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In this groundbreaking, interdisciplinary study, Andrew Walker White explores the origins of Byzantine ritual - the rites of the early Greek Orthodox Church - and its unique relationship with traditional theatre. Tracing the secularization of pagan theatre, the rise of rhetoric as an alternative to acting, as well as the transmission of ancient methods of musical composition into the Byzantine era, White demonstrates how Christian ritual was in effect a post-theatrical performing art, created by intellectuals who were fully aware of traditional theatre but who endeavoured to avoid it. The book explores how Orthodox rites avoid the aesthetic appreciation associated with secular art, and conducts an in-depth study (and reconstruction) of the late Byzantine Service of the Furnace. Often treated as a liturgical drama, White translates and delineates the features of five extant versions, to show how and why it generated widely diverse audience reactions in both medieval times and our own.
The interest in Andronikos Kallistos, a leading personality among the Greek émigrés who participated in Italian Humanism, arose at the end of the nineteenth century within the frame of the studies on Byzantine scholars of the Renaissance. Researchers have only glimpsed the depth of Kallistos' erudite personality. To date, nearly 130 manuscripts have been found bearing evidence of his work as a copyist and philologist. However, research into both his scribal and scholarly activity remains fragmented into many isolated contributions, mainly concerning specific chapters of the manuscript tradition of classical Greek authors. Adopting a synergistic approach to historical, philological, codicological, and paleographic data within this framework, this monograph study aims to fulfil the following tasks: outlining an updated biography; defining Kallistos' scribal activity better by means of a thorough examination of all surviving manuscript sources; attempting to reconstruct the development of his book collection; acknowledging Kallistos' scholarly activity both as a teacher and philologist; making an inventory of all the manuscripts which bear traces of his writing; and, finally, publishing Kallistos' works.
The present volume is a Festschrift in honour of the distinguished Byzantinist Costas N. Constantinides. The title of the volume, Bibliophilos: Books and Learning in the Byzantine World, reflects Professor Constantinides’ major contribution to the fields of Greek palaeography, editions of Byzantine texts, Byzantine history, scholarship and education, and Cypriot manuscripts and culture. The volume is introduced by a preface and a tabula gratulatoria dedicated to the honorand, followed by twenty articles, written by seasoned and younger scholars, who are former colleagues and students of Professor Constantinides. These articles, which appear in alphabetical order, offer new material and shed fresh light to the study of Greek manuscripts, binders and scribes, and the life, works and activities of Byzantine scholars, teachers and students, providing editions of unpublished texts, including letters and poems, and exploring various aspects of Byzantine and Cypriot history, literature, art, science and culture. In the process the authors often challenge earlier views and offer new interpretations and insights. Bibliophilos is a book for the student, teacher and scholar of Byzantium in particular, and for every bibliophile in general.
The story of King Lear seems to fill in the blank space separating the end of Oedipus Tyrannus and the beginning of Oedipus at Colonus. In both Oedipus at Colonus and the latter part of King Lear we are presented with an old man who was once a King and, following his expulsion from his kingdom on account of a crime or of an error, is turned into a ‘no-thing’. This happens in the time of the division of the kingdom, which is also the time of the genesis of intraspecific conflict and, consequently, of the end of the dynasty. This collection of essays offers a range of perspectives on the many common concerns of these two plays, from the relation between fathers and sons/daughters to madness and wisdom, from sinning and suffering to ‘being’ and ‘non-being’ in human and divine time. It also offers an overarching critical frame that interrogates questions of ‘source’ and ‘reception’, probing into the possible exchangeability of perspectives in a game of mirrors that challenges ideas of origin.
The ancient scholia to Sophocles’ Oedipus at Colonus shed light on Alexandrian ways of engaging with this play, and are richer than those to the other Sophoclean plays. The last editor, Vittorio de Marco (1952), established a better text of these scholia than his predecessors, in as much as he had a fuller knowledge of their manuscript tradition and a better understanding of their stratified nature. Still, his work is marred by a number of inaccuracies, omissions and methodological shortcomings. The new edition by Georgios Xenis improves on de Marco’s work by a careful examination of all the sources of the text and the conjectures proposed by scholars, and by relying on a clearly defined methodological framework. In this edition the scholia to the Oedipus at Colonus are restored in a textual state that is arguably the earliest we can recover, and is free of contradictions, unacceptable repetitions, and hybridisation or blending of elements from different versions. The critical text is accompanied by a detailed apparatus criticus, and is contextualised in its ancient scholarly tradition by means of a rich array of passages drawn from comparable sources. Extensive indices are provided at the end of the volume. The edition will be an invaluable resource for those engaged in the interpretation of Sophocles’ tragedies and, in particular, of the Oedipus at Colonus, and will be of interest to classicists working on ancient literary criticism and ancient scholarship.
Love and loyalty, hatred and revenge, fear, deprivation, and political ambition: these are the motives which thrust the characters portrayed in these three Sophoclean masterpieces on to their collision course with catastrophe. Recognized in his own day as perhaps the greatest of the Greek tragedians, Sophocles' reputation has remained undimmed for two and a half thousand years. His greatest innovation in the tragic medium was his development of a central tragic figure, faced with a test of will and character, risking obloquy and death rather than compromise his or her principles: it is striking that Antigone and Electra both have a woman as their intransigent 'hero'. Antigone dies rather neglect her duty to her family, Oedipus' determination to save his city results in the horrific discovery that he has committed both incest and parricide, and Electra's unremitting anger at her mother and her lover keeps her in servitude and despair. These vivid translations combine elegance and modernity, and are remarkable for their lucidity and accuracy. Their sonorous diction, economy, and sensitivity to the varied metres and modes of the original musical delivery make them equally suitable for reading or theatrical peformance. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
This is the first full-scale commentary on poems by Theocritus since Gow's edition of 1950, and the first to exploit the recent revolution in the study of Hellenistic and Roman poetry; the poems included in this volume (Idylls 1, 3, 4, 6, 7, 10, 11 and 13) are principally the bucolic poems which, through their influence on Virgil, established the Western pastoral tradition. The focus of the commentary is literary - both on how Theocritus exploited the classical heritage for a new type of poetry, and on what that poetry meant in the third century BC. The commentary, together with the introductory essays to each poem, makes a major contribution to the understanding of this extraordinary poetic form. The Introduction explores the meaning of 'bucolic', the presentation of a stylised countryside, the importance of eros in the bucolic world, and Theocritus' verbal and metrical style.