The Frogs: a Modern Adaptation Comedy by Don Zolidis
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'Myth' and 'Religion'
THOUGHTS ON MYTH AND RELIGION IN EARLY GREEK HISTORIOGRAPHY Robert L. FOWLER University of Bristol [email protected] RESUMEN: El artículo examina el nacimiento del concepto de mythos/mito en el contexto de la historiografía y la mitografía de la Grecia arcaica. La posibilidad de oponerse a relatos tradicionales es un factor crítico en este proceso y se relaciona estrechamente con los esfuerzos de los autores por fijar su autoridad. Se compara la práctica de Heródoto con la de los primeros mitógrafos y, aunque hay amplias similitudes, hay diferencias cruciales en el tratamiento de los asuntos religiosos. Los escrúpulos personales de Heródoto responden en parte a su bien conocida reserva en lo referente a los dioses, pero es también relevante su actitud acerca de la tarea del historiador y su noción de cómo los dioses intervienen en la historia. Mientras que los mitógrafos tratan de historicizar la mitología, Heródoto trata de modo notable de desmitologizar la historia, separando ambas, pero al mismo tiempo definiendo con más profundidad que nunca sus auténticas interconexiones. Esta situación sugiere algunas consideraciones generales acerca de la relación entre mito y ritual en Grecia. ABSTRACT: The article examines the emerging concept of mythos/myth in the context of early Greek historiography and mythography. The possibility of contesting traditional stories is a critical factor in this process, and is closely related to the efforts of writers to establish their authority. Herodotos’ practice is compared with that of the early mythographers, and though there are some broad similarities, there are crucial differences in their approach to religious matters. -
Resounding Mysteries: Sound and Silence in the Eleusinian Soundscape
Body bar (print) issn 2057–5823 and bar (online) issn 2057–5831 Religion Article Resounding mysteries: sound and silence in the Eleusinian soundscape Georgia Petridou Abstract The term ‘soundscape’, as coined by the Canadian composer R. Murray Schafer at the end of the 1960s, refers to the part of the acoustic environment that is per- ceivable by humans. This study attempts to reconstruct roughly the Eleusinian ‘soundscape’ (the words and the sounds made and heard, and those others who remained unheard) as participants in the Great Mysteries of the two Goddesses may have perceived it in the Classical and post-Classical periods. Unlike other mystery cults (e.g. the Cult of Cybele and Attis) whose soundscapes have been meticulously investigated, the soundscape of Eleusis has received relatively little attention, since the visual aspect of the Megala Mysteria of Demeter and Kore has for decades monopolised the scholarly attention. This study aims at putting things right on this front, and simultaneously look closely at the relational dynamic of the acoustic segment of Eleusis as it can be surmised from the work of well-known orators and philosophers of the first and second centuries ce. Keywords: Demeter; Eleusis; Kore; mysteries; silence; sound; soundscape Affiliation University of Liverpool, UK. email: [email protected] bar vol 2.1 2018 68–87 doi: https://doi.org/10.1558/bar.36485 ©2018, equinox publishing RESOUNDING MYSTERIES: SOUND AND SILENCE IN THE ELEUSINIAN SOUNDSCAPE 69 Sound, like breath, is experienced as a movement of coming and going, inspiration and expiration. If that is so, then we should say of the body, as it sings, hums, whistles or speaks, that it is ensounded. -
1. Some of the Definitions of the Different Types of Objects in the Solar
1. Some of the definitions of the different types of objects in has the greatest orbital inclination (orbit at the the solar system overlap. Which one of the greatest angle to that of Earth)? following pairs does not overlap? That is, if an A) Mercury object can be described by one of the labels, it B) Mars cannot be described by the other. C) Jupiter A) dwarf planet and asteroid D) Pluto B) dwarf planet and Kuiper belt object C) satellite and Kuiper belt object D) meteoroid and planet 10. Of the following objects in the solar system, which one has the greatest orbital eccentricity and therefore the most elliptical orbit? 2. Which one of the following is a small solar system body? A) Mercury A) Rhea, a moon of Saturn B) Mars B) Pluto C) Earth C) Ceres (an asteroid) D) Pluto D) Mathilde (an asteroid) 11. What is the largest moon of the dwarf planet Pluto 3. Which of the following objects was discovered in the called? twentieth century? A) Chiron A) Pluto B) Callisto B) Uranus C) Charon C) Neptune D) Triton D) Ceres 12. If you were standing on Pluto, how often would you see 4. Pluto was discovered in the satellite Charon rise above the horizon each A) 1930. day? B) 1846. A) once each 6-hour day as Pluto rotates on its axis C) 1609. B) twice each 6-hour day because Charon is in a retrograde D) 1781. orbit C) once every 2 days because Charon orbits in the same direction Pluto rotates but more slowly 5. -
The Frogs 2K4: Showdown in Hades
SCRIPT The Frogs 2K4: Showdown in Hades Directed by Kerri Rambow XANTHIAS: Man, do you think I should say one of those Martin Lawrence lines to entertain these bougie people? I could make them laugh just like the movies. DIONYSUS: Sure. Say anything you want, except of course, something like, "Oh these bags! Oh my back!" And don’t talk about my momma. XANTHIAS: But that’s funny! Don’t you want me to do my job? DIONYSUS: Whatever! Stop using my issues as your lines--"Dionysus’ mom is so old, she farts dust." That’s really not funny. XANTHIAS: Well it’s funny to the audience, and no one else is having any problems with it. DIONYSUS: Oh yeah, did I mention you also can’t say "My blisters! My blisters on my blisters! My blisters in places you don’t want to know. Oh! Oh! Oh! Can’t you at least wait until I’m dead and gone? XANTHIAS: But by then no one would think it was funny. Just this one last time, until I get new lines... DIONYSUS: How about "NO"? If I was there in the audience your jokes would make me grow old. XANTHIAS: Well, this play is supposed to be a comedy. What if I told the joke about the chicken, and the guy with the chicken, and...and he made a chicken with... DIONYSUS: (To audience) That joke is really old. Older than my mother. (To Xanthias) Go on! Tell them! Just don’t...don’t... XANTHIAS: Don’t do what? DIONYSUS: Don’t drop my shoes. -
Slaves, Sex, and Transgression in Greek Old Comedy
Slaves, Sex, and Transgression in Greek Old Comedy By Daniel Christopher Walin A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mark Griffith, Chair Professor Donald J. Mastronarde Professor Kathleen McCarthy Professor Emily Mackil Spring 2012 1 Abstract Slaves, Sex, and Transgression in Greek Old Comedy by Daniel Christopher Walin Doctor of Philosophy in Classics University of California, Berkeley Professor Mark Griffith, Chair This dissertation examines the often surprising role of the slave characters of Greek Old Comedy in sexual humor, building on work I began in my 2009 Classical Quarterly article ("An Aristophanic Slave: Peace 819–1126"). The slave characters of New and Roman comedy have long been the subject of productive scholarly interest; slave characters in Old Comedy, by contrast, have received relatively little attention (the sole extensive study being Stefanis 1980). Yet a closer look at the ancestors of the later, more familiar comic slaves offers new perspectives on Greek attitudes toward sex and social status, as well as what an Athenian audience expected from and enjoyed in Old Comedy. Moreover, my arguments about how to read several passages involving slave characters, if accepted, will have larger implications for our interpretation of individual plays. The first chapter sets the stage for the discussion of "sexually presumptive" slave characters by treating the idea of sexual relations between slaves and free women in Greek literature generally and Old Comedy in particular. I first examine the various (non-comic) treatments of this theme in Greek historiography, then its exploitation for comic effect in the fifth mimiamb of Herodas and in Machon's Chreiai. -
Interpretation: a Journal of Political Philosophy
Interpretation A JOURNAL A OF POLITICAL PHILOSOPHY Spring 1994 Volume 21 Number 3 Aristophanes' Mark Kremer Criticism of Egalitarianism: An Interpretation of The Assembly of Women Steven Forde The Comic Poet, the City, and the Gods: Dionysus' Katabasis in the Frogs of Aristophanes Tucker Landy Virtue, Art, and the Good Life in Plato's Protagoras Nalin Ranasinghe Deceit, Desire, and the Dialectic: Plato's Republic Revisited Olivia Delgado de Torres Reflections on Patriarchy and the Rebellion of Daughters in Shakespeare's Merchant of Venice and Othello Alfred Mollin On Hamlet's Mousetrap Joseph Alulis The Education of the Prince in Shakespeare's King Lear David Lowenthal King Lear Glenn W. Olsen John Rawls and the Flight from Authority: The Quest for Equality as an Exercise in Primitivism Book Reviews Will Morrisey The Roots of Political Philosophy: Ten Forgotten Socratic Dialogues, edited by Thomas L. Pangle John C. Koritansky Interpreting Tocqueville s "Democracy in America," edited by Ken Masugi Interpretation Editor-in-Chief Hilail Gildin, Dept. of Philosophy, Queens College Executive Editor Leonard Grey General Editors Seth G. Benardete Charles E. Butterworth Hilail Gildin Robert Horwitz (d. 1987) Howard B. White (d. 1974) Consulting Editors Christopher Bruell Joseph Cropsey Ernest L. Fortin John Hallowell (d. 1992) Harry V. Jaffa David Lowenthal Muhsin Mahdi Harvey C. Mansfield, Jr. Arnaldo Momigliano (d. 1987) Michael Oakeshott (d. 1990) Ellis Sandoz Leo Strauss (d. 1973) Kenneth W. Thompson European Editors Terence E. Marshall Heinrich Meier Editors Wayne Ambler Maurice Auerbach Fred Baumann Michael Blaustein Patrick Coby Edward J. Erler Maureen Feder-Marcus Joseph E. Goldberg Stephen Harvey Pamela K. -
Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2018 Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Underworld." In Oxford Classical Dictionary. New York/Oxford: Oxford University Press. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/123 For more information, please contact [email protected]. Underworld Radcliffe G. Edmonds III In Oxford Classical Dictionary, in Oxford Research Encyclopedia of Classics. (Oxford University Press. April 2019). http://dx.doi.org/10.1093/acrefore/9780199381135.013.8062 Summary Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above. -
Rituals of Death and Dying in Modern and Ancient Greece
Rituals of Death and Dying in Modern and Ancient Greece Rituals of Death and Dying in Modern and Ancient Greece: Writing History from a Female Perspective By Evy Johanne Håland Rituals of Death and Dying in Modern and Ancient Greece: Writing History from a Female Perspective, by Evy Johanne Håland This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Evy Johanne Håland All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-6127-8, ISBN (13): 978-1-4438-6127-4 TABLE OF CONTENTS List of Figures........................................................................................... viii A Note on Transliteration ......................................................................... xiii Acknowledgements ................................................................................... xv Introduction ................................................................................................. 1 Chapter One ................................................................................................. 6 Death Rituals and the Cult of the Dead in Greece From death in general to Greek women and death in particular -
Greek Mythology
Greek mythology Mythical characters Gods and goddesses Zeus is the king of the gods, ruler of Mount Olympus and god of the sky. His name means ‘bright’ or ‘sky’. His royal animals are the eagle and bull. Zeus’s favourite weapon is a lightning bolt made for him by the Cyclops. Zeus can be a greedy and dishonest god. If he desires something, he is unlikely to let anything stop him from gaining it. Because of this, he often lies about his behaviour to Hera, his wife. Hera is the queen of the gods and wife of Zeus. She is the goddess of women, marriage, childbirth, heirs, kings and empires. She often carries a lotus- tipped staff. Hera never forgets an insult or injury and can be cruel or vengeful. Poseidon is the god of rivers, seas, floods, droughts and earthquakes. Brother to Zeus, he is the king of the sea and protector of all waters. Poseidon carries a trident: a spear with three points. His sacred animals are the dolphin and the horse. Athena is the goddess of wisdom, intelligence, skill, peace and warfare. According to legend, she was born out of Zeus’s forehead fully formed and fully armoured. She looks over heroes such as Odysseus and Hercules. Athena is often accompanied by a sacred owl. Her symbol is the olive tree. KS2 | Page 1 copyright 2019 Greek mythology Gods and goddesses Aphrodite is the goddess of love and beauty, who can cause gods or mortals to fall in love with whomever she chooses. Aphrodite’s sacred animals include doves and sparrows. -
ARISTOPHANES' FROGS 172 F. by CW DEARDEN the Problem
WHAT HAPPENED TO THE DONKEY? ARISTOPHANES' FROGS 172 f. BY C. W. DEARDEN The problem of the production of Charon's boat 1) is one of the perennial chestnuts of Aristophanic study, yet one that theore- tically it ought to be fairly easy to solve, for, as Arnott has remark- ed 2), the movements of the characters in the early scenes of the Frogs can be plotted with considerable accuracy and this limits in certain respects the possibilities open to the producer. Dionysus and Xanthias open the play as with donkey and baggage they appear on their way to visit Heracles and then the Underworld. The conclusion that they enter through a parodos and journey across the orchestra seems unavoidable for no starting point is indicated for their journey and the donkey would pose problems elsewhere. At line 35 therefore, when Xanthias dismounts, the two climb onto the stage and approach Heracles' door. A conversation with Heracles occupies the next 130 lines before the two travellers bid him adieu and turn back to the orchestra to continue their journey. Xanthias bidden once more to pick up the baggage, pro- duces his customary complaint, suggests that Dionysus might consider hiring a corpse to take the luggage to Hades (167) and points out that one is being carried in. There is no indication of where the corpse comes from and again it seems reasonable to assume that it is simply carried in through one parodos across the orchestra and out through the other; Dionysus and Xanthias them- 1) For the purposes of this article the conclusions of T.B.L. -
Determining Stephen Sondheim's
“I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances. -
THE SKYLARK and the FROGS Your First Example of Dystopian Writing…Enjoy!
THE SKYLARK AND THE FROGS Your first example of dystopian writing…enjoy! There was once a society of frogs that lived at the bottom of a deep, dark well, from which nothing whatsoever could be seen of the world outside. They were ruled over by a great Boss Frog, a fearful bully who claimed, on rather dubious grounds, to own the well and all that creeped or crawled therein. The Boss Frog never did a lick of work to feed or keep himself, but lived off the labors of the several bottom-dog frogs with whom he shared the well. They, wretched creatures, spent all the hours of their lightless days and a good many more of their lightless nights drudging about in the damp and slime to find the tiny grubs and mites on which the Boss Frog fattened. Now, occasionally an eccentric skylark would flutter down into the well and would sing to the frogs of all the marvelous things it had seen in its journeyings in the great world outside: of the sun and the moon and the stars, of the sky-climbing mountains and fruitful valleys and the vast stormy seas, and of what it was like to adventure the boundless space above them. Whenever the skylark came visiting, the Boss Frog would 20 instruct the bottom-dog frogs to attend closely to all the bird had to tell. "For he is telling you," the Boss Frog would explain, "of the happy laud wither all good frogs go for their reward when they finish this life of trials." Secretly, however, the Boss Frog thought this strange bird was quite mad.