DOCSLIB.ORG

Leonidas & Eftychia Loizides

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leonidas & Eftychia Loizides LEONIDAS & EFTYCHIA LOIZIDES THEATRICAL GROUP 2008 - 2012 Articles, Blogs & Commentary on the Theatrical Group’s Performances, Greek Drama & Modern Life By Eftychia Loizides Leonidas & Eftychia Loizides Theatrical Group 2008 - 2012 Articles, Blogs & Commentary on the Theatrical Group’s Performances, Greek Drama & Modern Life By Eftychia Loizides *** Most of the text herein has been translated from Greek into English. All rhetoric, diction, and editing are the choice of Eftychia Loizides and/or her translator. The ideas expressed in this text reflect the views held by Leonides and Eftychia Loizides and do not necessarily reflect the views of Western Connecticut State University (WCSU), any of WCSU’s students, faculty, staff, or its affiliates, or the Macricostas Family Foundation. WCSU and the Macricostas Family Foundation make no representations as to the accuracy or completeness of any information in this text. Copyright © 2014 Western Connecticut State University 181 White Street Danbury, CT 06810 All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without the permission in writing from the publisher. Published May 2014 by Western Connecticut State University 181 White Street Danbury, CT 06810 ISBN: 978-0-692-22215-7 Library of Congress Control Number: 2014942360 ii ACKNOWLEGEMENTS The author would like to thank the Macricostas Family Foundation for their support and the Western Connecticut State University Center for Culture and Values for facilitating the compiling of the material for this text. The author also wishes to acknowledge the efforts of her translators and supporters. iii A few segments in this text were originally published in the following newspapers: “Euripides Changes the Myth of Helen” by Eftychia Loizides was published 17 June 2012 in Haravgi, a Greek language newspaper published since 1956. “Let's Talk About the End of the Performance: How Can an Ancient Drama be Associated with Christianity?” by Eftychia Loizides was published 5 August 2012 in Haravgi. “Some of the reasons why we chose this play by Euripides,” "Question: If you were asked to end the play with a line what would it be?” and "The end of the performance" by Eftychia Loizides were published in May 2012 on Panhellicpost.com, an online newspaper dedicated to the study of ancient Greece. “Join Us 9/11 for a Special Fundraiser: A Tragedy for a Tragedy” was written by and published in the New York Times in 2012. The authors and publications for the articles in Chapter XX: “Theater Reviews” are indicated next to the review. iv Table of Contents I. About Me 1 II. Helen by Euripides 3 a. Join Us for a Special Fundraiser: A Tragedy for a Tragedy 5 b. The Story 9 c. Note from the Director 9 III. Euripides Changes the Myth of Helen 11 a. Question: If You Were Asked to End the Play with a Line What Would it Be "What you've seen, you think it's true?" 16 b. Some of the Reasons We Chose This Play by Euripides 20 IV. Why to the Modern Man 28 V. Let's Talk About the End of the Performance: How Can an Ancient Drama be Associated with Christianity? 32 VI. Helen 412 BC – Obama 2012 AD 37 VII. Samaras at Colonus? 40 VIII. In “Helen” Euripides uses the concept of illusion. Helen as a being and Helen as an image. Why does he do this and in what extent is this significant nowadays? 45 IX. What Would Euripides' Answer to Violence Nowadays? 51 X. Euripides' "Helen" in Times Square 56 XI. Euripides and Egypt 60 XII. Chorus and Theatre 65 a. How I justify my opinion 65 v XII. ELECTRA BY SOPHOCLES 70 a. The Story 70 b. Note from the Director 70 c. Electra 86-121 72 XIII. What is the role of fanaticism in the application of programs for change? Does fanaticism succeed in making a change? 74 XIV. Retribution: Old Law 78 A. Ancient Drama and Tradition 82 XV. Speech is dialogue 83 XVI. The audience wonders if Orestes had the right to kill his mother and waits for the poet to give an answer 84 XVII. Aristocratic thought versus a realistic theory of conduct 93 A. Idleness-Versatility 93 B. Prudence-intelligence 93 C. Prudence has two sides 94 D. The aristocratic ideal in Pindar’s work 94 E. Nature 95 F. Sophocles allows nature to evolve sometimes 96 G. Protagoras’ method of teaching 97 H. Thucydides presents people the way they are 98 XVIII. Man transcending the law 99 A. “Leader wanted” 101 vi XIX. Leonidas & Eftychia Loizides Theatrical Group 102 A. PRODUCTIONS 1. BACCHAE BY EURIPIDES 103 a. Director’s Note 106 2. TROADES BY EURIPIDES 109 3. ORESTEIA BY AESCHYLUS 111 a. 5 reasons to view Oresteia by Leonidas Loizides 111 4. IPHIGENIA IN TAURIS BY EURIPIDES a. Director’s Note 113 5. ΠΑΝΕΠΙΣΤΗΜΙΑ 115 XX. Theater Reviews A. Euripides’ “Bacchae” in Detroit, Michigan 116 B. ASTONISHING "BACCHAE" PRESENTED BY LOIZIDES IN A DC THEATRE OF CAMBRIDGE 118 C. Touring Group Explores Greek Tragedy ‘Iphigenia’ October 31, 2011 120 D. The New York Times Saturday, August 10, 2013 121 E. Stephanie Stylianou, Hellenic Student Association president, hopes to transport Greeks and non-Greeks back to ancient Greece if just for a moment with the production of the Greek tragedy Iphigenia in Tauris Friday. 123 F. Producer/Director Loizides Bows Off-Broadway With ‘Iphigenia’ 124 G. Iphigenia in Tauris' review: Play's passion is a double-edged sword 128 H. The Oresteia September 28, 2010 131 vii About Me EFTYCHIA LOIZIDES (Actor/ Director)was born and raised in Athens. She is a distinguished graduate of Vassilis Diamantopoulos Acting School. Since her second year of school, she began working with award winning director, Leonidas Loizides in Vakches of Aischylous, in the dual main role of the Messenger and Angel. She went on a tour in Greece, the US, the UK, Germany and Cyprus under the auspices of the Ministries of Tourism, Culture and the Internal & External Affairs. The following year, she appeared on the TV show Great Greeks – Pericles in the role of Atossa, then in Perses of Aisxylous under the guidance of the distinguished director/actor, Zaharias Rohas. In June 2009, she received her degree and began work on Troades of Euripides with the director L. Loizides, as Andromache. There she sang under the musical composition of Mikis Theodorakis. She subsequently had a nationwide tour in 37 American states performing in both Greek and English. What is more, she presented and prologued the book of Eva Soldatos’ Night Ballads and the poetic collection of Grigorios Davarinos. In 2010, she had the lead role of Kassandra and Electra in the ancient tragedy Oresteia of Aischylous, performed Off-Broadway at the Kirk Theatre. In 2011 she had the lead role in Ifigenia in Tauris by Euripides, which she was awarded for, which premiered Off-Broadway at the Lion Theatre. She co-produced and co-directed this piece with Leonidas Loizides and it received marvelous reviews. She has taught ancient Greek tragedy in universities and trained professional actors in New York. In 2011 she is directing the play, Euripides' Helen (La Mama Theater NYC) for which she won the Artemis Award by Loula Loi Alafoyiannis, the founder and president of the Euro-American Women's Council (EAWC) and will be touring the US, Canada and Europe. Subsequently, she will act as the Artistic Director of the first ever Ancient Drama Festival in NYC. She also writes for newspapers and blogs, drawing parallels between ancient Greek drama and today's society. For more information, visit http://www.loizidis.com. In 2012 she is directing the play, Sophocles' Electra and she play the lead role, which premiered Off-Broadway at the theater Row. HELEN BY EURIPIDES The play will be performed Off Broadway at The First Floor Theater at 74 East 4th Street from September 11th to September 23rd, 2012. After mounting two successful off-Broadway runs of Aeschylus’s Oresteia (2010) and Euripides’s Iphigenia in Tauris (2011), Leonidas Eftychia Loizidis’s acting troupe will return in the Fall of 2012 to present Euripides’s Helen. Produced by the award-wining Leonidas Loizidis,and directed by acclaimed actress Eftychia Loizide and a new adaptation of the play into modern English poetry by Louis Markos, English and Honors Professor and Scholar in Residence at Houston Baptist University. To watch a 17 minute introduction to Helen in which Professor Markos provides a synopsis of the plot, discusses the reasons he and Loizides chose Helen for 2012, and shares their vision for bringing Greek tragedy to a modern global audience, click this link: http://youtu.be/rfmZI0Uu3OE 3 Directed by critically acclaimed director-actor Eftychia Loizides 4 Join Us 9/11 for a Special Fundraiser: A Tragedy for a Tragedy A TRAGEDY FOR A TRAGEDY: THEATRE GROUP DEDICATES OPENING PERFORMANCES OF EURIPIDES' HELEN OF TROY ON 9/11 TO 9/11-BASED CHARITY, NEW YORK SAYS THANK YOU FOUNDATION NEW YORK, NY: On, Tuesday, September 11th, 2012, at 3pm and 7pm, at the First Floor Theatre (La MaMA) in NYC, the Leonidas-Eftychia Loizides Theatre Group will present the ancient Greek tragedy, Helen of Troy, and on this day, cast members will perform with their hearts open in remembrance and honor of those who passed, and for those who suffered loss on September 11th, 2001. To commemorate 9/11, a portion of the ticket proceeds for both Helen of Troy performances that day will go to the New York Says Thank You Foundation to support the Foundation in its efforts to give back to communities in need.
Load more

Recommended publications
  • Citations in Classics and Ancient History
    Citations in Classics and Ancient History The most common style in use in the field of Classical Studies is the author-date style, also known as Chicago 2, but MLA is also quite common and perfectly acceptable. Quick guides for each of MLA and Chicago 2 are readily available as PDF downloads. The Chicago Manual of Style Online offers a guide on their web-page: http://www.chicagomanualofstyle.org/tools_citationguide.html The Modern Language Association (MLA) does not, but many educational institutions post an MLA guide for free access. While a specific citation style should be followed carefully, none take into account the specific practices of Classical Studies. They are all (Chicago, MLA and others) perfectly suitable for citing most resources, but should not be followed for citing ancient Greek and Latin primary source material, including primary sources in translation. Citing Primary Sources: Every ancient text has its own unique system for locating content by numbers. For example, Homer's Iliad is divided into 24 Books (what we might now call chapters) and the lines of each Book are numbered from line 1. Herodotus' Histories is divided into nine Books and each of these Books is divided into Chapters and each chapter into line numbers. The purpose of such a system is that the Iliad, or any primary source, can be cited in any language and from any publication and always refer to the same passage. That is why we do not cite Herodotus page 66. Page 66 in what publication, in what edition? Very early in your textbook, Apodexis Historia, a passage from Herodotus is reproduced.
    [Show full text]
  • Separating Fact from Fiction in the Aiolian Migration
    hesperia yy (2008) SEPARATING FACT Pages399-430 FROM FICTION IN THE AIOLIAN MIGRATION ABSTRACT Iron Age settlementsin the northeastAegean are usuallyattributed to Aioliancolonists who journeyed across the Aegean from mainland Greece. This articlereviews the literary accounts of the migration and presentsthe relevantarchaeological evidence, with a focuson newmaterial from Troy. No onearea played a dominantrole in colonizing Aiolis, nor is sucha widespread colonizationsupported by the archaeologicalrecord. But the aggressive promotionof migrationaccounts after the PersianWars provedmutually beneficialto bothsides of theAegean and justified the composition of the Delian League. Scholarlyassessments of habitation in thenortheast Aegean during the EarlyIron Age are remarkably consistent: most settlements are attributed toAiolian colonists who had journeyed across the Aegean from Thessaly, Boiotia,Akhaia, or a combinationof all three.1There is no uniformityin theancient sources that deal with the migration, although Orestes and his descendantsare named as theleaders in mostaccounts, and are credited withfounding colonies over a broadgeographic area, including Lesbos, Tenedos,the western and southerncoasts of theTroad, and theregion betweenthe bays of Adramyttion and Smyrna(Fig. 1). In otherwords, mainlandGreece has repeatedly been viewed as theagent responsible for 1. TroyIV, pp. 147-148,248-249; appendixgradually developed into a Mountjoy,Holt Parker,Gabe Pizzorno, Berard1959; Cook 1962,pp. 25-29; magisterialstudy that is includedhere Allison Sterrett,John Wallrodt, Mal- 1973,pp. 360-363;Vanschoonwinkel as a companionarticle (Parker 2008). colm Wiener, and the anonymous 1991,pp. 405-421; Tenger 1999, It is our hope that readersinterested in reviewersfor Hesperia. Most of trie pp. 121-126;Boardman 1999, pp. 23- the Aiolian migrationwill read both articlewas writtenin the Burnham 33; Fisher2000, pp.
    [Show full text]
  • Corinth, 1985: East of the Theater
    CORINTH, 1985: EAST OF THE THEATER (PLATES 25-37) T HE 1985 EXCAVATIONS of the American School of Classical Studies at Ancient Corinth were a direct continuation of work done east of the Theater by the School between1983 and 1984.1 Excavation focused on three contiguous buildings which line the east side of East Theater Street (P1. 25). The work revealedthe many similarities that exist between the northernmosttwo of these structures, Buildings 1 and 3. The ground floor in both buildings appears to have been devoted to the preparation of foods, perhaps in large part for the delectation of theater crowds. The southernmoststructure of the three on the east side of the street, now called Building 5, is of a completely different plan, as yet not completely excavated and thus remaining unidentified in function. Some work also was done between the street and the Theater along the west side of East Theater Streetwhere, in places, the earliest Roman levels of Corinth were reached. Only under the northwest and west rooms of Building 5 were pre-Roman levels explored. Under the former, pure Geo- metric material was found in a pit, while slightly west of that pit a line of five thrones of pre- Roman period were found cut into bedrock. 'C. K. Williams, II and Orestes H. Zervos, Hesperia 53, 1984, pp. 1-47, pls. 1-12; eidem, Hesperia 54, 1985, pp. 55-96, pls. 6-18. Again in 1985 excavation in Ancient Corinth by the American School of Classical Studies at Athens was made possible thanks to the Greek ArchaeologicalService and its Director, I.
    [Show full text]
  • Copyrighted Material
    9781405129992_6_ind.qxd 16/06/2009 12:11 Page 203 Index Acanthus, 130 Aetolian League, 162, 163, 166, Acarnanians, 137 178, 179 Achaea/Achaean(s), 31–2, 79, 123, Agamemnon, 51 160, 177 Agasicles (king of Sparta), 95 Achaean League: Agis IV and, agathoergoi, 174 166; as ally of Rome, 178–9; Age grades: see names of individual Cleomenes III and, 175; invasion grades of Laconia by, 177; Nabis and, Agesilaus (ephor), 166 178; as protector of perioecic Agesilaus II (king of Sparta), cities, 179; Sparta’s membership 135–47; at battle of Mantinea in, 15, 111, 179, 181–2 (362 B.C.E.), 146; campaign of, in Achaean War, 182 Asia Minor, 132–3, 136; capture acropolis, 130, 187–8, 192, 193, of Phlius by, 138; citizen training 194; see also Athena Chalcioecus, system and, 135; conspiracies sanctuary of after battle of Leuctra and, 144–5, Acrotatus (king of Sparta), 163, 158; conspiracy of Cinadon 164 and, 135–6; death of, 147; Acrotatus, 161 Epaminondas and, 142–3; Actium, battle of, 184 execution of women by, 168; Aegaleus, Mount, 65 foreign policy of, 132, 139–40, Aegiae (Laconian), 91 146–7; gift of, 101; helots and, Aegimius, 22 84; in Boeotia, 141; in Thessaly, Aegina (island)/Aeginetans: Delian 136; influence of, at Sparta, 142; League and,COPYRIGHTED 117; Lysander and, lameness MATERIAL of, 135; lance of, 189; 127, 129; pro-Persian party on, Life of, by Plutarch, 17; Lysander 59, 60; refugees from, 89 and, 12, 132–3; as mercenary, Aegospotami, battle of, 128, 130 146, 147; Phoebidas affair and, Aeimnestos, 69 102, 139; Spartan politics and, Aeolians,
    [Show full text]
  • Pausanias' Description of Greece
    BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA.
    [Show full text]
  • University Microfilms, Inc., Ann Arbor, Michigan LINDA JANE PIPER 1967
    This dissertation has been microfilmed exactly as received 66-15,122 PIPER, Linda Jane, 1935- A HISTORY OF SPARTA: 323-146 B.C. The Ohio State University, Ph.D., 1966 History, ancient University Microfilms, Inc., Ann Arbor, Michigan LINDA JANE PIPER 1967 All Rights Reserved A HISTORY OF SPARTA: 323-1^6 B.C. DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Linda Jane Piper, A.B., M.A. The Ohio State University 1966 Approved by Adviser Department of History PREFACE The history of Sparta from the death of Alexander in 323 B.C; to the destruction of Corinth in 1^6 B.C. is the history of social revolution and Sparta's second rise to military promi­ nence in the Peloponnesus; the history of kings and tyrants; the history of Sparta's struggle to remain autonomous in a period of amalgamation. It is also a period in Sparta's history too often neglected by historians both past and present. There is no monograph directly concerned with Hellenistic Sparta. For the most part, this period is briefly and only inci­ dentally covered in works dealing either with the whole history of ancient Sparta, or simply as a part of Hellenic or Hellenistic 1 2 history in toto. Both Pierre Roussel and Eug&ne Cavaignac, in their respective surveys of Spartan history, have written clear and concise chapters on the Hellenistic period. Because of the scope of their subject, however, they were forced to limit them­ selves to only the most important events and people of this time, and great gaps are left in between.
    [Show full text]
  • Studies in Pausanias' Periegesis Akujärvi, Johanna
    Researcher, Traveller, Narrator : Studies in Pausanias' Periegesis Akujärvi, Johanna 2005 Link to publication Citation for published version (APA): Akujärvi, J. (2005). Researcher, Traveller, Narrator : Studies in Pausanias' Periegesis. Almqvist & Wiksell International. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Studia Graeca et Latina Lundensia 12 Researcher, Traveller, Narrator Studies in Pausanias’ Periegesis Johanna Akujärvi Lund 2005 Almqvist & Wiksell International Stockholm/Sweden © 2005 Johanna Akujärvi Distributed by Almqvist & Wiksell International P.O. Box 7634 S-103 94 Stockholm Sweden Phone: + 46 8 790 38 00 Fax: + 46 8 790 38 05 E-mail: [email protected] ISSN 1100-7931 ISBN 91-22-02134-5 Printed in Sweden Media-Tryck, Lund University Lund 2005 To Daniel Acknowledgements There are a number of people to whom I wish to express my gratitude.
    [Show full text]
  • Three Aspects of Spartan Kingship in Herodotus Rosaria Vignolo Munson
    5 Three Aspects of Spartan Kingship in Herodotus Rosaria Vignolo Munson erodotus’ Histories are governed by the rule of resemblance: they explain the nature of a given historical phenomenon by sug­ gesting similarities to unrelated phenomena entirely different in Hother respects.! We may safely state, in particular, that Herodotus’ analysis of any form of personal power is inseparable from his representation of monarchical rule. This was an essential feature of the foreign culture that threatened the integrity of Hellas at the time of the Persian wars, and it provided the Greeks with a foil for self-definition. The components of the monarchical model in Herodotus have often been discussed,^ and I need only to recall a few points. The speech of Otanes in the Constitutional Debate is the basic theoretical document (3.80). The monarch is here defined as an individual who “can do what he wants without being accountable” (dvevOvvco Trottem ra /SouXerat). When placed in such a position, even the best of men finds himself outside the normal way of thinking (/cat yap av tov aptcTOV avhputv TravTwv (TTavTU e? TavTTjv TTjv apy^v e/cxd? twv ewOoToiv voripdraiv cTTpcreid) and commits many unbearable things (iroWd /cal dracrOaka) out of u/3pts and cpOovos. Typically, the monarch subverts ancestral laws (Ttarpta vopaia), he does violence to women, and he puts people to death without trial. I am happy to dedicate this chapter to Martin Ostwald with gratitude and admiration. 1. The importance of analogical thought in Herodotus is widely recognized. See espe­ cially the work of Immerwahr (1966) and Lateiner (1989, 191-96).
    [Show full text]
  • THEAGON the Long-Awaited Entry of Menelaus at Line 348 Marks The
    CHAPTER THREE THEAGON INTRODUCTION The long-awaited entry of Menelaus at line 348 marks the commencement of the plot proper, following the lengthy series of expository scenes with which the play opens. The ensuing scene is a crucial one because our understanding of Orestes' character and of the general tenor of the play depends largely on our interpretation of the tactics employed by Orestes before Menelaus and particularly in the agon with Tyndareus. Chapter Two examined the place of the scene within the general structure of Orestes and the characterization of Menelaus. We have noted (above, pp. 70-73) how Menelaus' rejection of Orestes' plea is presented as a triumph of base self-interest over the demands of xapts and cpLALa. We have also seen the way in which Euripides deliberately emphasizes Menelaus' treachery (in a manner reminiscent of Medea's Jason and Hecuba's Odysseus) in order to portray the latter's perfidy as one link in the series of injustices that eventually lead to Orestes' violent and bloodthirsty reaction. The present chapter will examine more closely the speeches presented by Orestes and Tyndareus in the course of the agon, as well as Orestes' vcrnpos Myos following the departure of the irascible Spartan elder. In the past, the interpretation of these speeches has proven to be a particularly thorny problem. The difficulty may be summed up as follows: whereas the words of Tyndareus, for all of their vehemence and unpleasantness, present a case that appears to be both reasonable and founded upon objective concerns for justice and social order, the arguments of Orestes, the putative hero of the play, are felt to be extraordinarily bad, abounding in sophistries and in extravagancies both of speech and of thought.
    [Show full text]
  • Aeschylusaeschylus
    AeschylusAeschylus •The Life and Times of Aeschylus •Aeschylus’ Contributions to Greek Tragedy • Overview of Myth: The House of Atreus •Aeschylus’ Agamemnon AeschylusAeschylus LifeLife andand TimesTimes •after winning both the Persian Wars, the Athenians’ spirits soared •they threw themselves into the arts with unprecedented energy and confidence • tragedy was among those arts, one which received much public attention AeschylusAeschylus LifeLife andand TimesTimes •the first tragedian whose work survives is AeschylusAeschylus (ca. 525 BCE ‐ 456 BCE) • according to his tombstone, Aeschylus fought in the Persian Wars •but it does not mention his drama • according to him, then, his most important achievement in life was fighting for freedom, not writing plays AeschylusAeschylus LifeLife andand TimesTimes •Aeschylus won the Dionysia for the first time in 484 BCE •he produced his last known trilogy in 458 BCE: Oresteia (including Agamemnon) •he wrote and produced over eighty plays during his life •thus, he entered the Dionysia at least twenty times AeschylusAeschylus ContributionsContributions toto DramaDrama •but only seven of his plays have survived •most in school texts, cf. Epic of Gilgamesh • nevertheless, we can see that he was the most important playwright of his day: –he won five or more victories at the Dionysia –later playwrights often referenced and imitated—and satirized!—his work –the audiences of the next generation enjoyed revivals of his drama AeschylusAeschylus ContributionsContributions toto DramaDrama •Aeschylus introduced
    [Show full text]
  • W Orkbook and a Nswer Key the GREEKS
    Old W estern Cul ture A Christian Approach to the Great Books THE GREEKS Workbook and Answer Key Wesley Callihan Old Western Culture A Christian Approach to the Great Books Year 1: The Greeks Unit 2 Drama and Lyric The Tragedies, Comedies, and Minor Poems Student Workbook Please Note: This workbook may be periodically updated, expanded, or revised. Download the latest revision at www.RomanRoadsMedia.com/materials. Last Updated July 2016 ABOUT ROMAN ROADS MEDIA Roman Roads combines its technical expertise with the experience of established authorities in the field of classical education to create quality video resources tailored to the homeschooler. Just as the first century roads of the Roman Empire were the physical means by which the early church spread the gospel far and wide, so Roman Roads Media uses today’s technology to bring timeless truth, goodness, and beauty into your home. By combining clear instruction with visual aids and examples, we help inspire in your children a lifelong love of learning. As homeschool graduates themselves, our producers know the value of excellent educational tools, and strive to ensure that Roman Roads’ materials are of the highest caliber. ABOUT OLD WESTERN CULTURE Old Western Culture: A Christian Approach to the Great Books is an integrated humanities course designed to give students an overview of Western culture by studying the great books from a Christian perspective. The video series consists of four courses, designed to be completed over four years: Year 1: The Greeks Year 3: Christendom Unit 1: The Epics—The Poems of Homer Unit 1: Early Medieval—St.
    [Show full text]
  • The Aesthetics of Dialect in Hellenistic Epigram
    The Aesthetics of Dialect in Hellenistic Epigram A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics by Taylor S. Coughlan B.A. Carleton College M.A. University of Wisconsin—Madison March 18, 2016 Committee Chair: Kathryn Gutzwiller, Ph.D. Alex Sens, Ph.D. Lauren Ginsberg, Ph.D. i Abstract This dissertation is a study of dialect choice and dialect mixture in Hellenistic book epigram. The aims of the project are not only linguistic, but also literary; indeed, what motivates the study is an overarching interest in understanding how specific dialect choices can enrich the meaning of the poem in which they appear. Scholars have only recently started to include dialect in their readings of individual epigrams, but no one has systematically studied the entire corpus. In order to more fully understand Hellenistic book epigram and its flourishing during a period of great social, cultural, and literary change, we must confront the genre’s use of dialect or otherwise miss out on an important component in this self-conscious genre’s production of poetic meaning. Following an introduction that sets out the interpretive framework for the dissertation and explores issues of dialect transmission in the manuscript tradition, the study falls into two parts, each comprising three chapters. In the first part, I attempt to situate dialect choice and mixture in its poetic and literary-critical contexts. In the first chapter, I investigate dialect usage in pre- Hellenistic Greek poetry, not including inscribed epigram, arguing that dialect mixture for poetic effect existed in Archaic and Classical poetry.
    [Show full text]