Translating Aristotelian Lexis in Euripides's Electra
Translating Aristotelian Lexis in Euripides's Electra

Author: Ian Huffam

Publisher:

Published: 2018

Total Pages:

ISBN-13:

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In Poetics, Aristotle defines lexis as being the "language" of tragedy, and this language is one of the elements of tragedy that creates the mimetic representation. As Aristotle literally describes of the words of tragic composition as "doing" something, I consider lexis as an equivalent to J.L. Austin's locutionary function of language, and the creation of the mimetic representation as the illocutionary. Aristotle's conception of tragic composition requires a rigid understanding of the tragic form and its proper deployment as he leaves no room for perlocution, and so I also employ Jan Mukarǒvsky'́s theory of intentionality/unintentionality in art to explain how a play such as Euripides's Electra may be understood as a product of the literary culture in which it arose. I then review historical trends of translating Greek tragedy into English to establish how modern translation is moving further away from reverence to the lexis of tragedy. Finally I address the various sections of Electra, a play with an almost non-existent performance record in English, to establish how I may respect the original lexis in my own translation, thereby imparting a (hopefully) similar effect on a modern audience.

Appendix
Appendix

Author: Great Britain. Commissioners appointed to inquire into the revenues and management of certain colleges and schools, and the studies pursued and instruction given therein

Publisher:

Published: 1864

Total Pages: 626

ISBN-13:

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The Oxford Handbook of Greek Drama in the Americas
The Oxford Handbook of Greek Drama in the Americas

Author: Kathryn Bosher

Publisher: Oxford University Press

Published: 2015-11-05

Total Pages: 1047

ISBN-13: 0191637335

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The Oxford Handbook of Greek Drama in the Americas is the first edited collection to discuss the performance of Greek drama across the continents and archipelagos of the Americas from the beginning of the nineteenth century to the present. The study and interpretation of the classics have never been restricted by geographical or linguistic boundaries but, in the case of the Americas, long colonial histories have often imposed such boundaries arbitrarily. This volume tracks networks across continents and oceans and uncovers the ways in which the shared histories and practices in the performance arts in the Americas have routinely defied national boundaries. With contributions from classicists, Latin American specialists, theatre and performance theorists, and historians, the Handbook also includes interviews with key writers, including Nobel Laureate Derek Walcott, Charles Mee, and Anne Carson, and leading theatre directors such as Peter Sellars, Carey Perloff, H?ctor Daniel-Levy, and Heron Coelho. This richly illustrated volume seeks to define the complex contours of the reception of Greek drama in the Americas, and to articulate how these different engagements - at local, national, or trans-continental levels, as well as across borders - have been distinct both from each other, and from those of Europe and Asia.

Preface to Plato
Preface to Plato

Author: Eric A. HAVELOCK

Publisher: Harvard University Press

Published: 2009-06-30

Total Pages: 343

ISBN-13: 0674038436

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Plato's frontal attack on poetry has always been a problem for sympathetic students, who have often minimized or avoided it. Beginning with the premise that the attack must be taken seriously, Eric Havelock shows that Plato's hostility is explained by the continued domination of the poetic tradition in contemporary Greek thought. The reason for the dominance of this tradition was technological. In a nonliterate culture, stored experience necessary to cultural stability had to be preserved as poetry in order to be memorized. Plato attacks poets, particularly Homer, as the sole source of Greek moral and technical instruction-Mr. Havelock shows how the Iliad acted as an oral encyclopedia. Under the label of mimesis, Plato condemns the poetic process of emotional identification and the necessity of presenting content as a series of specific images in a continued narrative. The second part of the book discusses the Platonic Forms as an aspect of an increasingly rational culture. Literate Greece demanded, instead of poetic discourse, a vocabulary and a sentence structure both abstract and explicit in which experience could be described normatively and analytically: in short a language of ethics and science.

Brill's Companion to Euripides (2 vols)
Brill's Companion to Euripides (2 vols)

Author: Andreas Markantonatos

Publisher: BRILL

Published: 2020-08-31

Total Pages: 1227

ISBN-13: 9004435352

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Brill’s Companion to Euripides, as well as presenting a comprehensive and authoritative guide to understanding Euripides and his masterworks, provides scholars and students with compelling fresh perspectives upon a broad range of issues in the field of Euripidean studies.

Theatre and Metatheatre
Theatre and Metatheatre

Author: Elodie Paillard

Publisher: Walter de Gruyter GmbH & Co KG

Published: 2021-11-22

Total Pages: 317

ISBN-13: 3110716550

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The aim of this book is to explore the definition(s) of ‘theatre’ and ‘metatheatre’ that scholars use when studying the ancient Greek world. Although in modern languages their meaning is mostly straightforward, both concepts become problematical when applied to ancient reality. In fact, ‘theatre’ as well as ‘metatheatre’ are used in many different, sometimes even contradictory, ways by modern scholars. Through a series of papers examining questions related to ancient Greek theatre and dramatic performances of various genres the use of those two terms is problematized and put into question. Must ancient Greek theatre be reduced to what was performed in proper theatre-buildings? And is everything was performed within such buildings to be considered as ‘theatre’? How does the definition of what is considered as theatre evolve from one period to the other? As for ‘metatheatre’, the discussion revolves around the interaction between reality and fiction in dramatic pieces of all genres. The various definitions of ‘metatheatre’ are also explored and explicited by the papers gathered in this volume, as well as the question of the distinction between paratheatre (understood as paratragedy/comedy) and metatheatre. Readers will be encouraged by the diversity of approaches presented in this book to re-think their own understanding and use of ‘theatre’ and ‘metatheatre’ when examining ancient Greek reality.