DOCSLIB.ORG

Clio and Thalia: Attic Comedy and Historiography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Clio and Thalia: Attic Comedy and Historiography CLIO AND THALIA: ATTIC COMEDY AND HISTORIOGRAPHY HISTOS The Online Journal of Ancient Historiography Edited by Christopher Krebs and †John Moles Histos Supplements Supervisory Editor: John Marincola '. Antony Erich Raubitschek, Autobiography of Antony Erich Raubitschek . Edited with Introduction and Notes by Donald Lateiner (-.'/). -. A. J. Woodman, Lost Histories: Selected Fragments of Roman Historical Writers (-.'3). 4. Felix Jacoby, On the Development of Greek Historiography and the Plan for a New Collection of the Fragments of the Greek Historians . Translated by Mortimer Chambers and Stefan Schorn (-.'3). /. Anthony Ellis, ed., God in History: Reading and Re- writing Herodotean Theology from Plutarch to the Renaissance (-.'3). 3. Richard Fernando Buxton, ed., Aspects of Leadership in Xenophon (-.'9) 9. Emily Baragwanath and Edith Foster, edd., Clio and Thalia: Attic Comedy and Historiography (-.';) CLIO AND THALIA: ATTIC COMEDY AND HISTORIOGRAPHY EDITED BY EMILY BARAGWANATH & EDITH FOSTER HISTOS SUPPLEMENT 9 NEWCASTLE UPON TYNE - . ' ; Published by H I S T O S School of History, Classics and Archaeology, Newcastle University, Newcastle upon Tyne, NE' ;RU, United Kingdom ISSN (Online): -./9-3?94 (Print): -./9-3?33 © -.'; THE INDIVIDUAL CONTRIBUTORS TABLE OF CONTENTS Preface ............................................................................... i About the Contributors ................................................... iii '. Introduction: Clio and Thalia Emily Baragwanath and Edith Foster .................................. ' -. Insults and Humiliations in Fifth-Century Historiography and Comedy Donald Lateiner .............................................................. 4' 4. Humour, Ethnography, and Embassy: Herodotus, Histories 4.';–-3 and Aristophanes, Acharnians 9'–'44 Mark C. Mash .............................................................. 9; /. The Death of Nicias: No Laughing Matter Daniel P. Tompkins ....................................................... ?? 3. Aristophanes’ Cleon and Post-Peloponnesian War Athenians: Denunciations in Thucydides Edith Foster ................................................................. '-? 9. Memory and the Rhetoric of Σωτηρία in Aristophanes’ Assembly Women Rob Tordoff ................................................................. '34 ;. Comedy and History, Theory and Evidence in Duris of Samos Christopher Baron ......................................................... -'' Index Locorum ........................................................... -/' PREFACE This Histos Supplementary Volume, Clio and Thalia: Attic Comedy and Historiography , arose from panels we organised at the annual meetings of the American Association of Ancient Historians (‘Greek Historiography and Attic Comedy’, UNC-Chapel Hill and Duke Universities, May +,-+) and the Classical Association of the Middle West and South (‘Clio and Thalia: Reconsidering the Relation of Attic Old Comedy and Historiography’, Iowa City, April +,-3). Both panels sought to direct attention to the complex and under- appreciated relationship between two innovative and swiftly changing genres, and perhaps particularly to emphasise the connectedness of Herodotean and Thucydidean histori- ography with comic paradigms. Subsequent to these conferences, our hard working panellists have thoroughly revised their papers. We would like to extend our great thanks to them, to the audiences on each occasion, and to the conference organisers. We would also like to thank Professor Je:rey Rusten for his contri- bution to our panel in +,-+, and the anonymous readers for Histos , who provided valuable criticism on each contri- bution. We thank Eduardo García-Molina, who compiled the Index Locorum. Above all we thank Professor John Marincola, Supervisory Editor of Histos ’ Supplementary Volumes, for his splendid combination of enthusiasm, sage advice, and practical nous that guided the volume from the very beginning through to publication. We are saddened that during the course of the project Histos ’ other key player, Professor John Moles (founder and editor of Histos and Professor of Latin at Newcastle University), passed away: we will miss his brilliance, his generosity, and his tremendous supportiveness of other and especially junior scholars. ii Emily Baragwanath and Edith Foster Finally, we would like to thank our respective institutions for their support: The University of North Carolina at Chapel Hill, Case Western Reserve University, and The Institute for Advanced Studies at the University of Strasbourg. University of North Carolina at Chapel Hill E. B. Strasbourg E. F. March, +,-> ABOUT THE CONTRIBUTORS EMILY BARAGWANATH is an Associate Professor in the Classics Department at the University of North Carolina at Chapel Hill. Her publications include Motivation and Narrative in Herodotus (Oxford, ,--.) and articles on the literary techniques employed by the Greek historians. She is co- author of the Herodotus Oxford Bibliography Online and co-editor of Myth, Truth, and Narrative in Herodotus (Oxford, ,-4,) (both with Mathieu de Bakker). At present she is writing a monograph on the fourth-century Athenian writer Xenophon. CHRISTOPHER BARON is an Associate Professor of Classics at the University of Notre Dame, specialising in the study of the historical writing of ancient Greece and Rome as well as the history of the Greek world after Alexander. He is the author of Timaeus of Tauromenium and Hellenistic Historiography (Cambridge, ,-47). He is currently editing The Herodotus Encyclopedia for Wiley and working on a monograph on Greek historians under the Roman Empire. EDITH FOSTER is a Fellow at the Institute for Advanced Studies at the University of Strasbourg and a Senior Research Associate at Case Western Reserve University. She has co-edited (with Ryan K. Balot and Sara Forsdyke) the Oxford Handbook of Thucydides , and is presently writing a commentary on Book : of Thucydides for the Cambridge Greek and Latin Classics series. DONALD LATEINER has published books on The Historical Method of Herodotus (Toronto, 4;.;) and Sardonic Smile (Ann Arbor, 4;;<). He has co-edited collections of Lionel Pearson’s papers (Chico, 4;.,), Thucydides and Herodotus iv About the Contributors (Oxford, ,-4,), Roman Literature, Gender, and Reception (Festschrift Hallett, London and New York, ,-47), and the Ancient Emotion of Disgust (New York and Oxford, ,-4>). He has introduced and annotated editions of translations of Herodotus and Thucydides for Barnes and Noble. He is Emeritus Professor of Humanities-Classics at Ohio Wesleyan University. MARK C. MASH is an independent scholar and public school teacher who lives in Durham, North Carolina. He received his PhD from the University of North Carolina at Chapel Hill. His primary area of research is Herodotus, and his recent essay on the historian’s use of stereotypes as faulty resemblance appears in the Routledge monograph, Resemblance and Reality in Greek Thought (London and New York, ,-4?). DANIEL P. TOMPKINS has retired from the Department of Greek and Roman Classics at Temple University in Philadelphia. He has written on Thucydides, Homer, the ancient city, Wallace Stevens, and various topics in higher education. He currently works on the intellectual devel- opment of M. I. Finley and on language and politics in the speeches in Thucydides. ROB TORDOFF teaches Greek and Roman literature and history in the Department of Humanities at York University in Toronto. His research focuses on Aristophanes and ancient Greek social history. Histos Supplement ( ) – INTRODUCTION: CLIO AND THALIA Emily Baragwanath and Edith Foster he sisters Clio and Thalia at first sight possess not family likeness, but starkly dissimilar features: the one serious-minded and noble, a worshipper at the T 1 altar of truth; the other, a lewd mistress of distortions and falsification who peddles base laughter. Yet to the observer who lingers to take a closer look, their features disclose a8nities that shed light on both genres. The papers collected in this supplementary volume of Histos move beyond our well-established practice of using Attic comedy and historiography to clarify each other, and set them side by side to reflect upon how they responded and related to each other in ancient times. 2 Attic comedy and fifth-century historiography shared important themes and aims. 3 Perhaps most conspicuously, comedy taught about historical individuals and contempo- rary issues—famous political leaders, such as Pericles or Cleon, the sophists, the new education, generation clash, the foibles of the democracy, the courts, of policy toward the war—that connected with Thucydides’ account of, and 1 Cf. Lucian’s characterisation of the ideal historian. 2 Strasburger (? ) reviews the presence of comic elements in Greek historiography from the Classical to Hellenistic periods, and remarks ( ) on how little historiography owes to comedy. Cf. Will ( B) ?. The present volume is concerned not with ‘influences’ of one on the other, but with their relationships and a8nities. 3 Tragic elements in the works of the ancient Greek historians have drawn a good deal more scholarly attention than comic ones, e.g. Chiasson (?D ) and ( ), Macleod (?D), Pelling (??), Saïd ( ), Gri8n ( ), Rutherford ( ), and Baragwanath ( a), – . For the relation between tragedy and comedy, especially in respect to comedy’s direct engagement with contemporary issues and figures, cf. e.g. Taplin (?D ). Emily Baragwanath and Edith Foster Herodotus’ implicit commentary on,
Load more

Recommended publications
  • Works Herodotus
    Swarthmore College Works Classics Faculty Works Classics 2013 Herodotus Rosaria Vignolo Munson Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-classics Part of the Classics Commons Recommended Citation Rosaria Vignolo Munson. (2013). "Herodotus". Herodotus. Volume 1-2, https://works.swarthmore.edu/fac-classics/42 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Classics Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Introduction I. HERODOTUS TODAY 1.1 In a review article called 'A Triumph for Herodotus', Peter Green largely attributes the resurgence of Herodotean studies over the last forty years or so to our emancipation from the narrower model of historiography inspired by Thucydides. 1 We have been gradually liberated to experience the pleasure of Herodotus' text, and among the general educated public the Histories have increasingly been treated as a big book we carry around in our heads, keep on our table , refer to, study, and above all enjoy. Indeed, it is not unlikely for journalists and travelling intellectuals nowadays to pack a copy of the Histories in their bags.2 1.2 Herodotus' work is a history of the interactions between the Greek city­ states and their powerful Near Eastern neighbours that culminated in the Persian invasions of Greece in 490 and 480 BCE . It goes as far back as possible to explore the causes of this conflict, and it traces the rise of the Persians to be masters of a large multi-ethnic empire that conquered, or 1 Green (2003).
    [Show full text]
  • The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
    THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans.
    [Show full text]
  • Percy Jackson Musical Tickets
    Percy Jackson Musical Tickets Is Frederik always untearable and rarer when sanctions some polysyndetons very knee-high and trim? Aseptic Carlin endangers impressively, he undersupplies his backsword very impurely. Twiggiest and first-born Nico always prompts insolubly and taste his grumes. Reyna to outsmart her hammer and collaborated with her all patrons with links to each but it was not to talk and percy jackson musical and food from rock BE ADVISED: This show contains the use of strobe effects. She suggests that she merge with Percy since mixing Egyptian and Greek powers worked earlier. New web service mark of percy jackson musical, and the theatreland ltd collection. Annabeth would meet him as provided, musical at the tickets on broadway theatres, percy jackson musical tickets for our agreements and event recommendations for one with the lightning thief. They inspect the tree and watch as Thalia regains her human form and is awaken. Is The Bisexual on Hulu? Ticketmaster and at the Fisher Theatre box office. This site uses functional cookies and external scripts to improve your experience. Share this musical at hanover theatre tickets on her to life, and percy jackson and almost kill them, as minerva hated her well with percy jackson musical tickets via telephone, knowing how percy. Reyna also gave Annabeth hot chocolate. She hardly ever shows her true feelings, often hiding worry or upsetness with raw or teasing anger. Percy finally defeats the monster with the help of Grover, Annabeth, and Clarisse. Annabeth into his problems, but she said she understands more than he thinks. Is Percy Jackson or Harry Potter better? But only messing with percy jackson musical tickets for the two of the addams family members can percy? By continuing to browse the site, you are agreeing to our use of cookies.
    [Show full text]
  • Cambridge University Press 978-1-108-48147-2 — Scale, Space and Canon in Ancient Literary Culture Reviel Netz Index More Information
    Cambridge University Press 978-1-108-48147-2 — Scale, Space and Canon in Ancient Literary Culture Reviel Netz Index More Information Index Aaker, Jennifer, 110, 111 competition, 173 Abdera, 242, 310, 314, 315, 317 longevity, 179 Abel, N. H., 185 Oresteia, 197, 200, 201 Academos, 189, 323, 324, 325, 337 papyri, 15 Academy, 322, 325, 326, 329, 337, 343, 385, 391, Persians, 183 399, 404, 427, 434, 448, 476, 477–8, 512 portraits, 64 Achilles Tatius, 53, 116, 137, 551 Ptolemaic era, 39 papyri, 16, 23 Aeschylus (astronomer), 249 Acta Alexandrinorum, 87, 604 Aesop, 52, 68, 100, 116, 165 adespota, 55, 79, 81–5, 86, 88, 91, 99, 125, 192, 194, in education, 42 196, 206, 411, 413, 542, 574 papyri, 16, 23 Adkin, Neil, 782 Aethiopia, 354 Adrastus, 483 Aetia, 277 Adrastus (mathematician), 249 Africa, 266 Adrianople, 798 Agatharchides, 471 Aedesius (martyr), 734, 736 Agathocles (historian), 243 Aegae, 479, 520 Agathocles (peripatetic), 483 Aegean, 338–43 Agathon, 280 Aegina, 265 Agias (historian), 373 Aelianus (Platonist), 484 agrimensores, 675 Aelius Aristides, 133, 657, 709 Ai Khanoum, 411 papyri, 16 Akhmatova, Anna, 186 Aelius Herodian (grammarian), 713 Albertus Magnus, 407 Aelius Promotus, 583 Albinus, 484 Aenesidemus, 478–9, 519, 520 Alcaeus, 49, 59, 61–2, 70, 116, 150, 162, 214, 246, Aeolia, 479 see also Aeolian Aeolian, 246 papyri, 15, 23 Aeschines, 39, 59, 60, 64, 93, 94, 123, 161, 166, 174, portraits, 65, 67 184, 211, 213, 216, 230, 232, 331 Alcidamas, 549 commentaries, 75 papyri, 16 Ctesiphon, 21 Alcinous, 484 False Legation, 22 Alcmaeon, 310
    [Show full text]
  • Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos
    Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos By: Anmol Singh, Kesia Santos, and Yuri Seo Biographical, Cultural, and Historical Background The Greek Theater - Sophocles was one of the prominent figures in Greek theater. - Plays were performed in outdoor areas. - There were a limited number of actors and a chorus.6 - Antigone was mostly likely performed in the same fashion. AS Family Tree YS What do Scene 4, Ode 4, Scene 5, Paean and Exodos of Antigone focus on? - Family Conflict (internal and external) - Death (tragedy) - Poor judgment - Feeling and thinking - Fate - Loyalty - Love YS Genres & Subgenres Tragedy - Not completely like modern tragedies (ex. sad & gloomy). - Tragedies heavily used pathos (Greek for suffering). - Used masks and other props. - Were a form of worship to Dionysus.7 AS Tragic Hero - Antigone and Creon are both like tragic heros. - Each have their own hamartia which leads to their downfalls.8,9 AS Family Conflict & Tragedy in Antigone - Antigone hangs herself - Haimon stabs himself - Eurydice curses Creon and blames him for everything - Eurydice kills herself YS Dominant Themes Family: The story of Niobe - Antigone relates her story to the story of Niobe. - Antigone says “How often have I hear the story of Niobe, Tantalus’s wretched daughter…” (18) - Chorus tells Antigone that Niobe “was born of heaven,” but Antigone is a woman. YS Womanhood - Antigone defies the place a woman is supposed to have during this time period - Antigone and Ismene contrast each other - Creon is the prime example of the beliefs that males hold during this period KS Power and Corruption: Dryas and Lycurgus - A character the chorus compares to Antigone is Lycurgus.
    [Show full text]
  • Hesiod Theogony.Pdf
    Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.
    [Show full text]
  • STONEFLY NAMES from CLASSICAL TIMES W. E. Ricker
    ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Perla Jahr/Year: 1996 Band/Volume: 14 Autor(en)/Author(s): Ricker William E. Artikel/Article: Stonefly names from classical times 37-43 STONEFLY NAMES FROM CLASSICAL TIMES W. E. Ricker Recently I amused myself by checking the stonefly names that seem to be based on the names of real or mythological persons or localities of ancient Greece and Rome. I had copies of Bulfinch’s "Age of Fable," Graves; "Greek Myths," and an "Atlas of the Ancient World," all of which have excellent indexes; also Brown’s "Composition of Scientific Words," And I have had assistance from several colleagues. It turned out that among the stonefly names in lilies’ 1966 Katalog there are not very many that appear to be classical, although I may have failed to recognize a few. There were only 25 in all, and to get even that many I had to fudge a bit. Eleven of the names had been proposed by Edward Newman, an English student of neuropteroids who published around 1840. What follows is a list of these names and associated events or legends, giving them an entomological slant whenever possible. Greek names are given in the latinized form used by Graves, for example Lycus rather than Lykos. I have not listed descriptive words like Phasganophora (sword-bearer) unless they are also proper names. Also omitted are geographical names, no matter how ancient, if they are easily recognizable today — for example caucasica or helenica. alexanderi Hanson 1941, Leuctra.
    [Show full text]
  • The Pleiades: the Celestial Herd of Ancient Timekeepers
    The Pleiades: the celestial herd of ancient timekeepers. Amelia Sparavigna Dipartimento di Fisica, Politecnico di Torino C.so Duca degli Abruzzi 24, Torino, Italy Abstract In the ancient Egypt seven goddesses, represented by seven cows, composed the celestial herd that provides the nourishment to her worshippers. This herd is observed in the sky as a group of stars, the Pleiades, close to Aldebaran, the main star in the Taurus constellation. For many ancient populations, Pleiades were relevant stars and their rising was marked as a special time of the year. In this paper, we will discuss the presence of these stars in ancient cultures. Moreover, we will report some results of archeoastronomy on the role for timekeeping of these stars, results which show that for hunter-gatherers at Palaeolithic times, they were linked to the seasonal cycles of aurochs. 1. Introduction Archeoastronomy studies astronomical practices and related mythologies of the ancient cultures, to understand how past peoples observed and used the celestial phenomena and what was the role played by the sky in their cultures. This discipline is then a branch of the cultural astronomy, an interdisciplinary field that relates astronomical phenomena to current and ancient cultures. It must then be distinguished from the history of astronomy, because astronomy is a culturally specific concept and ancient peoples may have been related to the sky in different way [1,2]. Archeoastronomy is considered as a quite new interdisciplinary science, rooted in the Stonehenge studies of 1960s by the astronomer Gerald Hawkins, who tested Stonehenge alignments by computer, and concluded that these stones marked key dates in the megalithic calendar [3].
    [Show full text]
  • Water in Mythology
    Water in Mythology Michael Witzel Abstract: Water in its various forms–as salty ocean water, as sweet river water, or as rain–has played a major role in human myths, from the hypothetical, reconstructed stories of our ancestral “African Eve” to those recorded some ½ve thousand years ago by the early civilizations to the myriad myths told by major and smaller religions today. With the advent of agriculture, the importance of access to water was incorporated into the preexisting myths of hunter-gatherers. This is evident in myths of the ancient riverine civilizations of Egypt, Mesopotamia, India, and China, as well as those of desert civilizations of the Pueblo or Arab populations. Our body, like the surface of the earth, is more than 60 percent water. Ancient myths have always rec- ognized the importance of water to our origins and livelihood, frequently claiming that the world began from a watery expanse. Water in its various forms–as salty ocean water, as sweet river water, or as rain–has played a major role in human tales since our earliest myths were re - corded in Egypt and Mesopotamia some ½ve thou- sand years ago. Thus, in this essay we will look to - ward both ancient and recent myths that deal with these forms of water, and we will also consider what influence the ready availability (or not) of water had on the formation of our great and minor early civi- lizations. Many of our oldest collections of myths introduce the world as nothing but a vast salty ocean. The old - MICHAEL WITZEL, a Fellow of the est Indian text, the poetic Ṛgveda (circa 1200 BCE), American Academy since 2003, is asserts: “In the beginning, darkness was hidden by the Wales Professor of Sanskrit at darkness; all this [world] was an unrecognizable Harvard University.
    [Show full text]
  • Fact Sheet Hilton Athens
    Situated on one of the city's most prestigious AT A GLANCE avenues, Hilton Athens offers stylish • Prime location close to the city centre contemporary rooms with stunning views • Over 6,000m2 of function of the Acropolis. This landmark hotel is a space across 23 venues • Ballroom with seating destination in itself with an impressive rooftop capacity for up to 1,100 people bar and restaurant, a full-service spa and the • 506 rooms, all with a private balcony largest hotel outdoor pool in Athens. • Acropolis view rooms Whether here for business or leisure, the • Rooftop bar and restaurant with Acropolis view unique ambiance and state-of-the-art facilities • Impressive outdoor pool will make your stay memorable. • Natural daylight across all hotel areas HILTON ATHENS Located in the center of the city’s commercial district, Hilton Athens is just 35 minutes from Athens International Airport by direct subway athens.hilton.com 46 Vassilissis Sofias Avenue 11528 Athens l Greece ATHENS T: +30 210 7281 000 l F: +30 210 7281 111 E: [email protected] OUR ROOMS EAT AND DRINK The spacious rooms of the Hilton Athens are elegantly designed to offer the GALAXY BAR perfect place to unwind or catch up on work. If you often travel for business and The chic and stylish rooftop Galaxy Bar seek personal service and quietness, choose an Executive Room, where you can offers superb views of Athens and the have access to the Executive Lounge and Hiltonia Spa. Upgrade to one of the Acropolis. Galaxy's unique setting, stylish Hilton Athens Suites for an extra feeling of luxury.
    [Show full text]
  • Redating Pericles: a Re-Examination of Shakespeare’S
    REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY A THESIS IN Theatre Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by Michelle Elaine Stelting University of Missouri Kansas City December 2015 © 2015 MICHELLE ELAINE STELTING ALL RIGHTS RESERVED REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY Michelle Elaine Stelting, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2015 ABSTRACT Pericles's apparent inferiority to Shakespeare’s mature works raises many questions for scholars. Was Shakespeare collaborating with an inferior playwright or playwrights? Did he allow so many corrupt printed versions of his works after 1604 out of indifference? Re-dating Pericles from the Jacobean to the Elizabethan era answers these questions and reveals previously unexamined connections between topical references in Pericles and events and personalities in the court of Elizabeth I: John Dee, Philip Sidney, Edward de Vere, and many others. The tournament impresas, alchemical symbolism of the story, and its lunar and astronomical imagery suggest Pericles was written long before 1608. Finally, Shakespeare’s focus on father-daughter relationships, and the importance of Marina, the daughter, as the heroine of the story, point to Pericles as written for a young girl. This thesis uses topical references, Shakespeare’s anachronisms, Shakespeare’s sources, stylometry and textual analysis, as well as Henslowe’s diary, the Stationers' Register, and other contemporary documentary evidence to determine whether there may have been versions of Pericles circulating before the accepted date of 1608.
    [Show full text]
  • The Titan's Curse
    THE TITAN'S CURSE Percy Jackson and the Olympians Book - 3 Rick Riordan ONE MY RESCUE OPERATION GOES VERY WRONG The Friday before winter break, my mom packed me an overnight bag and a few deadly weapons and took me to a new boarding school. We picked up my friends Annabeth and Thalia on the way. It was an eight-hour drive from New York to Bar Harbor, Maine. Sleet and snow pounded the highway. Annabeth, Thalia, and I hadn't seen each other in months, but between the blizzard and the thought of what we were about to do, we were too nervous to talk much. Except for my mom. She talks more when she's nervous. By the time we finally got to Westover Hall, it was getting dark, and she'd told Annabeth and Thalia every embarrassing baby story there was to tell about me. Thalia wiped the fog off the car window and peered outside. "Oh, yeah. This'll be fun." Westover Hall looked like an evil knight's castle. It was all black stone, with towers and slit windows and a big set of wooden double doors. It stood on a snowy cliff overlooking this big frosty forest on one side and the gray churning ocean on the other. "Are you sure you don't want me to wait?" my mother asked. "No, thanks, Mom," I said. "I don't know how long it will take. We'll be okay." "But how will you get back? I'm worried, Percy." I hoped I wasn't blushing.
    [Show full text]