Isavella Stavridou, the Transformation of a Classical Hero…
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Römische Chorlyrik
RÖMISCHE CHORLYRIK Inaugural-Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) durch die Philosophische Fakultät der Heinrich-Heine-Universität Düsseldorf vorgelegt von Claudia Damm aus Düsseldorf Gutachter: Prof. Dr. Jochem Küppers Prof. Dr. Michael Reichel Mündliche Prüfungen: 26.01.2006, 09.02.2006 1 D 61 2 Inhaltsverzeichnis Danksagung............................................................................................................2 Einleitung................................................................................................................3 1. Chorlyrik in Griechenland.............................................................................9 1.1 Überblick über die Chorlyrik ...................................................................9 1.1.1 Vorbemerkungen zum Begriff ‚Lyrik’ ...........................................9 1.1.2 Die einzelnen Chorliedgattungen..............................................13 1.1.3 Die Hauptvertreter der Chorlieddichtung...................................25 1.2 Die Chöre im Kult und im Drama..........................................................35 1.2.1 Die Chöre im Kult .....................................................................35 1.2.2 Die Chöre im Drama.................................................................40 2. Römische Chorlieder in der Zeit vor Catull ...............................................66 2.1 Die vorliterarische Phase......................................................................66 -
Power Struggles in Aeschylus' Oresteia
ILCEA Revue de l’Institut des langues et cultures d'Europe, Amérique, Afrique, Asie et Australie 40 | 2020 English for Specific Purposes (ESP) and the Underlying Dynamics of Power, Empowerment and Disempowerment Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tragedy Luttes de pouvoir dans l’Orestie d’Eschyle : anglais de spécialité, droit et littérature et tragédie grecque Malcolm Harvey Electronic version URL: http://journals.openedition.org/ilcea/10741 DOI: 10.4000/ilcea.10741 ISSN: 2101-0609 Publisher UGA Éditions/Université Grenoble Alpes Printed version ISBN: 978-2-37747-204-8 ISSN: 1639-6073 Electronic reference Malcolm Harvey, « Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tragedy », ILCEA [Online], 40 | 2020, Online since 04 June 2020, connection on 06 September 2020. URL : http://journals.openedition.org/ilcea/10741 ; DOI : https://doi.org/10.4000/ilcea.10741 This text was automatically generated on 6 September 2020. © ILCEA Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tra... 1 Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tragedy Luttes de pouvoir dans l’Orestie d’Eschyle : anglais de spécialité, droit et littérature et tragédie grecque Malcolm Harvey Introduction 1 In a departure from mainstream ELP1 studies and their primary focus on the language of the law, this paper is situated in the broader perspective of French ESP studies, which reflects the dominantly academic background of ESP in France and other Continental European countries. While the use of contemporary specialised popular fiction (novels, films, TV series, video games, etc.) in LSP2 has attracted considerable research interest in France and elsewhere since the identification and codification of a relatively new genre known as fiction à substrat professionnel (FASP),3 this paper seeks to go a step further, exploring possible convergences between ESP and the Law and Literature (L&L) movement. -
General Index
Cambridge University Press 0521780098 - The Cambridge Companion to Twentieth-Century Opera Edited by Mervyn Cooke Index More information General index Abbate, Carolyn 282 Bach, Johann Sebastian 105 Adam, Fra Salimbene de 36 Bachelet, Alfred 137 Adami, Giuseppe 36 Baden-Baden 133 Adamo, Mark 204 Bahr, Herrmann 150 Adams, John 55, 204, 246, 260–4, 289–90, Baird, Tadeusz 176 318, 330 Bala´zs, Be´la 67–8, 271 Ade`s, Thomas 228 ballad opera 107 Adlington, Robert 218, 219 Baragwanath, Nicholas 102 Adorno, Theodor 20, 80, 86, 90, 95, 105, 114, Barbaja, Domenico 308 122, 163, 231, 248, 269, 281 Barber, Samuel 57, 206, 331 Aeschylus 22, 52, 163 Barlach, Ernst 159 Albeniz, Isaac 127 Barry, Gerald 285 Aldeburgh Festival 213, 218 Barto´k, Be´la 67–72, 74, 168 Alfano, Franco 34, 139 The Wooden Prince 68 alienation technique: see Verfremdungse¤ekt Baudelaire, Charles 62, 64 Anderson, Laurie 207 Baylis, Lilian 326 Anderson, Marian 310 Bayreuth 14, 18, 21, 49, 61–2, 63, 125, 140, 212, Andriessen, Louis 233, 234–5 312, 316, 335, 337, 338 Matthew Passion 234 Bazin, Andre´ 271 Orpheus 234 Beaumarchais, Pierre-Augustin Angerer, Paul 285 Caron de 134 Annesley, Charles 322 Nozze di Figaro, Le 134 Ansermet, Ernest 80 Beck, Julian 244 Antheil, George 202–3 Beckett, Samuel 144 ‘anti-opera’ 182–6, 195, 241, 255, 257 Krapp’s Last Tape 144 Antoine, Andre´ 81 Play 245 Apollinaire, Guillaume 113, 141 Beeson, Jack 204, 206 Appia, Adolphe 22, 62, 336 Beethoven, Ludwig van 87, 96 Aquila, Serafino dall’ 41 Eroica Symphony 178 Aragon, Louis 250 Beineix, Jean-Jacques 282 Argento, Dominick 204, 207 Bekker, Paul 109 Aristotle 226 Bel Geddes, Norman 202 Arnold, Malcolm 285 Belcari, Feo 42 Artaud, Antonin 246, 251, 255 Bellini, Vincenzo 27–8, 107 Ashby, Arved 96 Benco, Silvio 33–4 Astaire, Adele 296, 299 Benda, Georg 90 Astaire, Fred 296 Benelli, Sem 35, 36 Astruc, Gabriel 125 Benjamin, Arthur 285 Auden, W. -
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Advances in Social Science, Education and Humanities Research, volume 40 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016) Genre Specificity of S. I. Taneyev's "Oresteia" Trilogy Galima Lukina State Institiute of Art Studies Russian State Specialized Arts Academy Moscow, Russia E-mail: [email protected] Abstract—The article reveals the originality of Sergei designated the absence of the external stage effects, Taneyev's approach to tragedy. S. Taneyev treats opera as an theatrical illustrations, nation-specific story, characters, oratorical performance with the features of mystery. The viewed from the modern-day musical drama's perspective. author of the article shows the organic fitting of an oratorical Many composer's peers viewed that as obvious shortcomings. component with both the choral component of the Aeschylus' Yet, those "flaws" belong to the most important properties of source work and a monumental cantata-like style of the tragedy, as indicated by Aristotle in his "Poetics". Russian opera and Russian choral culture in S. Taneyev's "Oresteia". While creating the opera, Taneyev sought to move away from the realism of modern theater's musical drama, thus Keywords—history of music; genre; Russian opera; S. I. eluding the course, taken by the opera poetics of the 19th Taneyev; tragedy century; according to M.G. Aranovskiy, "The struggle for truth to nature led to the personalization of narrative plots, to I. INTRODUCTION the description of diverse human destinies and kinds" [1. P. 16]. Individuality interested Taneyev as a manifestation of It is considered that in "Oresteia" S.I. Taneyev bases the universal, choral origin. -
The Patriarchal Nature of Justice in the Oresteia Monideepa Talukdar
The Patriarchal Nature of Justice in The Oresteia Monideepa Talukdar Course: Honors 311 Instructor: George Dorrill Essay Type: Literary Analysis The Oresteia trilogy, which includes the plays Agamemnon, The Libation Bearers, and The Eumenides, has justice as its central theme. Aeschylus wrote these plays sometime during the period after the end of the Persian wars, when the star of Athens was on its ascendancy. It was the dawn of a new age, marked by the establishment of a new socio-political order based on democracy and the rule of law. The rule of law meant the institutionalization of justice. Justice was no longer a personal responsibility to be meted out according to the rule of family vendetta - blood for blood; it was now a state responsibility embodied in the law that the state, representing the community as a whole, set down. It was a step forward in the direction of realizing a more peaceful and orderly coexistence. However, this institutionalization of justice was also a step forward in the institutionalization of male dominance. The rule of law also came to stand for the rule of man over woman: patriarchy. This must not be understood to mean that the subjugation of women began with the emergence of the legal order, or other social institutions, for women had been relegated to an inferior status in society long before that. But as long as the family was the sovereign unit of society, the nerve centre of social life, women had voice and representation. However, with the shifting of power from the family to the polis, and the organization of society into complex formal institutions that assumed authority to set down rules governing social life, the alienation and marginalization of women was complete. -
POLITICS and the ORESTEIA in Memory of Eduard Fraenkel 'Nil Me Paeniteat Sanum Patris Huius'
Journal of Hellenic Studies cii (1982) 124-144 POLITICS AND THE ORESTEIA In memory of Eduard Fraenkel 'Nil me paeniteat sanum patris huius' As a drama and a poem the Eumenides is often regarded with unease.1 It brings the Oresteia to a conclusion; but its account of Athens and the Areopagus seems to many readers inspired more by patriotism (of whatever partisan tinge) than a sense of dramatic unity. Hence much attention has been devoted to Aeschylus' supposed political message in the play; as a result, the question of its fitness to crown the trilogy recedes into the background or even vanishes. On the other hand, those whose concern is with Aeschylus' poetry tend to ignore his 'polities'. The purpose of this paper is twofold. First, it seeks to vindicate Aeschylus the artist: to show, that is, how the founding of the homicide court and the cult of the Semnai on the Areopagus in Athens properly marks the end of the troubles of the Argive Atridae, and how the sufferings and guilt of individual men and women are resolved in a city's institutions. In pursuing this aim, it also has to consider, and try to define, the relation of the tragedian to his audience and to contemporary society. My concern, then, is with the individual and the community, both within the play and behind it. In i960 E. R. Dodds published an article called 'Morals and Politics in the Oresteia.2 Some of the valuable insights this piece of work gives into Aeschylus will find a place later in this paper; here I wish to make two criticisms of it, which concern particularly the implications of its title and which bear on two fundamental questions posed by my theme. -
Ferienkurse Für Internationale Neue Musik, 25.8.-29.9. 1946
Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946 Seminare der Fachgruppen: Dirigieren Carl Mathieu Lange Komposition Wolfgang Fortner (Hauptkurs) Hermann Heiß (Zusatzkurs) Kammermusik Fritz Straub (Hauptkurs) Kurt Redel (Zusatzkurs) Klavier Georg Kuhlmann (auch Zusatzkurs Kammermusik) Gesang Elisabeth Delseit Henny Wolff (Zusatzkurs) Violine Günter Kehr Opernregie Bruno Heyn Walter Jockisch Musikkritik Fred Hamel Gemeinsame Veranstaltungen und Vorträge: Den zweiten Teil dieser Übersicht bilden die Veranstaltungen der „Internationalen zeitgenössischen Musiktage“ (22.9.-29.9.), die zum Abschluß der Ferienkurse von der Stadt Darmstadt in Verbindung mit dem Landestheater Darmstadt, der „Neuen Darmstädter Sezession“ und dem Süddeutschen Rundfunk, Radio Frankfurt, durchgeführt wurden. Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit So., 25.8. Erste Schloßhof-Serenade Kst., 11.00 Ansprache: Bürgermeister Julius Reiber Conrad Beck Serenade für Flöte, Klarinette und Streichorchester des Landes- Streichorchester (1935) theaters Darmstadt, Ltg.: Carl Wolfgang Fortner Konzert für Streichorchester Mathieu Lange (1933) Solisten: Kurt Redel (Fl.), Michael Mayer (Klar.) Kst., 16.00 Erstes Schloß-Konzert mit neuer Kammermusik Ansprachen: Kultusminister F. Schramm, Oberbürger- meister Ludwig Metzger Lehrkräfte der Ferienkurse: Paul Hindemith Sonate für Klavier vierhändig Heinz Schröter, Georg Kuhl- (1938) mann (Kl.) Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit Hermann Heiß Sonate für Flöte und Klavier Kurt Redel (Fl.), Hermann Heiß (1944-45) (Kl.) Heinz Schröter Altdeutsches Liederspiel , II. Teil, Elisabeth Delseit (Sopr.), Heinz op. 4 Nr. 4-6 (1936-37) Schröter (Kl.) Wolfgang Fortner Sonatina für Klavier (1934) Georg Kuhlmann (Kl.) Igor Strawinsky Duo concertant für Violine und Günter Kehr (Vl.), Heinz Schrö- Klavier (1931-32) ter (Kl.) Mo., 26.8. Komponisten-Selbstporträts I: Helmut Degen Kst., 16.00 Kst., 19.00 Einführung zum Klavierabend Georg Kuhlmann Di., 27.8. -
Sophocles' Electra
Sophocles’ Electra Dramatic action and important elements in the play, scene-by-scene Setting: Mycenae/Argos Background: 15-20 years ago, Agamemnon (here named as grandson of Pelops) was killed by his wife and lover Aegisthus (also grandson of Pelops). As a boy, Orestes, was evacuated by his sister Electra and the ‘Old Slave’ to Phocis, to the kingdom of Strophius (Agamemnon’s guest-friend and father of Pylades). Electra stayed in Mycenae, preserving her father’s memory and harbouring extreme hatred for her mother Clytemnestra and her lover Aegisthus. She has a sister, Chrysothemis, who says that she accepts the situation. Prologue: 1- 85 (pp. 169-75) - Dawn at the palace of Atreus. Orestes, Pylades and the Old Slave arrive. Topography of wealthy Argos/Mycenae, and the bloody house of the Atreids. - The story of Orestes’ evacuation. ‘It is time to act!’ v. 22 - Apollo’s oracle at Delphi: Agamemnon was killed by deception; use deception (doloisi – cunning at p. 171 is a bit weak) to kill the murderers. - Orestes’ idea to send the Old Slave to the palace. Orestes and Pylades will arrive later with the urn containing the ‘ashes’ of Orestes. «Yes, often in the past I have known clever men dead in fiction but not dead; and then when they return home the honour they receive is all the greater» v. 62-4, p. 173 Orestes like Odysseus: return to house and riches - Electra is heard wailing. Old slave: “No time to lose”. Prologue: 86-120 (pp. 175-7) - Enter Electra, who addresses the light of day. -
Opera Oresteai 7-10 Opt 2 RBF Program 4-16 2
the richard b. fisher center for the performing arts at bard college Sergey Taneyev’s July 26 – August 4, 2013 About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard Music Festival, which celebrates its 24th year in August with “Stravinsky and His World.” The 2014 festival will be devoted to Franz Schubert. The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein presents Oresteia Music by Sergey Taneyev Russian libretto adapted by A. A. Venkstern after Aeschylus Directed by Thaddeus Strassberger American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Madeleine Boyd Costume Design by Mattie Ullrich Lighting Design by JAX Messenger Hair Design by Jon Carter Makeup Design by Lucia Aloi Sung in Russian, with English surtitles Sosnoff Theater July 26 and August 2 at 7 pm July 28, 31, and August 4 at 3 pm Running time for this performance is approximately three hours and 40 minutes, including two intermissions. -
Transgendering Clytemnestra Jennifer Rae Mcdermott
Transgendering Clytemnestra Jennifer Rae McDermott Many Greek tragedies have mysteriously evaded the controlling influence of time; they are read today with as much admiration and emotion as they would have inspired in their first audiences. Works immor - tal, they rekindle in modern readers the passionate fires of ancient times and peoples. Two names still common on modern lips are those of the great poets Aeschylus and Homer. While Aeschylus penned tragedies for the theatre in the early fifth century BC, Homer, in the eighth century BC, composed epics of Greek culture that encompassed in their scope “material for [many] tragedies.” 1 The relationship between these forms of narrative is evidenced in the shared myth of Agamemnon’s murder by Clytemnestra and Aegisthus in both Homer’s epic poem Odyssey and Aeschylus’ tragedy Oresteia . In comparing the different angles with which these poets choose to treat the same tale, certain discrepancies are imme - diately apparent regarding the role, treatment, and function of Clytemnestra. I will argue that the differences in Clytemnestra’s characterization in these two works are predom - inantly related to gender: whereas in Aeschylus’ work she is cast as manly, Homer casts her as womanly. In Oresteia , she commands the play; in Odyssey , she remains but a shadowy figure on the outskirts of the story. This is evidenced, first in the immediacy and manner of her portrayal, second, in her domi - nance or subservience to men, and third, in her degree of responsibility for Agamemnon’s murder. Furthermore, these gender related distinctions correspond to Clytemnestra’s function in each text; Aeschylus creates Clytemnestra as a tragically human heroine, whereas Homer uses her, coupled to Aegisthus, to foil the central situation of Penelope and the Suitors. -
Reading Classical Drama on Film Edwin Hees
READING CLASSICAL DRAMA ON FILM EDWIN HEES My starting point is that filming ancient Greek tragedy is simply a continuation of a process that has been occurring over centuries, even millennia (cf. Allen: 101-108), and as such represents the phenomenon of cultural transmission. In this article my focus will be on perceptions of the meanings of these ancient texts, and – like any other texts – these texts may be thought of as sign systems that move through history, acquiring and shedding meanings as they go along. So it’s clear that I do not subscribe to any idea of the autonomy of texts, universality of meaning or authenticity of representation, but I am interested rather in the processes of signification – the social and cultural factors that engender the meanings of texts in their contexts – recalling the Derridean notion that texts are context bound, but contexts are boundless. In this highly unstable sphere I take some small comfort from TS Eliot’s famous dictum on Shakespearean scholarship: »About anyone so great as Shakespeare, it is probable that we can never be right; and if we can never be right, it is better that we should from time to time change our way of being wrong« (Eliot: 126). The four films I want to comment on as representative examples to conclude this paper are: MEDEA (Pier Paolo Pasolini, 1970), MEDEA (Lars von Trier, 1988), ELECTRA (Michael Cacoyannis, 1961) and ELECTREIA (also known as ELECTRA, MY LOVE) (Miklós Jancsó, 1975). Before considering the four films themselves within this semiotic framework, I want first to describe very briefly two instances of this process of cultural transmission that will (I hope) crystallise a number of points I want to raise about appropriation, authenticity and cultural memory. -
An Ethical Literary Reading of Clytemnestra's Tragedy in The
International Journal of Liberal Arts and Social Science ISSN: 2307-924X www.ijlass.org An Ethical Literary Reading of Clytemnestra’s Tragedy in the Oresteia Meng Xihua School of Foreign Languages, Shangqiu Normal University No. 55 Pingyuan Road, Liangyuan District (476000), Shangqiu, Henan Province, China E-mail: [email protected] Published: 31 May 2020 Copyright © Xihua. Abstract: The Oresteia is the only surviving trilogy composed by Greek Tragedian Aeschylus. This dramatic works keeps on drawing attention from critics and audiences for centuries. This paper aims at studying this work from the perspective of ethical literary criticism, a flourishing approach to literature at present. In the Oresteia, Clytemnestra’s tragedy is obviously an ethical tragedy. In ancient Greece, ethics plays the role of laws to keep the society in order, but Clytemnestra violates three aspects of the patriarchal ethics: religious ethics, political ethics, and family ethics. Therefore, she is doomed. Key words: ethical literary criticism; ethics; tragedy; Oresteia; Introduction: The Oresteia is a trilogy composed by the famous Greek Tragedian Aeschylus, consisting of three plays: Agamemnon, The Choephori (Libation Bearers), and Eumenides. As the first of the three ancient Greek tragedians, Aeschylus has enjoyed great reputation as the father of tragedy for centuries. He was a frequent first prize winner in the Spring Festival when there was a dramatic competition due to his excellent tragedies. The Oresteia is the only surviving trilogy among his great tragedies as well as among all ancient Greek trilogies. This trilogy is considered as a landmark which exerts great influence upon later Greek playwrights and their composition of tragedies.