Results for 'Euripidēs S. Dēmētriadēs'
930 found
Order:
1 filter applied
- Hē zōgraphikē kai to hōraio.Euripidēs S.Dēmētriadēs -1973Export citation
Bookmark - Women's speech in greek tragedy: The case of electra and clytemnestra.In Euripides -2001 -Classical Quarterly 51:374-384.No categories
- Euripides’s Helena and Pentateuch traditions: The Septuagint from the perspective of Ancient Greek Tragedies.Evangelia G. Dafni -2015 -HTS Theological Studies 71 (1).In some cases discussed below, the present form of the Septuagint is not representative of how Ancient Greek Tragedies were received by the LXX translators, but of how Old Testament traditions in Greek form were received by the tragedians.No categories
- The evental archive: Collective mnemonics and post-digital networks.Euripides Altintzoglou -2025 -Philosophy of Photography 16 (1):43-60.Digital open-access networks, including virtual archives such as search engines, social media profiles and corporate and personal websites, have reconfigured the dynamics of information dissemination. This article introduces the concept of the ‘evental archive’, a new archival form that emerges from multimodal engagement with unfolding events. It considers the cognitive and radical implications of interactive transactions within post-digital networks, with a particular focus on how evental archives preserve and extend the temporality of the original event by transcending its significance. These (...) archives are facilitating a collective reconfiguration of mnemonics by enabling more inclusive modes of participation, largely mediated through the communicative function of the image. Moreover, the increased accessibility and popularity of digital archives influence the perceived truthfulness of their content, which is often aided by photography’s presumed veracity. This article, therefore, also examines how the evolving conditions of digital archives and open-access networks impose new pressures on the traditional role of the photographic document. Furthermore, it considers how the temporal nature of virtual interactions redefines the contested relationship between truth and the image. (shrink)
- Euripides’s Orestes and the Concept of Conscience in Greek Philosophy.Jed W. Atkins -2014 -Journal of the History of Ideas 75 (1):1-22.
- Euripides,Orestes 895–7.S. P. Oakley -1992 -Classical Quarterly 42 (01):271-.Students of the play have not appreciated the merits of W. Dindorf's proposal to delete lines 895–7: his conjecture is not reported by most editors; when reported it is not accepted; and it has been taken seriously perhaps only in an iobiter dictum of Wecklein. Nevertheless, the arguments in its favour are even more powerful than Dindorf realised.
- Euripides Elektra 1.F. W. S. -1851 -Philologus: Zeitschrift für Antike Literatur Und Ihre Rezeption 6 (1-4):694-694.No categories
- The views of the sophists in Euripides’s “Iphigenia in Tauris”.E. S. Yurina -2017 -Liberal Arts in Russia 6 (6):486.No categories
- Euripides, Hippolytos.Friedrich Solmsen &W. S. Barrett -1967 -American Journal of Philology 88 (1):86.
- A Note on Euripides,Medea 12.S. J. Harrison -1986 -Classical Quarterly 36 (01):260-.Euripides, Medea 11–13 :12 πολιτν codd. et Σbv; πολίταις V3, sicut coni. Barnes 13 ατ Sakorrphos; ατή codd. et gE et Stob. 4.23.30In his recent discussion of this passage , Diggle has convincingly argued for πολίταις and ατ, the latter of which he places in his new Oxford text, but recognises that υγ remains highly problematic : ‘The truth, I think, is still to seek’. It is to this last difficulty that I should like to suggest a solution.The problems of (...) υγ are syntactical, as Diggle clearly demonstrates : ‘With which verb is υγ to be constructed?’ Of these νδάνουσα is more likely for position, ίκετο for sense; but the former construction produces an obscurity, the latter an unacceptable hyperbaton. Another complicating element is the juxtaposition υγ πολιτν. it is clearly significant, and by its intervention appears to prevent taking υγ as π κοινο with both verbs, the third possible construction.As a solution I should like to revive a forgotten conjecture of Pierson's, made in his Verisimilia . His υγς πολίταις appears both to solve all the syntactical problems and to give appropriate point to the juxtaposition of ‘exile’ and ‘citizen’. υγάς would then go with νδάνουσα and bear a concessive sense: ‘pleasing, though an exile, the citizens to whose land she came’, a nuance found already in Wecklein's paraphrase of his text υγ πολιτν. ‘Sie gefällt denen, in deren Land sie gekommen ist, obwohl sie die Bürgerschaft als eine fremde, landesflüchtige Person gegenübersteht’. This contrast between citizen and exile and the necessity for the latter to please the former are naturally important themes in the dramatic situation of the Medea — cf. Medea's words at 222 χρ δ ξένον μν κάρτα προσχωρεν πόλει, with Page's note. (shrink)
- Euripides'Helena.R. S. Shackle -1922 -The Classical Review 36 (7-8):163-164.No categories
- Euripides, Ion.Gilbert Norwood &A. S. Owen -1942 -American Journal of Philology 63 (1):109.
- Euripides' Hippolytus and Hecuba.S. Ireland -1988 -The Classical Review 38 (2):208-209.
- Two Plays of Euripides.S. M. Adams -1935 -The Classical Review 49 (04):118-122.No categories
- Lucretius, Euripides and the Philosophers:De Rerum Natura 5.13–21.S. J. Harrison -1990 -Classical Quarterly 40 (01):195-.Here in the proem to his fifth book Lucretius is praising the philosophical achievements or discoveries of Epicurus through favourable comparison with other discoveries of traditional heroic or divine figures; first, in this passage, with the products of bread and wine associated with the gods Ceres and Liber , and later with the deeds of the god-hero Hercules. This technique clearly derives from the σγκρισις of formal rhetoric, one of the basic exercises through which composition was taught in ancient schools, (...) and Lucretius begins with ‘confer’, an imperative which has something of a formulaic force in rhetorical comparisons. But it is not the purpose of this note to point out the rhetorical qualities of this passage; Lucretius' treatment of Ceres and Liber has other important literary and philosophical associations, links which have not been noted or explored by scholars. (shrink)
- QUEERING EURIPIDES - (S.) Olsen, (M.) Telò (edd.) Queer Euripides. Re-Readings in Greek Tragedy. Pp. viii + 276. London and New York: Bloomsbury Academic, 2022. Paper, £24.99, US$34.95 (Cased, £75, US$100). ISBN: 978-1-350-24961-5 (978-1-350-24962-2 hbk). [REVIEW]Marchella Ward -2023 -The Classical Review 73 (2):426-429.
- 15. Zum Hippolytos des Euripides. (S. ob. p. 347. 560.).Th Barthold -1877 -Philologus: Zeitschrift für Antike Literatur Und Ihre Rezeption 36 (1-4):565-567.No categories
- The Epitome Of Euripides' Phoinissai: Ancient And Medieval Versions.W. S. Barrett -1965 -Classical Quarterly 15 (01):58-.We now know that the epitomes prefixed to the plays of Euripides in the medieval manuscripts were written not for this purpose but as part of a complete collection of Euripidean epitomes, arranged alphabetically by initial,and intended presumably to make the subject-matter of the plays available to persons unable or unwilling to read the plays themselves. The first direct proof of the existence of this collection came with the publication in 1933 of a fragment containing Rhesos, Rhadamanthys, Skyrioi ; we (...) now have parts of it in three other papyri as well, and may reasonably suppose that P. Oxy. 420 is also from the same work. (shrink)No categories
- The ‘Ian’ of Euripides, by H. B. L. London, Williams and Norgate. 4s. 6d.S. A. -1889 -The Classical Review 3 (07):309-310.
- Note on Euripides's Alcestis.Mortimer Lamson Earle -1896 -The Classical Review 10 (08):374-376.No categories
- Euripides and Tharyps.D. S. Robertson -1923 -The Classical Review 37 (3-4):58-60.No categories
- EuripidesH.F. 497 sqq.D. S. Robertson -1938 -The Classical Review 52 (02):50-51.No categories
- Euripides,Hippolytos 790–855.Alan S. Henry -1976 -Classical Quarterly 26 (02):229-.Theseus, on entering, immediately demands of the Chorus an explanation of the in the house and of the lack of proper welcome for the returning master. His first thought is that something may have happened to the aged Pittheus. No, say the Chorus, the has nothing to do with the old: it is the young whose death causes pain . Naturally, Theseus now leaps to the conclusion that it is his children whose ‘life is pillaged’ : no, he is told, (...) it is his wife. (shrink)
- Euripides,I.T. 1390 ff. and Pindar,Pythians iv. 202.J. S. Morrison -1950 -The Classical Review 64 (01):3-5.No categories
- The God that is Truly God and the Universe of Euripides' Heracles.S. E. Lawrence -1998 -Mnemosyne 51 (2):129-146.No categories
- Euripides the Human Euripides, a Student of Human Nature. By W. N. Bates. Pp. xiii + 315; 10 plates, 15 figures. Philadelphia: University of Pennsylvania Press (London : Milford), 1930. Cloth, 21s. net. [REVIEW]A. S. Owen -1930 -The Classical Review 44 (05):180-181.
- The Dream of Ascent and the Noise of Earth: Paradoxical Inclinations in Euripides's Bacchae, Shakespeare's The Tempest, and Stevens's" Of Modern Poetry".Howard Pearce -2003 -Analecta Husserliana 78:307-324.No categories
- Noch Einmal Über Antiphon in Euripides' Alexandros.S. Luria -1929 -Hermes 64 (4):491-497.Export citation Bookmark
- Three dramas of Euripides, by W. C. Lawton. Boston and New York: Houghton Mifflin &. Co.W. S. Hadley -1892 -The Classical Review 6 (1-2):65-66.No categories
- Notes on Euripides'Helena.C. S. Jerram -1894 -The Classical Review 8 (10):447-.No categories
- The Art of Euripides in theHippolytus.A. S. J. -1919 -The Classical Review 33 (1-2):9-15.No categories
- The New Oxford Edition of theIon- Euripides, Ion, edited with introduction and commentary by A. S. Owen. Pp. xliv + 196. Oxford: Clarendon Press, 1939. Cloth, 7s. 6d. [REVIEW]D. S. Robertson -1940 -The Classical Review 54 (02):84-85.No categories
- Euripides,Troades 636–40.R. S. Bluck -1961 -Classical Quarterly 11 (1-2):125-.The first question here is the interpretation of line 638. Burges wrote: ‘Constructio sic solvenda est: M. Parmentier in the Budé edition translates, ‘On ne souffre pas quand on n'a nul sentiment de ses maux’, likewise assuming that is doing double work. For this he compares Andromache 706 f., Electra, 383, and Orestes 393. None of these passages is in fact an example of how a negative can negative simultaneously a finite verb and a participle. But in any case, what (...) is the subject of Burges supposed that a line was lost ; Parmentier does not explain his ‘On’. (shrink)No categories
- Some Verse Translations 1. Prometheus: I. Prometheus Bound of Aeschylus—a metrical version; II. Prometheus Unbound. By Clarence W. Mendell. New Haven: Yale University Press, 1926. 9s. 2. The Antigone of Sophocles. Translated by Hugh Macnaghten. Cambridge University Press, 1926. 2s. net. 3. The Electra of Sophocles, with the First Part of the Peace of Aristophanes. Translated by J. T. Sheppard. Cambridge University Press, 1927. 2s. 6d. net. 4. The Hippolytus of Euripides. Translated by Kenneth Johnstone. Published by Philip Mason for the Balliol Players, 1927. 2s. net. 5. The Bacchanals of Euripides. Translated by Margaret Kinmont Tennant. Methuen and Co., Ltd., 1926. 6. Aristophanes. Vol. I. Translated by Arthur S. Way, D.Litt. Macmillan and Co., 1927. 10s. 6d. net. 7. Others Abide. Translations from the Greek Anthology by Humbert Wolfe. Ernest Benn, Ltd., 1927. 6s. net. 8. The Plays of Terence. Translated into parallel English metres by William Ritchie, Professor of Latin in the Unive. [REVIEW]A. S. Owen -1928 -The Classical Review 42 (02):64-67.No categories
- Euripides the Idealist. [REVIEW]A. S. Owen -1927 -The Classical Review 41 (6):225-226.No categories
- Trilogy of Resistance.Timothy S. Murphy (ed.) -2011 - Univ of Minnesota Press.With _Trilogy of Resistance_, the political philosopher Antonio Negri extends his intervention in contemporary politics and culture into a new medium: drama. The three plays collected for the first time in this volume dramatize the central concepts of the innovative and influential thought he has articulated in his best-selling books _Empire_ and _Multitude_, coauthored with Michael Hardt. In the tradition of Bertolt Brecht and Heiner Müller, Negri’s political dramas are designed to provoke debate around the fundamental questions they raise about (...) resistance, violence, and tyranny. In _Swarm_, the protagonist searches for an effective mode of activism; with the help of a Greek-style chorus, she tries on different roles, from the suicide bomber and party apparatchik to the multitude. _The Bent Man_, set in fascist Italy, focuses on a woodcutter who resists fascism by bending himself in two and using his own now-twisted body as a weapon against war. In _Cithaeron_, perhaps the most audacious of the three plays, Negri reworks Euripides’s _Bacchae_ to explore the circumstances that would compel a diverse and creative community to withdraw from both the despotic government that constrains it and the traditional family relationships that reinforce that despotism. First published in France in 2009 and featuring an introduction by Negri, _Trilogy of Resistance_ provides a direct and passionate distillation of Negri’s concepts and offers insights into one of the most important projects in political philosophy currently under way, as well as a timely reminder of the power of theater to effectively dramatize complex and challenging ideas. (shrink)
- "Expel the Barbarian from Your Heart": Intimations of the Cyclops in Euripides's Hecuba.Zdravko Planinc -2018 -Philosophy and Literature 42 (2):403-415.In memoriam: Mira Balija PlanincEuripides's Hecuba is not one of the best-known tragedies. The story is vividly memorable, however. Troy has fallen. The Greeks have finished their killing and plundering and have begun their homeward journey. As soon as they cross the Hellespont and make camp on what some might call the European side, in Thrace, they bury Achilles. The Trojan queen, Hecuba, is enslaved, as are the only two of her daughters who remain alive, Polyxena and Cassandra, the latter (...) to Agamemnon himself. Her husband Priam was killed at Troy, and so too were all of their many sons—except one: the youngest, Polydorus, who years before had been sent for his protection, along with a substantial amount of Trojan... (shrink)
- "where Is The Glory Of Troy?" "kleos" In Euripides' "helen".Gary S. Meltzer -1994 -Classical Antiquity 13 (2):234-255.Near the end of Euripides' "Helen", Helen reportedly exhorts the Greek troops to rescue her Egyptian foes: "Where is the glory of Troy ? Show it to these barbarians" . Helen's rallying cry serves as a point of departure for investigating the nature and status of kleos in a play which invites reframing her question: Where, indeed, is the glory of Troy if the report of Helen's abduction by Paris is untrue? The drama deconstructs the notion of a unitary, transcendent (...) meaning of "kleos" by demonstrating the slippage between its two root-meanings in Homer as "immortal fame," legitimated by the gods, and as mere "report" or "rumor." A diminution of the status of the proper name runs in parallel with this slippage between the two senses of "kleos": the heroic name loses its privileged status as a stable, transparent sign of character and becomes instead a signifier vulnerable to dissemination . As a vehicle of deception, Helen's phantom-twin becomes a figure for the polysemy of the signifier, both visual and linguistic. The phantom's substitution for Helen also highlights her symbolic role as a marker of men's status in a competitive system of exchange. If the play presents Helen as a continual object of men's attempts to capture her in song as well as in war, it presents heroic kleos as an equally insecure possession, insofar as it is always contingent on the "report" of others. Indeed, Helen becomes a metaphor for the duplicity inherent in the mimetic process by which fame is transmitted. That "kleos" turns out to have been a dangerously deceptive signifier is a lesson of more than literary interest for the Athenians watching Euripides' "Helen" -the forces of the Sicilian expedition had been annihilated only a year earlier. (shrink)
- Dionysus and the Pirates in Euripides' 'Cyclops'.S. Douglas Olson -1988 -Hermes 116 (4):502-504.No categories
- Two Notes on Euripides.D. S. Colman -1948 -The Classical Review 62 (3-4):107-108.No categories
- The Medea of Euripides.Edward S. Forster -1951 -The Classical Review 1 (1):50-51.
- Pindar, olympian 2.5–7, text and commentary—with excursions to ‘perictione’, empedocles and euripides’ hippolytus.M. S. Silk -2020 -Classical Quarterly 70 (2):499-517.In 1998, I suggested a new text for a notably corrupt passage in Pindar's Isthmian 5. This article is in effect a sequel to that earlier discussion. In the 1998 article, I proposed, inter alia, that the modern vulgate text of I. 5.58, ἐλπίδων ἔκνισ’ ὄπιν, is indefensible and the product of scribal corruption in antiquity, and that chief among the indefensible products of corruption there is the supposed secular use of ὄπις, as if used to mean something like ‘zeal’. (...) This is a sense for which there is no good evidence in classical Greek, where ὄπις always has a delimited religious denotation, meaning either ‘gods’ response’, ‘divine retribution’, or else ‘religious awe’ or ‘reverence’ towards the gods, through fear of that response or that retribution. If we discount I. 5.58 itself, all the pre-Hellenistic attestations can be straightforwardly listed under these headings: Il. 16.388 θεῶν ὄπιν οὐκ ἀλέγοντες, Od. 14.88 ὄπιδος κρατερὸν δέος, Hes. Theog. 221–2 θεαὶ... |... ἀπὸ τῷ δώωσι κακὴν ὄπιν, Pind. P. 8.71–2 θεῶν δ’ ὄπιν | ἄφθονον αἰτέω, sim. Od. 20.215, 21.28, Hes. Op. 187, 251, 706, along with, seemingly, a fragmentary fifth-century Thessalian verse inscription, CEG 1.120.1 Hansen; Hdt. 9.76.2 θεῶν ὄπιν ἔχοντας, 8.143.2. In addition, one other instance can be interpreted as either or, or in effect both: Od. 14.82 οὐκ ὄπιδα φρονέοντες... οὐδ’ ἐλεητύν. In all cases, though, ‘gods’ are specified, usually as a dependent genitive with ὄπις, or else separately but in the near context. Hellenistic and later occurrences of the word are few, and hints there of a secular reading can actually be taken to reflect misunderstandings based on, precisely, the early corruption in I. 5. (shrink)
- Phaedra's Defixio: Scripting Sophrosune in Euripides' Hippolytus.Melissa Mueller -2011 -Classical Antiquity 30 (1):148-177.While readers of Euripides' Hippolytus have long regarded Phaedra's deltos as a mechanism of punitive revenge, I argue here that the tablet models itself on a judicial curse (defixio) and that its main function is to ensure victory for Phaedra in the upcoming “trial” over her reputation. In support of my thesis I examine three interrelated phenomena: first, Hippolytus' infamous assertion that his tongue swore an oath while his mind remains unsworn (612); second, Phaedra's status as a biaiothanatos; and third, (...) Phaedra's claim that Hippolytus “will learn sophrosune” (731), a speech act that, I conclude, anticipates the silencing effect on Hippolytus of Phaedra's death and her writing. (shrink)No categories
- Chorus from the herakles of euripides.J. H. Heinrich &C. E. S. -1884 -Journal of Speculative Philosophy 18 (2):212 - 214.
- Euripides, The Trojan Women. [REVIEW]M. S. Silk -1968 -The Classical Review 18 (1):107-108.
- Note. Euripides: suppliant women. R Warren, S Scully (tr).Susanna Phillippo -1996 -The Classical Review 46 (2):370-371.
- Mills (S.) Euripides: Bacchae. Pp. 174. London: Duckworth, 2006. Paper, £11.99. ISBN: 978-0-7156-3430-.Judith Maitland -2007 -The Classical Review 57 (01):247-.
- Verrall's ion of Euripides.Alfred Goodwin -1891 -The Classical Review 5 (3):97-98.
- S. D. Sullivan: Euripides’ Use of Psychological Terminology. Pp. xii + 234. Montreal, Kingston, London, and Ithaca: McGill-Queen’s University Press, 2000. Cased, £43. ISBN: 0-7735-2051-1.Richard Seaford -2001 -The Classical Review 51 (2):379-379.
- Creative rhetoric in Euripides’Troades: some notes on Hecuba's speech.Ra’Anana Meridor -2000 -Classical Quarterly 50 (1):16-29.Euripides'Troadeswas a work not much studied until the end of World War II. Since then the play, and in particular the part played by Helen and the debate concerning her accountability for her elopement and its consequences, have not ceased to attract scholarly attention. The recent interest in the rhetoric of thisagonhas thrown additional light on the entire scene, the third and last episode of the play. The debate is occasioned by Menelaus’ announcement (873–5) that the men who captured his (...) runaway wife handed her over to him for execution—or, should he so choose, to take her back home. In the first speech (914–65) Helen tries to persuade Menelaus that she cannot justly be punished with death for having served as the tool of a most powerful goddess. Hecuba, in her answering speech (969–1032), strives to discredit Helen in order to prevent her reinstatement and oblige Menelaus to carry out the death sentence. In this paper I would like to draw further attention to some of Hecuba's arguments. Assuming general acquaintance with current readings of theagon, I shall start with a section-by-section discussion of the old queen's speech and its immediate effect, with an emphasis on significant motifs. Certain further implications will be pointed out at the end of the paper. (shrink)
| 1 — 50 / 930 |
Off-campus access
Using PhilPapers from home?
Create an account to enable off-campus access through your institution's proxy server or OpenAthens.
Monitor this page
Be alerted of all new items appearing on this page. Choose how you want to monitor it:
 Email |  RSS feed |
Editorial team
General Editors:
David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Area Editors:
David Bourget
Gwen Bradford
Berit Brogaard
Margaret Cameron
David Chalmers
James Chase
Rafael De Clercq
Ezio Di Nucci
Esa Diaz-Leon
Barry Hallen
Hans Halvorson
Jonathan Ichikawa
Monte Johnson
Michelle Kosch
Øystein Linnebo
Paul Livingston
Brandon Look
Manolo Martínez
Matthew McGrath
Michiru Nagatsu
Susana Nuccetelli
Giuseppe Primiero
Jack Alan Reynolds
Darrell P. Rowbottom
Aleksandra Samonek
Constantine Sandis
Howard Sankey
Jonathan Schaffer
Thomas Senor
Daniel Star
Jussi Suikkanen
Aness Kim Webster
Other editors
Contact us
Learn more about PhilPapers
David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Area Editors:
David Bourget
Gwen Bradford
Berit Brogaard
Margaret Cameron
David Chalmers
James Chase
Rafael De Clercq
Ezio Di Nucci
Esa Diaz-Leon
Barry Hallen
Hans Halvorson
Jonathan Ichikawa
Monte Johnson
Michelle Kosch
Øystein Linnebo
Paul Livingston
Brandon Look
Manolo Martínez
Matthew McGrath
Michiru Nagatsu
Susana Nuccetelli
Giuseppe Primiero
Jack Alan Reynolds
Darrell P. Rowbottom
Aleksandra Samonek
Constantine Sandis
Howard Sankey
Jonathan Schaffer
Thomas Senor
Daniel Star
Jussi Suikkanen
Aness Kim Webster
Other editors
Contact us
Learn more about PhilPapers
Home |New books and articles |Bibliographies |Philosophy journals |About PhilPapers |API |Contact us |Code of conduct
PhilPapers logo byAndrea Andrews andMeghan Driscoll.
This site uses cookies and Google Analytics (see ourterms & conditions for details regarding the privacy implications).Use of this site is subject toterms & conditions.
All rights reserved byThe PhilPapers Foundation
Server: philpapers-web-5df685855d-7tcpz uwo