inquiry in the light of recent work by Vidal-Naquet and Winkler on the ephebia and Greek drama, examining the social function of Euripides' drama, its evocation and imitation of specific Athenian social practices, and the way the text's language specifically negotiates these practices.Temple University. College of Liberal ArtsGreek and Roman Classic
Aeschylus Eumenides
No full textThe "Eumenides", the concluding drama in Aeschylus' sole surviving trilogy, the "Oresteia", is not only one of the most admired Greek tragedies, but also one of the most controversial and contested, both to specialist scholars and public intellectuals. It stands at the crux of the controversies over the relationship between the fledgling democracy of Athens and the dramas it produced during the City Dionysia, and over the representation of women in the theatre and their implied status in Athenian society. The "Eumenides" enacts the trial of Agamemnon's son Orestes, who had been ordered under the threat of punishment by the god Apollo to murder his mother Clytemnestra, who had earlier killed Agamemnon.In the "Eumenides", Orestes, hounded by the Eumenides (Furies), travels first to Delphi to obtain ritual purgation of his mother's blood, and then, at Apollo's urging, to Athens to seek the help of Athena, who then decides herself that an impartial jury of Athenians should decide the matter. Aeschylus thus presents a drama that shows a growing awareness of the importance of free will in Athenian thought through the mythologized institution of the first jury trial.Cover -- Contents -- Acknowledgements -- Preface -- 1. Aeschylus the Athenian -- 2. Eumenides and Greek Myth and Religion -- 3. The Theatre of Aeschylus -- 4. The Play and its Staging -- 5. Justice, Law, and Athenian Politics in Eumenides -- 6. The Reception of Eumenides: Ancient Tragedy, Gender, and the Modern World -- Notes -- Guide to Further Reading -- Bibliography -- Glossary -- Chronology -- Index -- A -- B -- C -- D -- E -- H -- I -- J -- K -- M -- N -- O -- P -- S -- T -- V -- ZThe "Eumenides", the concluding drama in Aeschylus' sole surviving trilogy, the "Oresteia", is not only one of the most admired Greek tragedies, but also one of the most controversial and contested, both to specialist scholars and public intellectuals. It stands at the crux of the controversies over the relationship between the fledgling democracy of Athens and the dramas it produced during the City Dionysia, and over the representation of women in the theatre and their implied status in Athenian society. The "Eumenides" enacts the trial of Agamemnon's son Orestes, who had been ordered under the threat of punishment by the god Apollo to murder his mother Clytemnestra, who had earlier killed Agamemnon.In the "Eumenides", Orestes, hounded by the Eumenides (Furies), travels first to Delphi to obtain ritual purgation of his mother's blood, and then, at Apollo's urging, to Athens to seek the help of Athena, who then decides herself that an impartial jury of Athenians should decide the matter. Aeschylus thus presents a drama that shows a growing awareness of the importance of free will in Athenian thought through the mythologized institution of the first jury trial.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Book Review: Alan H. Sommerstein (ed. and trans.), Aeschylus (I, II, III)
No full textTemple University. College of Liberal ArtsGreek and Roman Classic
Book Review: J. Michael Walton, Euripides Our Contemporary
No full textTemple University. College of Liberal ArtsGreek and Roman Classic
Book Review: Judith Mossman, Wild Justice: A Study in Euripides’ Hecuba
No full textTemple University. College of Liberal ArtsGreek and Roman Classic
Book Review: Donald J. Mastronarde, The Art of Euripides. Dramatic Technique and Social Context
No full textTemple University. College of Liberal ArtsGreek and Roman Classic
Book Review: Peter Wilson, The Greek Theatre and Festivals: Documentary Studies. Oxford Studies in Ancient Documents
No full textTemple University. College of Liberal ArtsGreek and Roman Classic
Miasma, Mimesis, and Scapegoating in Euripides' "Hippolytus"
No full textEuripides, as Rene Girard observes of Shakespeare, "in the portrayal of certain characters seems to oscillate between two opposite, really incompatible poles. On the one hand he makes these characters quite distinctive, especially as 'villains'; on the other hand he shows these same characters behaving and thinking exactly like their antagonists."1 Thus in the Hippolytus, quite different characters come to act like their opponents in the course of the play's action. The young virgin Hippolytus comes to sound and act like the mature, sexually experienced Phaedra; Phaedra like Hippolytus; and Theseus like Hippolytus. Even Artemis resembles her opposite, Aphrodite, at the play's end. Furthermore, all characters seek eventually to revenge themselves reciprocally on one another, and in this reciprocity arises the play's disaster. I shall attempt to show how these two processes unfold in Euripides' Hippolytus.Temple University. College of Liberal ArtsGreek and Roman Classic
Book Review: Judith Mossman (ed.), Euripides
No full textTemple University. College of Liberal ArtsGreek and Roman Classic
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