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A Systematic Ornithological Study of the Northern Region of Iranian Plateau, Including Bird Names in Native Language
Available online a t www.pelagiaresearchlibrary.com Pelagia Research Library European Journal of Experimental Biology, 2012, 2 (1):222-241 ISSN: 2248 –9215 CODEN (USA): EJEBAU A systematic ornithological study of the Northern region of Iranian Plateau, including bird names in native language Peyman Mikaili 1, (Romana) Iran Dolati 2,*, Mohammad Hossein Asghari 3, Jalal Shayegh 4 1Department of Pharmacology, School of Medicine, Urmia University of Medical Sciences, Urmia, Iran 2Islamic Azad University, Mahabad branch, Mahabad, Iran 3Islamic Azad University, Urmia branch, Urmia, Iran 4Department of Veterinary Medicine, Faculty of Agriculture and Veterinary, Shabestar branch, Islamic Azad University, Shabestar, Iran ________________________________________________________________________________________________________________________________________________ ABSTRACT A major potation of this study is devoted to presenting almost all main ornithological genera and species described in Gilanprovince, located in Northern Iran. The bird names have been listed and classified according to the scientific codes. An etymological study has been presented for scientific names, including genus and species. If it was possible we have provided the etymology of Persian and Gilaki native names of the birds. According to our best knowledge, there was no previous report gathering and describing the ornithological fauna of this part of the world. Gilan province, due to its meteorological circumstances and the richness of its animal life has harbored a wide range of animals. Therefore, the nomenclature system used by the natives for naming the animals, specially birds, has a prominent stance in this country. Many of these local and dialectal names of the birds have been entered into standard language of the country (Persian language). The study has presented majority of comprehensive list of the Gilaki bird names, categorized according to the ornithological classifications. -
Suffering in Silence: Victims of Rape on the Tragic Stage. in PJ Finglass, & L
Finglass, P. J. (2020). Suffering in silence: victims of rape on the tragic stage. In P. J. Finglass, & L. Coo (Eds.), Female Characters in Fragmentary Greek Tragedy (pp. 87–102). Cambridge University Press. https://doi.org/10.1017/9781108861199.008 Peer reviewed version Link to published version (if available): 10.1017/9781108861199.008 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Cambridge University Press at https://www.cambridge.org/core/books/female-characters-in-fragmentary- greek-tragedy/suffering-in-silence/527E8EDEFB0B1AE7BD4A9AA507BC72DD. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ CHAPTER 6 Suffering in silence: victims of rape on the tragic stage P. J. Finglass One of the most moving scenes in Sophocles takes place immediately after the first choral song of his Trachiniae (141–496). To the chorus, who have entered to console Deianira as she longs for the return of her husband Heracles, Deianira describes the sorrows of marriage; in her view, marriage brings pain to a woman because it constantly causes her anxiety for her husband or her children. A Messenger suddenly enters with good news: Heracles is alive, having recently triumphed in a battle, and is shortly to return. -
Teknophagy and Tragicomedy: the Mythic Burlesques of Tereus and Thyestes
This is a repository copy of Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/126374/ Version: Accepted Version Article: Haley, M orcid.org/0000-0002-7697-3568 (2018) Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. Ramus, 47 (2). pp. 152-173. ISSN 0048-671X https://doi.org/10.1017/rmu.2018.12 © Ramus 2019. This article has been published in a revised form in Ramus: https://doi.org/10.1017/rmu.2018.12. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Ramus Submission 2017 Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes Teknophagy (τεκνοφαγία), or child-eating, is an apt subject for tragedy. -
The Voiceless Procne and the Absent Philomela in Aristophanes' Birds
The Silence of the Shuttle: The Voiceless Procne and the Absent Philomela in Aristophanes’ Birds In the Birds, Aristophanes creates an odd, jarring sequel to Sophocles’ Tereus through the figures of Tereus and Procne: Procne and Tereus are living together among the birds as a happily reunited couple; their dead son Itys is only mentioned as a figure to be mourned; and the other events that made up the plot of Sophocles’ now fragmentary tragedy—Tereus’ rape of Procne’s sister Philomela, Procne’s subsequent murder of her own son—are not mentioned at all. Procne, furthermore, never speaks, and Philomela is completely absent, her name not even appearing in Aristophanes’ comedy. In this paper, I argue that, through Procne’s voicelessness and Philomela’s conspicuous absence, Aristophanes sets up Procne as a double for her sister, and this doubling is emblematic of the larger narrowing of women’s roles in the comic utopia of the Birds. Procne is also a double in one other, important respect: Although she is introduced as Tereus’ wife, the details given about her costuming indicate that she is costumed as a prostitute—an auletris, more specifically—and Tereus seems unconcerned with presenting her as an object of sexual fantasy to the other male birds. Thus, she occupies the roles of both a wife and a prostitute. This telescoping of female roles is part of the atmosphere of sexual freedom that Peisetairos and Euelpides hope for when they go to live among the birds; Euelpides hopes to live in a city where another man will scold him for not fondling his beautiful young son while leaving the gymnasium (Birds 137-142), and they find in Tereus a man who invites them to “play” (παίζωμεν, 660) with his beautiful and scantily clad wife. -
Men and Birds
HVMAN1TAS -Vol. LII (2000) HELLMUT FLASHAR Ludwig-Maximilicms-Universitat Miinchen MEN AND BIRDS The topic of this paper is the Birds of Aristophanes. First I shall give some facts for those who might not wholly remember this comedy. The Birds, which is with 1765 lines, 22 roles and at least 5 actors the longest of all extant classical tragedies, was first produced in 414 BC, under rather turbulent political circumstances in Athens. The Sicilian expedition which had been started one year before was in full swing, even if the disaster of 413 could not yet be forseen. However, Alcibiades was recalled to stand trial for impiety, fled to Argos, was in absence condemned to death, and finally made politics against the official Athens from Sparta. These political circumstances are hardly noticed in the Birds: there are only a few marginal allusions to Nicias and the expedition against Sicily. Rather the opposite can be found: a mentality of escapism and a flight from reality, as the two main characters, Peisetairos and Euelpides, weary of Athens, leave the city to make their home in the area of the birds. This structure is certainly analogous to the Sicilian expedition — leaving Athens and heading for destinations which are distant and relatively unknown — but the comedy's atmosphere still differs greatly from this context. The political features which really dominate Aristophanes' earlier comedies are replaced by fairytale, the animal comedy known to us only from a few fragments of other poets of Old Comedy (Crates, Eupolis, Magnes), and Utopia in a literal sense, as the two main characters are going to build a new city in the nowhere of the clouds, in "Cloudcuckooland". -
Tereus in Fragments: a Lost Play of Sophocles
TEREUS IN FRAGMENTS: A LOST PLAY OF SOPHOCLES by Lisa Maurizio Lewiston ME 04240 [email protected] Tereus in Fragments is based on an ancient Greek myth about Tereus’ (male) violence and Philomela and Procne’s (female) revenge. It has been the subject of several modern dramas, most recently Joanna Laurens’ The Three Birds. Lisa Maurizio’s Tereus in Fragments: A Lost Play of Sophocles, however, differs from most modern adaptations of this myth in several respects. Her play more closely follows ancient tragic Greek conventions, especially Sophocles’ original, though now largely lost, tragedy Tereus. Philomela, for example, is a mute character in this play, as she seems to have been in Sophocles’ Tereus. In addition, Maurizio has translated and incorporated the few lines that survive from Sophocles’ play. More notably, Maurizio focuses less on Tereus’ violence (or male violence in general, the theme of many modern adaptations of this myth) and more on Procne’s longing for her sister and the fluidity of female identity. To this end, Maurizio has incorporated women’s poetry from around the world in her script, from Sappho’s ancient Greek lyrics to Forugh Farrokhzad’s modern Iranian verse. Copyrighted by Lisa Maurizio This script is available for performance and production on the condition that the author is acknowledged and notified. Changes to the script require the author’s permission. TEREUS IN FRAGMENTS: A LOST PLAY OF SOPHOCLES CHARACTERS Procne - young woman Tereus - man Philomela - mute young woman Nurse - old woman Itys - boy Servant - old man Chorus of Sirens - 3 bird-women when no mark appears, all three speak together, otherwise different voices are indicated by *, #, ^ ACT I Procne, an Athenian princess who resides in Thrace with her husband Tereus, desires to see her sister Philomela. -
The Story of Procne, Philomela, and Tereus at First Seems to Lack the Kind of Links to Contemporary Roman Ideology and Spectacul
CHAPTER 5 The story of Procne, Philomela, and Tereus at first seems to lack the kind of links to contemporary Roman ideology and spectacular praxis that formed the starting points for our reading of the Pentheus tale. Yet it is in part the deliberate turning aside of such recognizably Roman fea tures within the narrative that gives it its programmatic importance for understanding the dialogue Ovid creates between the visual experience of metamorphosis his text offers and the world of civic ritual and spec tacular performance. The tale's obviously tragic parallels, even as they confirm its status as a Greek, as opposed to Roman, story will draw our attention from the arena to the theater, another mode of spectacle that enmeshed the spectator in a complex fixing of the borders between real ity and representation. I begin by arguing that Ovid's treatment of eth nicity and gender in the episode recalls anxieties that recur specifically in discussions of the effects of theatrical performance and that, as we saw in the preceding chapter's treatment of the Pentheus episode, focusing these anxieties through the phenomenon of metamorphosis "textualizes" them, allowing his poem to comment on the theatrical experience and to reproduce it. One factor that accentuated the potential seams between what happened on a Roman stage and the real-world experience of its spectators was precisely that these foreign performances were so care fully integrated into the civic life of the Roman state. As the next stage in my argument, I try to demonstrate that Ovid creates a similar effect within his narrative by correlating a tragic view of the narrated events with other discursive frameworks: in particular, the rape of Philomela is read against the foundational historical episode of Lucretia and also em bedded within the Roman ritual calendar. -
The Nightingale's Lament and Itys' Identity in Ovid's Metamorphoses
The Nightingale’s Lament and Itys’ Identity in Ovid’s Metamorphoses A thesis submitted by Michal Hannah Sagal In partial fulfilment for the requirements for the degree of Masters of Arts in Classics Tufts University May 2016 Adviser: Professor Marie-Claire Beaulieu ii ABSTRACT The story of the nightingale has many versions, but these can be reduced to two plots from which the others grow. In the first, Aedon, married to Zethus, kills her son by accident. She intends to kill the oldest son of Niobe, who is married to the brother of Aedon’s husband. In the second version, Procne kills her son to avenge the rape of her sister, Philomela, at the hands of Procne’s own husband. The stories end in the same way: both mothers are transformed into a nightingale and lament their son Itys, singing his name eternally. In most versions of the story, Itys’ identity is defined by the nightingale’s lament. Ovid, however, suppresses the lament. The effect of this is to give Itys and his mother, Procne, identities that are separate from the nightingale’s lament, and to give Itys a voice of his own. iii ACKNOWLEDGMENTS This project was over a year in the making, from seedling idea and initial research to the final product. After all this time, I owe thanks to quite a few people. First and foremost to Professor Marie-Claire Beaulieu, my adviser throughout this whole process. She patiently read and thoroughly commented on anything I sent to her for review, from snippet of an introduction to in-progress outline to full, final paper. -
Greek Mythology / Apollodorus; Translated by Robin Hard
Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard. -
THPET! TEREUS in the Odyssey the Father of the Nightingale Is Pan Detection Cuts out Her Tongue
FRAGMENTS OF KNOWN PLAYS THPET! TEREUS In the Odyssey the father of the nightingale is Pan detection cuts out her tongue. According to some versions dareus and her son is 7.ethus, but in Hesiod she is daugh Tereus had pretended that she had died on the journey, ter of Pandion, who was king of Athens. In Aeschylus' but in fact she had got away and was hiding somewhere in Suppliant Women she is wife of Tereus, but the earliest the wilds. There she wove a picture of what had hap full account of her stonJ that we know of is that of this pened into a tapestry, and contrived to send it to her sis play. A hypothesis published in 1974 (P.Oxy. 3013) seems ter: Procne revenged herself on her husband by killing to have been closely followed by Tzetzes. Other accounts their son Itys-the name sometimes appears as Itylus confonn in general to this, but it is hazardous to tryto use and seroing him up to his father as a meal. Tereus having the Tereus of Accius or Ovid's Metamorphoses in learned the truth pursued the two women with a sword, attempts at detailed reconstruction. but the gods interoened, changing Tereus into a hoopoe, Procne, daughter of Pandion, king of Athens, is mar Philomela into a swallow, and Procne into a nightingale, ried to the Thracian king Tereus; some authors say that who never. ceases to lament her son. The Roman poets she was given to him as a rewardfor his help in war: After made Procne the swallow and Philomela the nightingale, a time she is lonely, and asks Tereus to travel to Athens and most later poets have followed them. -
Cruelty, Tenderness and Anger
Cruelty, tenderness and anger: ensuring the Women of Trachis speak to our times BUSH, Sophie <http://orcid.org/0000-0002-4382-7089> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/24225/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version BUSH, Sophie (2019). Cruelty, tenderness and anger: ensuring the Women of Trachis speak to our times. Journal of Adaptation in Film and Performance, 12 (1-2), 5-18. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Cruelty, Tenderness and Anger: Ensuring the Women of Trachis Speak to Our Times KEYWORDS Crimp; Wertenbaker; Sophocles; Tenderness; Anger; Voice ABSTRACT At a time when the vocality of women’s anger seems particularly pertinent, this article examines two contemporary adaptations of Sophocles’ Women of Trachis, both of which draw our attention to the abused and traditionally mute character of Iole. Timberlake Wertenbaker’s 1999 radio adaptation, Dianeira, illustrates dramatically the perils of keeping Iole silent; whilst Martin Crimp’s 2004 stage adaptation, Cruel and Tender, imagines the result of giving her a voice. This article considers how both plays resonate with the gendered and international conflicts of the contemporary world. ARTICLE A lot of women will be very angry. Some might even take to the streets. But this won’t be the tipping point. There won’t be a tipping point, there never is. There will just be the subterranean lava flow of women’s anger – slow, blistering, savage and inexorable. -
Studies in Sophocles￢ﾀﾙ Tereus
A Tale of Two Sisters: Studies in Sophocles’ Tereus Lyndsay Coo Transactions of the American Philological Association, Volume 143, Number 2, Autumn 2013, pp. 349-384 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/apa.2013.0016 For additional information about this article https://muse.jhu.edu/article/527826 Access provided by Skidmore College (24 May 2017 19:37 GMT) Transactions of the American Philological Association 143 (2013) 349–384 A Tale of Two Sisters: Studies in Sophocles’ Tereus * lyndsay coo University of Bristol summary: This paper aims to reassess the role of sister- and siblinghood in the fragmentary Tereus of Sophocles, a play unusual in its dramatization of a close and collaborative relationship between two sisters. The plot hinges on their recognition and reunion, and the all-female bond of sisterhood is shown to outweigh both wife-husband and mother-son obligations. Finally, a close read- ing of three fragments suggests that the play was characterized by the language and imagery of siblinghood, which reflect the thematic centrality of sisterhood to this tragedy. sophocles’ tereus, which survives in seventeen fragments (TrGF 581–95b),1 portrayed a relationship between two sisters more remark- able than any other we know of from the Greek tragic stage. The Thracian king Tereus raped Philomela, the sister of his wife Procne, and cut out her tongue. In revenge, Procne killed her own son Itys, cooked him and fed him to Tereus. In dramatizing this myth Sophocles placed a bond of sisterhood at the core of his dramatic plot. Despite this, owing to the fragmentary nature of the text, Tereus is very seldom invoked in discussions of Sophoclean sisterhood * Preliminary thoughts on this material were presented to the Centre for Ancient Drama and its Reception at the University of Nottingham in February 2011, the Cambridge Philological Society in November 2011 and the Columbia University Classics Colloquium in February 2012.