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Stevens began identifying and collecting colloquialisms in Tragedy in 1937, refined his definitions in 1945 and finished his work with the monograph upon Euripides of 1976. This revised and enlarged edition assesses the contribution to the field by subsequent scholars. It adds many expressions to Stevens's list, which is now divided into two categories: expressions that are confidently identified as colloquial, and almost as many that are probable or possible. An unexpected finding is that Sophocles used hardly fewer such expressions than Euripides. The book's chief aim is to broaden the evidential basis for colloquialisms in Tragedy, and to attempt a more useful evaluation of their usage: statistics are gathered on their distribution and location, and their frequent concentration in types of dramatic and stylistic context. Many individual passages, and the possible use of colloquialisms for characterization, are discussed. The book includes full indices locorum for expressions and usages.
What happened to Greek tragedy after the death of Euripides? This book provides some answers, and a broad historical overview.
An exploration of the poetic qualities of the Greek tragic dramatists Aeschylus, Sophocles and Euripides highlighting their similarities and differences.
This volume offers an extensive overview of the various ways in which Sophocles’ use of the Greek language is currently being studied. Greatly admired in antiquity, Sophocles’ style only became a serious subject of investigation with Campbell’s Introductory essay On the language of Sophocles (1879). Fourteen chapters, divided into three sections (diction, syntax, pragmatics), discuss the linguistic register and use of gnomai in Ajax’ deception speech, Homeric intertextuality, the style of the Sophoclean satyr-plays in relation to tragedy and comedy, the relation between the repetition of words and focalization, the language of blindness, the image of ‘fire’, the use of deictic pronouns, the semantics of the middle-passive and of counterfactuals, the historic present and the constitution of the text, the suggestive power of descriptions, speech-acts, and strategies of politeness.
The Blackwell Companion to Greek Tragedy provides readers with a fundamental grounding in Greek tragedy, and also introduces them to the various methodologies and the lively critical dialogue that characterize the study of Greek tragedy today. Comprises 31 original essays by an international cast of contributors, including up-and-coming as well as distinguished senior scholars Pays attention to socio-political, textual, and performance aspects of Greek tragedy All ancient Greek is transliterated and translated, and technical terms are explained as they appear Includes suggestions for further reading at the end of each chapter, and a generous and informative combined bibliography
Politeness serves to manage social relations or is wielded as an instrument of power. Through good manners, people demonstrate their educational background and social rank. This is the first book to bring together the most recent scholarship on politeness and impoliteness in Ancient Greek and Latin, signalling both its universal and its culture-specific traits. Leading scholars analyse texts by canonical classical authors (including Plato, Cicero, Euripides, and Plautus), as well as non-literary sources, to provide glimpses into the courtesy and rudeness of Greek and Latin speakers. A wide range of interdisciplinary approaches is adopted, namely pragmatics, conversation analysis, and computational linguistics. With its extensive introduction, the volume introduces readers to one of the most dynamic fields of Linguistics, while demonstrating that it can serve as an innovative tool in philological readings of classical texts.
This volume examines whether dramatic fragments should be approached as parts of a greater whole or as self-contained entities. It comprises contributions by a broad spectrum of international scholars: by young researchers working on fragmentary drama as well as by well-known experts in this field. The volume explores another kind of fragmentation that seems already to have been embraced by the ancient dramatists: quotations extracted from their context and immersed in a new whole, in which they work both as cohesive unities and detachable entities. Sections of poetic works circulated in antiquity not only as parts of a whole, but also independently, i.e. as component fractions, rather like quotations on facebook today. Fragmentation can thus be seen operating on the level of dissociation, but also on the level of cohesion. The volume investigates interpretive possibilities, quotation contexts, production and reception stages of fragmentary texts, looking into the ways dramatic fragments can either increase the depth of fragmentation or strengthen the intensity of cohesion.
Sullivan discusses each term separately, gathering them from Euripides' seventeen extant tragedies and from fragments of other plays. She begins with a broad look at how both earlier and contemporary poets used the various terms, moving on to a detailed discussion of Euripides' own usage, from his most often used phr_n to his new use of psych_. Euripides' Use of Psychological Terminology will be of interest to scholars of classics, in particular those studying the fifth-century, as well as to those interested in psychology and its presentation in ancient literature.
Ancient Greek comedy relied primarily on its text and words for the fulfilment of its humorous effects and aesthetic goals. In the wake of a rich tradition of previous scholarship, this volume explores a variety of linguistic materials and stylistic artifices exploited by the Greek comic poets, from vocabulary and figures of speech (metaphors, similes, rhyme) to types of joke, obscenity, and the mechanisms of parody. Most of the chapters focus on Aristophanes and Old Comedy, which offers the richest arsenal of such techniques, but the less ploughed fields of Middle and New Comedy are also explored. Emphasis is placed on practical criticism and textual readings, on the examination of particular artifices of speech and the analysis of individual passages. The main purpose is to highlight the use of language for the achievement of the aesthetic, artistic, and intellectual purposes of ancient comedy, in particular for the generation of humour and comic effect, the delineation of characters, the transmission of ideological messages, and the construction of poetic meaning. The volume will be useful to scholars of ancient drama, linguists, students of humour, and scholars of Classical literature in general.