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By Betine van Zyl Smit

A guide to the Reception of Greek Drama deals a sequence of unique essays that signify a finished review of the worldwide reception of historical Greek tragedies and comedies from antiquity to the current day.

  • Represents the 1st quantity to provide an entire evaluate of the reception of old drama from antiquity to the present
  • Covers the interpretation, transmission, functionality, construction, and model of Greek tragedy from the time the performs have been first created in old Athens in the course of the twenty first century
  • Features overviews of the background 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

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This rather disproportionate relationship between alleged The Reception of Greek Tragedy, 500–323 BC 17 crime and sought‐for penalty, which was noted in antiquity already, in conjunction with the harshly moralistic tone of the speech as a whole earned Lycurgus the unenviable title of “Athenian grand‐inquisitor” (coined by Beloch in the late nineteenth century10). 12 In other words, the general communicative situation is rather similar to that of Aristophanes’ Frogs. The fact that a play by Euripides, the Erechtheus, features prominently in Lycurgus’ speech and argumentative strategy therefore has to be of significance when assessing the standing of tragedy, and of Euripides in particular, in the second half of the fourth century: (Euripidean) tragedy clearly is a known entity with the popular courts and, by implication, the Athenians at large.

2004. Tragicorum Graecorum Fragmenta vol. V: Euripides. Göttingen: Vandenhoeck and Ruprecht. Lanni, Adriaan. 2006. Law and Justice in the Courts of Classical Athens. Cambridge: Cambridge University Press. Millis, Benjamin and Douglas Olson, eds. 2012. Inscriptional Records for the Dramatic Festivals in Athens. IG II22318–2325 and Related Texts. Leiden: Brill. Nervegna, Sebastiana. 2013. Menander in Antiquity: The Contexts of Reception. Cambridge: Cambridge University Press. Osborne, Robin. 2008.

On the play, see most recently Collard and Cropp (2008: 362–401) (with references to earlier scholarly discussions). The parallels between court and theater are discussed by Hall (1995; 2006). On this practice, see Wilson (1996: 312), n. 10. Zeitlin (1990). Fr. 90–97 K. On the Eteobutadai, see Parker (1996: 290–293). For a more detailed exploration of this topic, see Revermann (1999/2000). ). Pickard‐Cambridge (1988: 101–125), Millis and Olson (2012). ) justifiably excludes satyr‐play from his survey.

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