Theatre World

Andreas Fountoulakis, Andreas Markantonatos, Georgios Vasilaros, Andreas Fountoulakis, Andreas Markantonatos, Georgios Vasilaros

• Éditeur: De Gruyter
• Année: 2017
• ISBN:
  9783110518962
• Édition: 1
• Sujet: Literatur
• Sous-sujet: Antike & klassische Literaturkritik

This collection of essays, published in honour of Professor Georgia Xanthakis-Karamanos, addresses topics which lie at the forefront of current research on the fields of Greek drama and classical reception studies. It brings together internationally distinguished scholars who provide fresh insights into issues pertaining to the origins of Greek tragedy and comedy, their generic identity, the structure, the morality or the divine and human characters emerging from individual plays, the presence of Greek drama outside Athens in post-classical times, the associations between drama and genres such as epic and oratory or even the reception of Greek drama in operatic works such as Wagner's Tristan und Isolde. Related art forms, such as music, receive particular attention. Focusing on either broader topics or specific texts, the essays of this volume provide a wide range of theoretical perspectives often combining modern critical trends such as reception studies, narratology or cultural studies with close and acute readings of individual passages. The volume is of particular interest to scholars and students of Greek drama and its reception as well as to anyone interested in Greek culture and its various manifestations.

Index of Greek Words

• ἀγαθὴ φύσις 1
• ἀγοραῖος 1
• ἁμαρτία 1, 2
• ἀναγνώρισις 1, 2
• ἀθέμιτα / ἀθέμιστα 1
• ἀμαθία 1
• ἀστεῖος 1
• ἀστός 1
• ἄστυ 1
• ἀτημελέες 1
• αὐτουργός 1
• αὐτόχθονες 1
• δάμιος 1
• δεξιός 1
• δήμιος 1
• δῆμος 1, 2
• δόμος 1
• δράσαντα παθεῖν 1
• δῶμα 1
• εἱμαρμένη 1
• ἔλεος 1
• ἔνδοξος δουλεία 1
• ἑστία 1
• εὐγενεῖς 1
• εὐριπιδαριστοφανίζων 1
• εὐτυχία 1
• ἦθος 1
• κάθαρσις 1, 2, 3, 4, 5, 6
• κακοστένακτος 1
• κενὰ δοξάσματα 1
• κεφάλαια 1
• λαός 1, 2
• λεπτολογία 1
• λεώς 1, 2, 3
• Λύκειος 1
• μείζονες 1
• μοῖρα 1
• οἱ ἐκ πάλαι πλούσιοι 1
• οἱ ἐξ ἀγαθῶν πάλαι 1
• οἶκος 1
• ὅμιλος 1
• ὀνομαστὶ κωμῳδεῖν 1
• ὄχλος 1, 2
• παλλακή 1
• παρθενικαὶ ἀδμῆτες 1
• περιπέτεια 1, 2
• πολιήτης / πολίτης 1, 2
• πόλις 1, 2, 3
• πόλισμα 1
• πολιτικῶς 1
• πόντος Σικελός 1
• προαίρεσις 1
• προστατήριος 1
• πρόσωπον 1, 2
• ῥητορικῶς 1
• σοφός / σοφώτερος 1, 2
• στράτευμα 1
• στρατιά 1
• στρατός 1, 2, 3
• Σωτήρ 1
• Σωτηρία 1
• τρίγωνον 1
• τρυγῳδία 1
• τυραννοφιλία 1
• ὕβρις (see also hubris) 1
• φόβος 1
• χιονώδης 1
• ὠμοβόρος 1

Endnotes

1 Adrados 1967.

2 Adrados 1972a. This book, published by a well-known publisher (1975), Brill of Leiden, is not cited by my colleagues in classical philology, as far as I can discern, nor are its ideas discussed, with at least one exception, that of Ghiron-Bistagne 1985.

3 I repeat what I say in Adrados 2013a, 223 on the practice of not citing the ideas that differ from those that have become almost dogma. There I say: ‘I must admit that this book (mine, the one I have just cited), although well known and well considered in Spain, especially among people of the theatre, is scarcely mentioned abroad, neither in the Spanish version nor in the English one’. No one has written a critique of it; it seems no one has read it. This is worrying, not only for me but also for classical philology worldwide, which seems to lack interest in anything that breaks the old routines and is not written in English or German. I see no reason to keep silent on this. But it seems that not even English, to which my book was translated, helps: apparently one must accept obligatory dogmas like the ideas of Aristotle and Wilamowitz on the origins of Greek theatre. This is not good for the future of our discipline. Apart from this, I shall discuss the ideas presented in this book later.

4 Thus Latacz 1993, 56 ff.

5 Leonhardt 1991.

6Adrados 2005 and 2008. And several articles in Adrados 1999a, especially Adrados 1999b. Also, among others, see Adrados 1962, 1969, 1972b, and 1974.

7See, apart from some of the things that I have already indicated, my recent article on Socrates, Adrados 2013b, where I point out the difference between the ideas of the philosophers, right from Socrates himself, and the traditional Greek religion, whatever Socrates might have said in his own defense. The tragedians, however, especially Aeschylus and Sophocles, base their work on traditional religion as does what precedes them in cult and traditional komoi.

8It is well-known, for example, that Wilamowitz’s enormous erudition often went hand in hand with a great ignorance of the habitual feelings of the Greeks of the archaic and classical period and their society. Famous are, for example, Wilamowitz’s criticisms of Medea’s feminist speech in Medea, because of simple ignorance of what Greek society was like, or his interpretation of the poetic group of Sappho in Lesbos as a ‘German residence for young ladies’. The mentality that corresponded to Greek tragedy and society was foreign to him.

92002.

10See, for example, Vernant 1972; Duchemin 1969; Markantonatos 1971.

111985.

12See Rothwell 2006. But on the animal komos there is much more material in an unpublished book: a thesis for the Licenciatura in Madrid that I directed in 1978 (Danzas de Imitación de animales en la Grecia Antigua by Helena Torres Huertas); I keep the original like a treasure. It was the time when I had just published my book, in Spanish (1972a) and English (1975), Fiesta, Comedia y Tragedia, and I was interested in these themes, as I am now.

131972a, 369ff.

141987.

15On the tragedies of supplication, see Adrados 1986.

16See Adrados 1971.

17See, for example, Duchemin 1945 and Adrados 1974.

18Gupta 20063. See Adrados 2012.

19See Adrados 2013a, 467ff. (‘La fiesta mimética y sus desarrollos teatrales’). I shall return to this theme later.

20See Adrados 1996.

21The only important myth that we can call Attic is that of Theseus; see Calame 1990. We have news of cults (especially of the festivals of the Oscophoria and the Pyanopsia) and myths, but there are hardly any allusions in the theatre, there being one in Sophocles’ Oedipus at Colonus.

22 Menelaus, standing over the corpse of Peisander, does tell the Trojans that they ‘did not fear the hea...

Table des matières

• Cover
• Title Page
• Copyright
• Table of Contents
• Preface
• I Tragedy and Comedy
• II Individual Plays
• III Reception
• IV Theatre and Music
• Notes on Contributors
• Academic Publications of Georgia Xanthakis-Karamanos
• Index Locorum
• General Index
• Index of Greek Words