By Betine van Zyl Smit
A guide to the Reception of Greek Drama deals a chain of unique essays that symbolize a finished evaluate of the worldwide reception of old Greek tragedies and comedies from antiquity to the current day.
- Represents the 1st quantity to supply a whole evaluation of the reception of historic drama from antiquity to the present
- Covers the interpretation, transmission, functionality, creation, and edition of Greek tragedy from the time the performs have been first created in historical Athens during the twenty first century
- Features overviews of the heritage of the reception of Greek drama in such a lot international locations of the world
- Includes chapters protecting the reception of Greek drama in smooth opera and film
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Additional resources for A Handbook to the Reception of Greek Drama
45 Wehrli), and treats Epicharmus as a comic dramatist, making several references to him on detailed mat ters of style (GA 724a28–724a30; Rhet. 1365a16, 1410b3–1410b5). In Athens, after what seems to have been a long period of relative stagnation (dominated by Magnes, whose record of 11 Dionysia victories was never to be matched), comedy began in the 450s to attract an increasing number of talented poets, beginning with Cratinus and including, before the century ended, Aristophanes, Eupolis, Hermippus, Plato (no connection with the philosopher), and many others.
4 Athenian comedy too was deeply invested in exploiting tragedy, its grand and brilliant rival, The Reception of Greek Tragedy, 500–323 BC 15 for its own purposes, in a quite aggressive and parasitical way. 5 Yet, even by the standard of this metric, Frogs is unusual, both in terms of the extent and the depth of comedy’s engagement with tragedy. Dionysus, the god of theater, and more generally of liminality and transgression, crosses the ultimate boundary, that which separates the living from the dead, in order to resurrect Euripides, with whose work he is infatuated.
Engels, Johannes. 2008. Lykurg: Rede gegen Leokrates. Darmstadt: Wissenschaftliche Buchgesellschaft. Ford, Andrew. 2002. The Origins of Criticism. Literary Culture and Poetic Theory in Classical Greece. Princeton, NJ: Princeton University Press. Gildenhard, Ingo and Martin Revermann. 2010. Beyond the Fifth Century: Interactions with Greek Tragedy from the Fourth Century BCE to the Middle Ages. Berlin and New York: De Gruyter. The Reception of Greek Tragedy, 500–323 BC 27 Griffith, Mark. 2013. Aristophanes’ Frogs (Oxford Approaches to Literature).