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Tragedy, Euripides, Melodrama: Hamartia, Medea, Liminality
Vol. 5 (2013) | pp. 143-171 http://dx.doi.org/10.5209/rev_AMAL.2013.v5.42932 TRAGEDY, EURIPIDES, MELODRAMA: HAMARTIA, MEDEA, LIMINALITY BRIAN G. CARAHER QUEEN’S UNIVERSITY BELFAST, NORTHERN IRELAND [email protected] Article received on 29.01.2013 Accepted on 06.07.2013 ABSTRACT This article examines socio-historical dimensions and cultural and dramaturgic implications of the Greek playwright Euripides’ treatment of the myth of Medea. Euripides gives voice to victims of adventurism, aggression and betrayal in the name of ‘reason’ and the ‘state’ or ‘polity.’ Medea constitutes one of the most powerful mythic forces to which he gave such voice by melodramatizing the disturbing liminality of Greek tragedy’s perceived social and cultural order. The social polity is confronted by an apocalyptic shock to its order and its available modes of emotional, rational and social interpretation. Euripidean melodramas of horror dramatize the violation of rational categories and precipitate an abject liminality of the tragic vision of rational order. The dramaturgy of Euripides’ Medea is contrasted with the norms of Greek tragedy and examined in comparison with other adaptations — both ancient and contemporary — of the myth of Medea, in order to unfold the play’s transgression of a tragic vision of the social polity. KEYWORDS Dramaturgy, Euripides, liminality, Medea, melodrama, preternatural powers, social polity, tragedy. TRAGEDIA, EURÍPIDES, MELODRAMA: HAMARTÍA, MEDEA, LIMINALIDAD RESUMEN Este artículo estudia las dimensiones sociohistóricas y las implicaciones culturales y teatrales del tratamiento que Eurípides da al mito de Medea. Eurípides da voz a las víctimas del aventurerismo, de las agresiones y de las traiciones cometidas en nombre de la ‘razón’ y del ‘estado’ o el ‘gobierno’. -
The Supplices of Euripides James Diggle
The "Supplices" of Euripides Diggle, James Greek, Roman and Byzantine Studies; Fall 1973; 14, 3; ProQuest pg. 241 The Supplices of Euripides James Diggle I ., , 42 LK€T€VW C€, Y€pCl.UX, ......, , \ 42/43 Y€pCI.LWV €t( CTOfLCl.TWV, TTpOC yovv" TTLTTTOVCCI. TO\ COV·I 44 tavofLoL T'KVCI. AVCCl.L '/"0' , .. 44/45 't' LfL€VWV V€KUWV ° L KCl.TCl.A€tTTOVCL fL'AYJ 46/47 OCl.VaTC[) AUCLfL€A€L OYJpdv OP€tOLCL j3opav. OMMENTATORS and emendators, with few exceptions, find the Cantecedent of the relative Ot in V€KVWV in line 44/45: " ... corpses which leave behind their limbs as a prey to beasts." The gibbering tjJvX~' knocking in vain at the gates of Hell, may have left its limbs behind as carrion. A corpse on the battlefield has abdicated control over its limbs: it does not enjoy the privilege of be queathing them to anybody. The conjectures of the interpreters in line 44 are not such as to redeem the improbability of their interpre tation: alla fLOL T'KVCI. AVCCl.L cfoOLfLEVWV V€KVWIl ed. Brubachiana and the early editors, rendered as "ut redimas mihi filiorum extinctorum cadauera" or "ut eximas meos liberos ex cadaueribus defunctorum," and modified by Brodaeus and Markland to avCI. fLOL KTA., "surge mihi, redime filios meos, etc."; alla A€LtjJCl.vCI. AVCCl.L Kirchhoff, ava fLOL CTtXCI. AvcCI.L Musgrave, a7T(~ CWfLCl.TCI. AVCCl.L Wecklein,1 avofL' Cl.LCX€CI. AVCCl.L Bruhn apud Murray. A few have tried a different path. Reiske and Markland find the antecedent of Ot in TEKVCI., and Markland offers a choice of three con structions for the phrase cfoOLfLEIlWV V€KVWV: (i) "ex cadaueribus defunc- 1 Ed. -
1. Classical Texts
REFERENCES I. Classical texts N.R.TheAbbfeviationsofLiddcll&Scott&JoncsforGrcekandofThesaunuLinguael'atimefotRoma¡ authorsareuscdwhentheyare"tea,enough.Inadrtitiontothoscmcntionedbetow,someFinnishEanslations (e.S.E,Rein.sHcrodotusandM.Kaimio,sAcschylus)havcoccasionallybeenuscdforquickreference. uanslaúon by A'F Animals, [tcxtl with an English N. An.: Aelian on rhe charactcristics of Aclianus: t958-59 (for I' and 3. repr. l9?l-72 used)' r r-oci cræsical Library, London scholficld, -:. 1974' B¡blioÚreca Teubneriana' Læipzig Varia R' Diirs' V. H.: Hlçr"¡t;;tliÑ;*in præ. classical rexls' oxonii 1972' ,ip,crsun ragoediasøoi, o."yr oxford Aeschylus: nyt¡,rpn^ iã alE82' Lyrici Graeci.Yol' 3' Lipsiae Alcman:Fragmenß^esc in Th. ø,"gU, f)e^¿ 1962' nri*t of Éo."*ous: fragmenls edi¡cd in Bolton cdilá i¡ FGrM 39' t¡anslatcd in Robinson 1953' Aristobulus: fragmøa Lulofs' oxford ctassical Texu' gr*rorio* an¡mat¡un,lcrc,.H.J. Drossaan Aristoreles: cen. ¡n.: lristotiti, i" A.L. pcck. Loeb classical Librarv, o! Animats,wirh an English Transl. by ^:;:;:;,tnraüonLondon 1942 (rcv' rcPr' l9ó3)' Afistorcles:H.An.:lrxtotle,,HistoriaAnimatium,wiÛranEnglishTfansl.byA.L.Pcck,l-2.Loeb London 1965-70' Ctassical Library, by A'L' Peckl lvlovemen! ot part. trrn, o! Animals,wiÛr an English Trursl Aristorcles: An.: ¡r¡rrri, Locb classical Library' an Engi*tr rranit. uy E.S. Forster' Ãnimals. progression ol Animals,wirtr 193? (rev' rePr' 196l)' l¡ndon Reese 1914' 32ff' u'" coil"cø 1908' l3ff' and Aristotcles, passug., ,.r"'ing';îi¡a ln.folchert v' Hinüber' sce Hini¡ber 1985' Aøbas¡s: ed. and rirsf' C' Winh and lsi:an: 1985, and chansainc 1927' transl' and o. v. u¡ni¡Jrl r." Hinüber Arnan: Indicazø. -
Tradition and Innovation in a Euripidean Tragedy * Before
TRADITION AND INNOVATION IN A EURIPIDEAN TRAGEDY * By W. RITCHIE EFORE beginning my lecture I think it appropriate on this occasion that I should B acknowledge, however briefly and inadequately, the contribution made to Greek studies in this University by my predecessor, Professor George Shipp, both during his tenure of the Chair of Greek and throughout his long career here. By his work in the fields of Greek language and Homeric studies, which continues to bear fruit, he has done much to enhance the reputation of Sydney as a significant centre of Greek scholarship. To follow him is both an honour and a high responsi bility. If I am at all equal to it, it is due in no small part to what I was able to learn from him during the valuable and very happy years that I worked under him. I am aware that it is common on this kind of occasion to talk about the broader relevance of one's discipline at the present day and even to defend its place in the University. But I am confident that this would be superfluous in the present com pany, and furthermore the theme was developed with greater eloquence than I can command by a previous Professor of Greek in this University, Enoch Powell, in the Inaugural Lecture which he gave here some thirty years ago. 1 Although one might wish here and there to change the emphasis of his remarks a little, there would be no reason to challenge now the validity of any of the claims he then made for Greek studies in the University. -
Introduction to Latin American Cinema Sample Syllabus Course
Introduction to Latin American Cinema Sample Syllabus Course description This course offers students a cultural history of Latin America in the twentieth and twenty-first centuries through the study of its cinema. The course is divided into five parts, each one corresponding to a major cinematic period: silent cinema, studio cinema, Neorealism / Art Cinema, the New Latin American Cinema, and contemporary cinema. Learning objectives Students will learn to describe, analyze, and evaluate the intersection between form and content in a select number of important Latin American films, by situating them in contexts that are simultaneously national, regional, and global. Class-specific objectives are listed in the calendar below. Note to teachers: This course can be taught without having to include a unifying theoretical concept. However, I have found that by incorporating the theoretical framework of multiple modernities, classroom discussions on such topics as race, ethnicity, gender, sexuality, nationalism, populism, and historiography can be more productively framed from a distinctively Latin American perspective. Required text: Paul A. Schroeder Rodríguez. Latin American Cinema: A Comparative History. Berkeley: University of California Press, 2016. Prepared by Paul A. Schroeder Rodríguez, author of Latin American Cinema: A Comparative History (University of California Press, 2016) Calendar overview: 1. Introduction (week 1) 2. Silent cinema (weeks 2 and 3) 3. Studio cinema (weeks 4-8) 4. Neorealism and Auteur cinema (week 9) 5. New Latin American Cinema (weeks 10-13) 6. Contemporary cinema (weeks 14-15) Note to teachers: In the weekly calendar below, each class has at least two learning objectives. Generally speaking, the first learning objective has to do with modes of production and representation, and the second objective with the representation of modernity. -
Livy's Early History of Rome: the Horatii & Curiatii
Livy’s Early History of Rome: The Horatii & Curiatii (Book 1.24-26) Mary Sarah Schmidt University of Georgia Summer Institute 2016 [1] The Horatii and Curiatii This project is meant to highlight the story of the Horatii and Curiatii in Rome’s early history as told by Livy. It is intended for use with a Latin class that has learned the majority of their Latin grammar and has knowledge of Rome’s history surrounding Julius Caesar, the civil wars, and the rise of Augustus. The Latin text may be used alone or with the English text of preceding chapters in order to introduce and/or review the early history of Rome. This project can be used in many ways. It may be an opportunity to introduce a new Latin author to students or as a supplement to a history unit. The Latin text may be used on its own with an historical introduction provided by the instructor or the students may read and study the events leading up to the battle of the Horatii and Curiatii as told by Livy. Ideally, the students will read the preceding chapters, noting Livy’s intention of highlighting historical figures whose actions merit imitation or avoidance. This will allow students to develop an understanding of what, according to Livy and his contemporaries, constituted a morally good or bad Roman. Upon reaching the story of the Horatii and Curiatii, not only will students gain practice and understanding of Livy’s Latin literary style, but they will also be faced with the morally confusing Horatius. -
An Ownership Model of Annotation: the Ancient Greek Dependency Treebank
An Ownership Model of Annotation: The Ancient Greek Dependency Treebank David Bamman, Francesco Mambrini and Gregory Crane The Perseus Project, Tufts University Abstract We describe here the first release of the Ancient Greek Dependency Treebank (AGDT), a 190,903-word syntactically annotated corpus of literary texts in- cluding the works of Hesiod, Homer and Aeschylus. While the far larger works of Hesiod and Homer (142,705 words) have been annotated under a standard treebank production method of soliciting annotations from two independent reviewers and then reconciling their differences, we also put forth with Aeschylus (48,198 words) a new model of treebank production that draws on the methods of classical philology to take into account the per- sonal responsibility of the annotator in the publication and ownership of a “scholarly” treebank. 1 Introduction Data-driven research in linguistics relies on the existence of a large body of texts that have been annotated on several linguistic levels. For modern languages like English, these tend to be comprised of genres like newswire; for Latin, Greek, and other historical languages, our observations are based on a smaller but more heavily studied canon. An article from the Wall Street Journal is certainly more representative of how native English speakers actually speak than Homer’s epic Iliad is for ancient Greeks, but the Iliad has been a focused object of study for almost 3,000 years, with schoolchildren and tenured professors alike scrutinizing its every word, annotating its syntax, semantics and other linguistic levels either privately in the margins of their books or as published commentaries. -
Illinois Classical Studies
17 PEACE, THE SYMPOSIUM AND THE POET W. J. SLATER Beazley, coiranenting on a Siana cup in Berlin, showing three dolphins in the tondo, made a brilliant but daring interpre- tation; the painter was portraying the inside of the cup as a round harbour. Another similar cup in the Villa Giulia was to confirm this view, but one of the three dolphins has arms and plays the flute. Greifenhagen 2) commented: probably the painter had in mind the dolphin's notorious love of music, and he compared Pindar fr. 140 b Snell, 13-17: fepeOL^ouai. Tip6Q duTd[v] / dAuou SeAcptvoQ undxpLaLV, Tov u^v dKuuovog ev rL6vTou neAdYei- auXcov exLvrio' epaT6v v-^Xoq. But the most penetrating observation came from Erika Simon, 3) that the sea in which the musical dolphins play is a calm sea like Pindar's, and that the artist is representing the idea that calm is a prerequisite for the dolphin's song. I hope in the following pages to show that this is but one aspect of a theme that has a much wider significance. The dolphin in Pindar sings in a waveless sea, and we can assume that dolphins were not observed to sing save in calm weather. It may seem to stretch the limits of analogy to com- pare here the west pediment of the temple of Zeus at Olympia, showing the battle of the Lapiths and Centaurs with Apollo as the central figure, but here is the interpretation of Bernard Ashmole: 4) The scene is appropriate to the temple of Zeus in that Peirithoos was a grandson of Zeus; but its deeper signi- ficance lay in the presence of Apollo, the son of Zeus, patron of all the arts, and of all that makes life humane and decent. -
New Latin Grammar
NEW LATIN GRAMMAR BY CHARLES E. BENNETT Goldwin Smith Professor of Latin in Cornell University Quicquid praecipies, esto brevis, ut cito dicta Percipiant animi dociles teneantque fideles: Omne supervacuum pleno de pectore manat. —HORACE, Ars Poetica. COPYRIGHT, 1895; 1908; 1918 BY CHARLES E. BENNETT PREFACE. The present work is a revision of that published in 1908. No radical alterations have been introduced, although a number of minor changes will be noted. I have added an Introduction on the origin and development of the Latin language, which it is hoped will prove interesting and instructive to the more ambitious pupil. At the end of the book will be found an Index to the Sources of the Illustrative Examples cited in the Syntax. C.E.B. ITHACA, NEW YORK, May 4, 1918 PREFACE TO THE SECOND EDITION. The present book is a revision of my Latin Grammar originally published in 1895. Wherever greater accuracy or precision of statement seemed possible, I have endeavored to secure this. The rules for syllable division have been changed and made to conform to the prevailing practice of the Romans themselves. In the Perfect Subjunctive Active, the endings -īs, -īmus, -ītis are now marked long. The theory of vowel length before the suffixes -gnus, -gna, -gnum, and also before j, has been discarded. In the Syntax I have recognized a special category of Ablative of Association, and have abandoned the original doctrine as to the force of tenses in the Prohibitive. Apart from the foregoing, only minor and unessential modifications have been introduced. In its main lines the work remains unchanged. -
Introduction to the Classical Studies and Archaeology Research Guide (= RG)
Introduction to the Classical Studies and Archaeology Research Guide (= RG) TABLE OF CONTENTS: 1. Reference Materials for Researching Authors & Topics 2. Bibliography on an Author, Text, or Topic 3. Reviews of a Particular Book on an Author, Text, or Topic 4. Databases of Greek & Latin Texts 5. Resources for Determining Meaning of a Greek or Latin Word 6. Greek & Latin Grammars 7. Standard Histories of Greek & Latin Literature 8. Standard Ancient Histories 9. Atlases & Geographic References for the Ancient World 10. Studies on Greek & Latin Meter 11. Resources on Transmission of Greek & Latin Literature 12. Resources on MS Transmission of Latin Authors 13. Resources on Pedagogy BASIC RESEARCH QUERIES: If you want to look up the particulars on a Greek or Latin author or topic, then consult the following as they often differ in the amount of detail or emphasis: • Oxford Classical Dictionary [current online 4th edition = 2012)] (RG = Quick Link) • Brill's New Pauly Online [current online edition with supplements = 2015] (RG = Quick Link) NOTE: Consult also when relevant: • Brill’s New Pauly Supplements I, vol. 1 (Chronologies of the Ancient World: Names, Dates and Dynasties) • Brill’s New Pauly Supplements I, vol. 2 (Dictionary of Greek and Latin Authors and Texts) • Brill’s New Pauly Supplements I, vo. 3 (Historical Atlas of the Ancient World) • Brill’s New Pauly Supplements I, vol. 4 (The Reception of Myth and Mythology) • Brill’s New Pauly Supplements, vol. 5 (The Reception of Classical Literature) • Brill’s New Pauly Supplements I, vol. 6 (History of classical Scholarship: A Biographical Dictionary) • Brill’s New Pauly Supplements II, vol. -
Dakhleh Oasis Library Colle
Dakhleh Oasis Library Collection http://www.columbia.edu/cu/lweb/data/eresources/clio/DakhlehOasisLib... Columbia University Libraries Dakhleh Oasis Library Collection Author/Title List March 15, 2011 Some characters may not display without using a default browser font with extensive Unicode support (such as "Arial Unicode MS"). Author: Abd El Salam, Safaa A. Title: Egyptian and Græco-Roman wall plasters and mortars : a comparative scientific study / Safaa A. Abd El Salam. Year: 2004 Publisher: Oxford : John and Erica Hedges Ltd Pages: xxii, 348 p. : ill. (some col.) ; 30 cm. Call Number: ND2550.3 .A23 2004 Keywords: Mural painting and decoration Pigments Plaster Plasterwork, Decorative Author: Adam, Jean Pierre, 1937- Title: Roman building : materials and techniques / Jean-Pierre Adam ; translated by Anthony Mathews. Year: 2005 Publisher: London ; New York : Routledge Pages: 360 p. : ill. ; 28 cm. Call Number: TH16 .A3313 2005 Keywords: Architecture, Roman. Building Rome Author: Adams, Barbara, 1945-2002. Title: Sculptured pottery from Koptos in the Petrie Collection / Barbara Adams. Year: 1986 Publisher: Warminster, Wiltshire : Aris & Phillips Pages: ix, 60 p., 30 p. of plates : ill. ; 23 cm. Call Number: DT73.Q54 A34 1986 Keywords: Egypt Pottery Qifṭ (Egypt) Sculpture, Egyptian Author: Adams, C. E. P. (Colin E. P.) Title: Land transport in Roman Egypt : a study of economics and administration in a Roman province / Colin Adams. Year: 2007 Publisher: Oxford ; New York : Oxford University Press Volumes: Introduction : transport and the economy of the Roman world -- The geography, topography and land transport networks of Egypt -- Transport animals and wagons -- Animal use and maintenance -- Animal trade and ownership -- State control of animal ownership -- Animal requisition -- State grain transport -- Deserts and military supply -- Trade and transport -- Transport and the land economy -- Conclusion. -
The Methodian Mission on the Polish Lands Until the Dawn of 11Th Century
ELPIS . Rocznik XV (XXVI) . Zeszyt 27 (40) . 2013 . s. 17-32 th E mE t h o d i a n m i s s i o n o n t h E po l i s h l a n d s t h u n t i l t h E d a w n o f 11 c E n t u r y mi s j a m E t o d i a ń s k a n a z i E m i a c h p o l s k i c h d o k o ń c a Xi w i E k u an t o n i mi r o n o w i c z un i w E r s y t E t w bi a ł y m s t o k u , a m i r @u w b .E d u .p l Słowa kluczowe: Misja chrystianizacyjna, Kościół w Polsce, misja metodiańska Keywords: Byzantine Church; Great Moravia; Poland; Sts Cyril and Methodius The process of Conversion of the Slavs was com- The younger brother, Constantine having gained a de- menced with the contact of the Slavic people and the Byz- cent education at home continued his studies in Constanti- antine culture which was initiated by the mission of Sts. nople. He entered a monastery in the capital of Byzantium Cyril and Methodius. Apart from the exceptional role of and received the minor holy orders (deacon). Thereafter, Bulgaria and the Great Moravia in the development of the Constantine adopted the position of chartophylax (librar- Cyrillo-Methodian legacy the Ruthenian lands became the ian) from the patriarch Ignatius (847-858, 867-877) at the heir of this great religious and cultural tradition.