This first in-depth account of Euripides' relationship with the visual arts demonstrates how frequently the tragedian used language to visual effect, whether through allusion or actual references to objects, motifs built around real or imaginary objects, or the use of technical terminology.
This work challenges recent critical assessments that emphasize the allegedly subversive elements in Euripides' play. The Orestes is found to present a curious mélange of early and late Euripidean features, resulting in a drama where the tragic potential of Orestes' predicament becomes lost amid the moral, political and situational chaos that dominates the late Euripidean stage. Throughout, emphasis is placed on reading the Orestes in light of Greek stage conventions and the poet's own practice. Of particular interest are: an original examination, in light of Greek rhetorical practice, of Orestes' agon with Tyndareus; an analysis of the Phrygian's monody as a cunning hybrid of Timothean nome and traditional messenger speech; and a re-evaluation of the play's troubling deus ex machina.
This book is the first to explore the roofed theater sites of classical antiquity. George Izenour, one of the most distinguished modern experts on theater design, engineering, and acoustics, examines the archeological remains of twenty-four Greek, Greco-Hellenistic, and Roman buildings. He provides detailed architectural drawings of their probable original appearance and discusses how these huge spaces were spanned and what the precise effects might have been on sound, lighting, and ventilation. Basing his discussion on the principles of classical architecture and on his observations and site photographs of ancient theater ruins, Izenour explores the structure and design of classical roofing systems, seating systems, sight lines to the stage, lighting, and acoustics. He also offers a succinct comparison of ancient and modern roofed theater design. In eight useful appendixes he addresses subjects that range from the remodeling of Greco-Hellenistic outdoor theaters to the drop-curtain-movable-painted-scenery controversy in the Roman theater.
Theopompos was one of the leading comic playwrights of late fifth- and early fourth-century Athens, competing actively with the great Aristophanes and winning several victories. This volume presents the first complete translation and commentary on his surviving fragments. He participated in important trends during the transition from Old to Middle Comedy, including tragic and epic parody and an interest in the figure of the hetaira; among other gems, his fragments include the oldest extant reference to the philosopher Plato.
A gripping modern-day detective story about the scientific quest to understand the Oracle of Delphi Like Walking the Bible, this fascinating book turns a modern eye on an enduring legend. The Oracle of Delphi was one of the most influential figures in ancient Greece. Human mistress of the god Apollo, she had the power to enter into ecstatic communion with him and deliver his prophesies to men. Thousands of years later, Pulitzer Prize–winning journalist William J. Broad follows a crew of enterprising researchers as they sift through the evidence of history, geology, and archaeology to reveal—as far as science is able—the source of her visions.
Some of the loveliest works of Archaic art were the Athenian korai—sculptures of beautiful young women presenting offerings to the goddess Athena that stood on the Acropolis. Sculpted in the sixth and early fifth centuries B.C., they served as votives until Persians sacked the citadel in 480/79 B.C. Subsequently, they were buried as a group and forgotten for nearly twenty-four centuries, until archaeologists excavated them in the 1880s. Today, they are among the treasures of the Acropolis Museum. Mary Stieber takes a fresh look at the Attic korai in this book. Challenging the longstanding view that the sculptures are generic female images, she persuasively argues that they are instead highly individualized, mimetically realistic representations of Archaic young women, perhaps even portraits of real people. Marshalling a wide array of visual and literary evidence to support her claims, she shows that while the korai lack the naturalism that characterizes later Classical art, they display a wealth and realism of detail that makes it impossible to view them as generic, idealized images. This iconoclastic interpretation of the Attic korai adds a new dimension to our understanding of Archaic art and to the distinction between realism and naturalism in the art of all periods.