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The Rise of the Games the Olympic Games Originated Long Ago In
The Rise of the Games The Olympic Games originated long ago in ancient Greece. Exactly when the Games were first held and what circumstances led to their creation is uncertain. We do know, however, that the Games were a direct outgrowth of the values and beliefs of Greek society. The Greeks idealized physical fitness and mental discipline, and they believed that excellence in those areas honored Zeus, the greatest of all their gods. One legend about the origin of the Olympic Games revolves around Zeus. It was said Zeus once fought his father, Kronos, for control of the world. Although we do not know just when the Games were first played, the earliest recorded Olympic competition occurred in 776 B.C. It had only one event, the one-stade (approximately 630-foot or 192-meter) race, which was won by a cook named Coroebus. This was the start of the first Olympiad, the four-year period by which the Greeks recorded their history. Generally, only freeborn men and boys could take part in the Olympic Games (servants and slaves were allowed to participate only in the horse races). Women were forbidden, on penalty of death, even to see the Games. In 396 B.C. , however, a woman from Rhodes successfully defied the death penalty. When her husband died, she continued the training of their son, a boxer. She attended the Games disguised as a man and was not recognized until she shouted with joy over her son's victory. Her life was spared because of the special circumstances and the fact that her father and brothers had been Olympians. -
Section Two ATHENS 2004 MISSION
2 IN the true spirit of the Games section two ATHENS 2004 MISSION he mission of Athens 2004 was broad in scope and precise in purpose. Combining ambition with clarity, the mission provided the Athens Organising Committee with succinct statements on an expansive foundation of goals. As a major theme of the 2004 Olympic Games had emphasised, all efforts of the Athens Organising Committee were made In the True Spirit of the Games. The Athens 2004 mission guided the management and execution of the 2004 Olympic Games. It gave purpose to the first global Olympic torch relay in history. It fostered a keen awareness of the impact of the 2004 Olympic Games on the athletes, the spectators, and the people around the world who would experience the return of the Games to the place of their ancient birth. The mission promised to uphold the Olympic ideals, to respect the culture and natural environment of Greece, and to showcase the nation’s past, present and future. It directed the Athens 2004 Olympic marketing agenda. And, finally, the mission encouraged an Olympic legacy that would benefit the Olympic Movement, the host country, and the world. 9 The Athens 2004 mission promised overall that the people of Greece would host unique Olympic Games on a human scale and inspire the world to celebrate the Olympic values. With breadth and focus, it promised to fulfill these nine goals: To organise technically excellent Olympic Games. To provide to the athletes, spectators, viewers and volunteers a unique Olympic experience, thus leaving behind a legacy for the Olympic Movement. -
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. -
Ebook Download the Politics of Sacrifice in Early Greek Myth And
THE POLITICS OF SACRIFICE IN EARLY GREEK MYTH AND POETRY 1ST EDITION PDF, EPUB, EBOOK Charles Heiko Stocking | 9781107164260 | | | | | The Politics of Sacrifice in Early Greek Myth and Poetry 1st edition PDF Book As the centuries passed both the inside of popular temples and the area surrounding them accumulated statues and small shrines or other buildings as gifts, and military trophies, paintings and items in precious metals, effectively turning them into a type of museum. Interpreting the Politics of Greek Sacrifice 17 power in general, as an inherently unstable social structure, constructed and negotiated through rituals of sacrifice and commensality. Notify me of new posts via email. Lambert —; Parker 21— On interpreting Greek epic in terms of a mythic rather than strictly textualized sequence, informed by the orally derived nature of these texts, see Clay 15; Clay ; Muellner 94— Achilles island Delos. This book represents the most comprehensive study to date of his early output as a unified literary production. Austin Cline. Only about half of the Mycenaean pantheon seem to survive the Greek Dark Ages though. Women who voluntarily chose to become priestesses received an increase in social and legal status to the public, and after death, they received a public burial site. Share Flipboard Email. The Idea of the Holy trans. There was also clearly cultural evolution from the Late Helladic Mycenaean religion of the Mycenaean civilization. Includes bibliographical references and index. Whereas previous studies have noted how the geras is used to bestow honour or how seating can reflect and establish ranking, this present investigation deepens and advances our understanding by offering a more subtle appreciation of the symbolic nature of the geras. -
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. -
Miracles in Greco-Roman Antiquity: a Sourcebook/Wendy Cotter
MIRACLES IN GRECO-ROMAN ANTIQUITY Miracles in Greco-Roman Antiquity is a sourcebook which presents a concise selection of key miracle stories from the Greco- Roman world, together with contextualizing texts from ancient authors as well as footnotes and commentary by the author herself. The sourcebook is organized into four parts that deal with the main miracle story types and magic: Gods and Heroes who Heal and Raise the Dead, Exorcists and Exorcisms, Gods and Heroes who Control Nature, and Magic and Miracle. Two appendixes add richness to the contextualization of the collection: Diseases and Doctors features ancient authors’ medical diagnoses, prognoses and treatments for the most common diseases cured in healing miracles; Jesus, Torah and Miracles selects pertinent texts from the Old Testament and Mishnah necessary for the understanding of certain Jesus miracles. This collection of texts not only provides evidence of the types of miracle stories most popular in the Greco-Roman world, but even more importantly assists in their interpretation. The contextualizing texts enable the student to reconstruct a set of meanings available to the ordinary Greco-Roman, and to study and compare the forms of miracle narrative across the whole spectrum of antique culture. Wendy Cotter C.S.J. is Associate Professor of Scripture at Loyola University, Chicago. MIRACLES IN GRECO-ROMAN ANTIQUITY A sourcebook Wendy Cotter, C.S.J. First published 1999 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2003. -
The Frogs: a Modern Adaptation Comedy by Don Zolidis
The Frogs: A Modern Adaptation Comedy by Don Zolidis © Dramatic Publishing Company The Frogs: A Modern Adaptation Comedy by Don Zolidis. Cast: 6 to 25m., 6 to 25w., 8 to 40 either gender. Disgusted with the state of current entertainment, Dionysus, God of Wine and Poetry, decides that it’s time to retrieve Shakespeare from the underworld. Surely if the Bard were given a series on HBO, he’d be able to raise the level of discourse! Accompanied by his trusted servant, Xanthias (the brains of the operation), Dionysus seeks help from Hercules and Charon the Boatman. Unfortunately, his plan to rescue Shakespeare goes horribly awry, as he’s captured by a chorus of reality-television-loving demon frogs. The frogs put the god on trial and threaten him with never-ending torment unless he brings more reality shows into the world. It won’t be easy for Dionysus to survive, and, even if he does get past the frogs, Jane Austen isn’t ready to let Shakespeare escape without a fight. Adapted from Aristophanes’ classic satire, The Frogs is a hilarious and scathing look at highbrow and lowbrow art. Flexible staging. Approximate running time: 100 minutes. Code: FF5. Cover design: Molly Germanotta. ISBN: 978-1-61959-067-0 Dramatic Publishing Your Source for Plays and Musicals Since 1885 311 Washington Street Woodstock, IL 60098 www.dramaticpublishing.com 800-448-7469 © Dramatic Publishing Company The Frogs: A Modern Adaptation By DON ZOLIDIS Dramatic Publishing Company Woodstock, Illinois ● Australia ● New Zealand ● South Africa © Dramatic Publishing Company *** NOTICE *** The amateur and stock acting rights to this work are controlled exclusively by THE DRAMATIC PUBLISHING COMPANY, INC., without whose permission in writing no performance of it may be given. -
Portraying Religious Themes in Aristophanes and Plautus
PORTRAYING RELIGIOUS THEMES IN ARISTOPHANES AND PLAUTUS Jacob Joel Crawford B.A., California State University, Sacramento, 2007 THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in HISTORY (Humanities) at CALIFORNIA STATE UNIVERSITY, SACRAMENTO SPRING 2011 PORTRAYING RELIGIOUS THEMES IN ARISTOPHANES AND PLAUTUS A Thesis by Jacob Joel Crawford Approved by: __________________________________, Committee Chair Jeffrey Brodd, Ph.D. __________________________________, Second Reader Nikolaos Lazaridis, Ph.D. ____________________________ Date ii Student: Jacob Joel Crawford I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for the thesis. __________________________, Department Chair ___________________ Aaron Cohen, Ph.D. Date Department of History iii Abstract of PORTRAYING RELIGIOUS THEMES IN ARISTOPHANES AND PLAUTUS by Jacob Joel Crawford The influence of political, social, and religious customs on Aristophanes and Plautus is evident in their comedic works. This thesis establishes, through the analysis of religious themes, that the religious nature of festivals, the prevalence of religious worship, and the impact of politics in influenced Aristophanes‟ and Plautus‟ works. The focus and structure of this work is categorized into the themes of devotion, divination, diviners, the divine, divine communication, ritual, and offerings. The purpose of a thematic approach facilitates cross-cultural comparisons of religiously through similar beliefs and practices found in Greek and Roman culture. Despite the influence of Greek theater in Rome, Plautus‟ adaptations clearly reflect uniquely Roman perspectives under allusions of Greek settings. Aristophanes and Plautus portrayed elements of religion in their works, and despite the specific cultural influences of the playwrights both depicted them favorable to traditional beliefs and practices. -
Vocabulary Worksheets Understanding and Using English Grammar, 4Th Edition Chapter 11: the Passive
Vocabulary Worksheets Understanding and Using English Grammar, 4th Edition Chapter 11: The Passive Worksheet 1. Reading: The Ancient Olympic Games Read the article about the ancient Olympic Games. Then review the glossary and complete the exercises that follow it. 1 According to legend, the ancient Olympic Games were founded by Heracles, a son of Zeus 2 (a Greek god). The first real Olympic Games for which we have written records were held in 3 776 BCE. These original Olympic Games were held on the plains of Olympia in Greece. 4 At the first Olympic Games, there was only one event: a sprint race, called the stadion race. 5 The word stadium is derived from this foot race. The race was 192 meters (210 yards) in 6 length and was won by a baker from a neighboring area. This first Olympic champion was 7 awarded the equivalent of today’s gold medal: a wreath of olive branches, which was placed 8 on his head. The olive tree of ancient Greece was not an ordinary tree; it was considered 9 sacred, so to be for an athlete to be crowned with an olive wreath was a holy honor. 10 Over the years, more races and more events were added, including wrestling, boxing, and 11 equestrian events (events with horses and people, such as chariot races and horse races). 12 In addition to the olive wreaths, winners received palm branches and woolen ribbons as 13 prizes. Winners of the Games were honored throughout Greece and were hailed as heroes in 14 their hometowns. -
From Symbol of Idealism to Money-Spinner
From Symbol of Idealism to Money-Spinner By Karl Lennartz 1 The traditional flag ceremonial at the Opening of the XXII Olympic Winter Games. The banner was carried among others by the ice hockey legend Vyacheslav Fetisov (far left), the six times Olympic speed skating champion Lidiya Skoblikova and by the first woman in space, Valentina Tereshkova. Photo: picture-alliance It was one of the most significant articles Coubertin To back up his theory, he looked at the list of countries ever wrote. It appeared in the August 1913 volume of the in Coubertin’s article: Sweden (for 1912), Greece (1896), Revue Olympique, a publication he had edited since France (1900), Great Britain (1908) and America (1904). 1901 and introduced his great symbol for the Olympic There followed Germany (1916), Belgium (1920), and Movement. “L’emblème et le drapeau de 1914”2 un- finally Italy, Hungary, Spain, Brazil, Australia, Japan and veiled the five coloured rings as the Olympic emblem China. 4 and flag. He had designed them for the 20th anniversary Young’s hypothesis provokes questions, in particular of the Olympic Movement, which was to be solemnly why Coubertin did not use the correct chronological celebrated in Paris in 1914 order, i.e. Athens, Paris, St. Louis, London and Stock- Coubertin interpreted the five rings as the five parts holm? How did Coubertin know, at the time of the of the world: “les cinq parties du monde“.3 By this he publication of his article, where the 1920 Games would could only have meant the continents of Africa, America, take place, for after all at the time of the Olympic Congress Asia, Australia and Europe, for in 1912 in Stockholm, the of 1914 there were still two applicants, Budapest and participation of two Japanese competitors meant that Antwerp, and the Hungarian capital was considered to all five were represented for the first time.