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Bellerophon (play)
The Hellenic Saga Gaia (Earth)
Alcmaeon in Psophis
Actors on High: the Skene Roof, the Crane, and the Gods in Attic Drama
Euripides and Gender: the Difference the Fragments Make
Fantastic Creatures and Where to Find Them in the Iliad
Illinois Classical Studies
Interpreting Greek Tragedy Also by Charles Segal
Historyczny Uniwersytetu Łódzkiego Instytut Archeologii Justyna
Euripides' Electra
The Flight of Pegasos a Collage of Ancient Texts Including the Fragments of Euripides’ Bellerophon
Ezekiel's Exagoge: a Typical Hellenistic Tragedy?
1 Chapter 11 Casting the Role of Trygaeus in Aristophanes' Peace a Gift for an Actor Few Indeed Are the Surviving Ancient Greek
Christopher Collard-Martin Cropp, Euripides VII. Fragments. Ae- Geus-Meleager
The Greek Myths 1955, Revised 1960
A Theatre at UBC Companion Guide
Who's Who in Classical Mythology
Euripides' Heracles in the Flesh
Inner Nature and Outward Appearance in Euripides’ Electra
Top View
The Labours of Heracles As Labours of Love
Old Comedy and Its Performative Rivals of the Fifth Century By
Euripidean Tragedy and Theology
EURIPIDEAN PARACOMEDY DISSERTATION Presented In
The Battle Was Left to Rage on the Level Expanse Between Troy's Two Rivers. Bronze Spearheads Drove Past Each Other As the Greek
Choral Identity in Greek Tragedy Author(S): Helene Foley Source: Classical Philology, Vol
Perseus and the Legends of Argos
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Euripides and His Extant Plays 2009026
The Invention of the Female Mind: Women, Property and Gender Ideology in Archaic Greece Hans Van Wees University College, London
Final Final Thesis
Patronymics in Homer *