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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’. -
Partners with God
Partners with God Theological and Critical Readings of the Bible in Honor of Marvin A. Sweeney Shelley L. Birdsong & Serge Frolov Editors CLAREMONT STUDIES IN HEBREW BIBLE AND SEPTUAGINT 2 Partners with God Table of Contents Theological and Critical Readings of the Bible in Honor of Marvin A. Sweeney Abbreviations ix ©2017 Claremont Press Preface xv 1325 N. College Ave Selected Bibliography of Marvin A. Sweeney’s Writings xvii Claremont, CA 91711 Introduction 1 ISBN 978-1-946230-13-3 Pentateuch Is Form Criticism Compatible with Diachronic Exegesis? 13 Library of Congress Cataloging-in-Publication Data Rethinking Genesis 1–2 after Knierim and Sweeney Serge Frolov Partners with God: Theological and Critical Readings of the Bible in Exploring Narrative Forms and Trajectories 27 Honor of Marvin A. Sweeney / edited by Shelley L. Birdsong Form Criticism and the Noahic Covenant & Serge Frolov Peter Benjamin Boeckel xxi + 473 pp. 22 x 15 cm. –(Claremont Studies in Hebrew Bible Natural Law Recorded in Divine Revelation 41 and Septuagint 2) A Critical and Theological Reflection on Genesis 9:1-7 Includes bibliographical references and index. ISBN 978-1-946230-13-3 Timothy D. Finlay 1. Bible—Criticism, Narrative 2. Bible—Criticism, Form. The Holiness Redaction of the Abrahamic Covenant 51 BS 1192.5 .P37 2017 (Genesis 17) Bill T. Arnold Former Prophets Miscellaneous Observations on the Samson Saga 63 Cover: The Prophet Jeremiah by Barthélemy d’Eyck with an Excursus on Bees in Greek and Roman Buogonia Traditions John T. Fitzgerald The Sword of Solomon 73 The Subversive Underbelly of Solomon’s Judgment of the Two Prostitutes Craig Evan Anderson Two Mothers and Two Sons 83 Reading 1 Kings 3:16–28 as a Parody on Solomon’s Coup (1 Kings 1–2) Hyun Chul Paul Kim Y Heavenly Porkies 101 The Psalm in Habakkuk 3 263 Prophecy and Divine Deception in 1 Kings 13 and 22 Steven S. -
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. -
The Classicism of Hugh Trevor-Roper
1 THE CLASSICISM OF HUGH TREVOR-ROPER S. J. V. Malloch* University of Nottingham, U.K. Abstract Hugh Trevor-Roper was educated as a classicist until he transferred to history, in which he made his reputation, after two years at Oxford. His schooling engendered in him a classicism which was characterised by a love of classical literature and style, but rested on a repudiation of the philological tradition in classical studies. This reaction helps to explain his change of intellectual career; his classicism, however, endured: it influenced his mature conception of the practice of historical studies, and can be traced throughout his life. This essay explores a neglected aspect of Trevor- Roper’s intellectual biography through his ‘Apologia transfugae’ (1973), which explains his rationale for abandoning classics, and published and unpublished writings attesting to his classicism, especially his first publication ‘Homer unmasked!’ (1936) and his wartime notebooks. I When the young Hugh Trevor-Roper expressed a preference for specialising in mathematics in the sixth form at Charterhouse, Frank Fletcher, the headmaster, told him curtly that ‘clever boys read classics’.1 The passion that he had already developed for Homer in the under sixth form spread to other Greek and Roman authors. In his final year at school he won two classical prizes and a scholarship that took him in 1932 to Christ Church, Oxford, to read classics, literae humaniores, then the most * Department of Classics, University of Nottingham, NG7 2RD. It was only by chance that I developed an interest in Hugh Trevor-Roper: in 2010 I happened upon his Letters from Oxford in a London bookstore and, reading them on the train home, was captivated by the world they evoked and the style of their composition. -
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. -
Future Philology! by Ulrich Von Wilamowitz-Moellendorff - Rt Anslated by G
Fordham University Masthead Logo DigitalResearch@Fordham Articles and Chapters in Academic Book Philosophy Collections 2000 Future Philology! by Ulrich von Wilamowitz- Moellendorff - rT anslated by G. Postl, B. Babich, and H. Schmid Babette babich Fordham University, [email protected] Follow this and additional works at: https://fordham.bepress.com/phil_babich Part of the Classical Literature and Philology Commons, Continental Philosophy Commons, German Language and Literature Commons, and the History of Philosophy Commons Recommended Citation babich, Babette, "Future Philology! by Ulrich von Wilamowitz-Moellendorff - rT anslated by G. Postl, B. Babich, and H. Schmid" (2000). Articles and Chapters in Academic Book Collections. 3. https://fordham.bepress.com/phil_babich/3 This Article is brought to you for free and open access by the Philosophy at DigitalResearch@Fordham. It has been accepted for inclusion in Articles and Chapters in Academic Book Collections by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. FUTURE PHILOLOGY!i a reply to FRIEDRICH NIETZSCHE’S Ordinarius Professor of Classical Philology at Basel „birth of tragedy“ by Ulrich von Wilamowitz-Möllendorff Dr. Phil. zÏîùô óéëöéùô âáë&Òò ôåýôëéïí ßðüôñéììá hñÃïí ¦ãêÝöáëïí Ïñßãáíïí êáôáðõãïóýíç ôáØôz ¦óô ðñÎò êñåáò ìÝãá. — Aristophanes, Age 17ii i Zukunftsphilologie is a play upon the 1861 German publication of Wagner’s ironically titled “Zukunftsmusik” [“Music of the Future” — the quotation marks are Wagner’s own], an open letter to Frederic Villot, Conservator of the Picture Museums at the Louvre, first translated into and published in French in 1860. See L. J. Rather, Reading Wagner: A Study in the History of Ideas (Baton Rouge: Louisiana State University Press, 1998), p. -
EDWARD COURTNEY 1932-2019 Edward
EDWARD COURTNEY 1932-2019 Edward Courtney was born on 22 March 1932 in Belfast, Northern Ireland, to George, an administrator in the court system, and Kathleen. He had a sister and many cousins, of whom three became university lecturers. In 1943, at the age of eleven, he entered the Royal Belfast Academical Institution, which was also to produce J.C. McKeown, J.L. Moles and R.K. Gibson. When Gibson was a research student in Cambridge and met Ted (as he was universally known) for the first time, he asked him how he had retained his Belfast accent; ‘I never listen to anybody else!’ was the perhaps surprising (and certainly misleading) reply. At ‘Inst.’ Ted was taught by H.C. Fay, later to produce a school edition of Plautus’ Rudens (1969), and John Cowser, who, by lending him Housman’s editions of Juvenal and Lucan, instilled in him a preference for Latin over Greek. Three decades later, in 1980, Ted would publish the standard commentary on Juvenal, followed after four years by a critical edition of the text; and, after moving to Charlottesville in the 1990s, he would drive around town in a car whose licence-plate was ‘JUVENAL’, bought for him as a birthday present by his wife. At Inst. Ted was introduced to the verse composition in Greek and Latin which was to stand him in such good stead in later years, and he was taught to play chess by a friend: in 1950 he won the Irish Junior Championship and the Irish Premier Reserves tournament, and captained the Irish schoolboy team against England and Wales. -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines. -
The Lament for Adonis: Questions of Authorship
The Lament For Adonis: Questions Of Authorship The Lament for Adonis or Epitaphios Adonidos has since the mid-sixteenth century commonly been known as 'Bion 1'. In editions of Greek Bucolic it comes along with four long and four short poems allegedly by Moschus, a number of short poems or fragments by Bion of Smyrna, and a long fragment (32 lines) also since 1568 often attributed to him. This subcollection is sometimes conveniently called 'Minor Bucolic': 'minor' in relation to the much bulkier surviving work of Theocritus and 'bucolic' apparently only by association with him and through the clear reputation of Moschus and Bion in ancient times as bucolic writers. Editions of Minor Bucolic, i.e. Moschus and Bion published other than as an appendix to Theocritus (though sometimes combined with Callimachus, Musaeus, or 'the Nine Poetesses'), appeared in 1565 (Meetkercke, Bruges), 1568 (Orsini, Rome), 1655 (Whitford, London), 1686 (Longepierre, Paris), and then copiously in the eighteenth century; I count at least eight in the years 1746-1795. Since then, following the example of Ludolf Ahrens and August Meineke in the mid-nineteenth century, it has been the practice to re-attach Moschus and Bion to Theocritus,1 thus rein forcing the supposedly bucolic character of poems printed under their names. What is 'bucolic' about the Epitaphios Adonidos? or about Bion, will be ex amined in this paper, as will the correctness of its ascription to Bion of Smyrna, since such ascription has no ancient authority. The Epitaphios Adonidos (hereafter Ep. Ad) is transmitted to us in only two primary manuscripts, namely Vaticanus Graecus 1824 (= V) and Parisinus Graecus 2832 (=Tr). -
Letter from the Chair
Princeton NEWSLETTER OF THE DEPARTMENT OF CLASSICS Spring 2007 Letter from the ChairClassics nce again The department’s graduate students Inside this issue… I welcome continue to defy the conventional wisdom News from the Faculty ................................2 Othe op- that graduate school is an angst-ridden portunity to bring and morose phase of life. Their zest and Faculty Bookshelf .........................................5 you up to date on creativity make them a pleasure to work the department’s with. We are delighted to congratulate our Classical Studies ..........................................6 activities over the four job seekers this year, all of whom are last year—and once beginning tenure-track positions in the Senior Theses ..............................................6 fall: Eugenia Lao (Holy Cross), Jon Master again I begin by Graduate News ............................................7 thanking our edi- (Emory), Nate Powers (SUNY-Albany), and Denis Feeney, Chair tor, Marc Domingo Rob Sobak (Bowdoin). Four of our graduate Dissertations ................................................8 Gygax, and our indispensable computer sup- students have won prestigious fellowships port person, Donna Sanclemente, for mak- this year: Kellam Conover (Jacobus), Pauline Tennyson, Tithonus, and the End of the ing the Newsletter happen for the second Leven (Sibley), Jason Pedicone (Javits), and New Sappho ...........................................10 time. As a Latinist, I know that if something Susan Satterfield (Harvey). Our successes happens twice it’s part of the mos maiorum. at the undergraduate and graduate level “Images of Philology” Colloquium ............11 Our remarkable successes in under- are linked, since the faculty are dedicated graduate recruitment and teaching continue to improving their own teaching skills and Alumni News .............................................12 from last year. Compared to the normal those of the graduate students they mentor.