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Ulrich von Wilamowitz-Moellendorff (1848-1931) has been considered the highest authority in classical philology for generations. In 1889, he published what has been regarded as his most significant study, that is, a monumental commented edition of Euripides’s Herakles which includes a general introduction to Greek tragedy. A section of this introduction, entitled “Was ist eine attische Tragödie?”, is of particular worth in itself in that it provides a passionate and detailed account of the evolution of Greek tragedy, from its origins, much discussed among scholars, to its classic fifth-century BC form. In some respects, it also constitutes a mature response to Friedrich Nietzsche’s The Birth of Tragedy whose publication, in 1872, had triggered a heated debate between the two still young scholars. This parallel edition presents the first English translation of a text that has served as a landmark for ancient drama scholars for decades and still offers many useful and relevant suggestions.
An updated history of classical philology had long been a desideratum of scholars of the ancient world. The volume edited by Diego Lanza and Gherardo Ugolini is structured in three parts. In the first one (“Towards a science of antiquity”) the approach of Anglo-Saxon philology (R. Bentley) and the institutionalization of the discipline in the German academic world (C.G. Heyne and F.A. Wolf) are described. In the second part (“The illusion of the archetype. Classical Studies in the Germany of the 19th Century”) the theoretical contributions and main methodological disputes that followed are analysed (K. Lachmann, J.G. Hermann, A. Boeckh, F. Nietzsche and U. von Wilamowitz-Moellendorff). The last part (“The classical philology of the 20th century”) treats the redefinition of classical studies after the Great War in Germany (W. Jaeger) and in Italy (G. Pasquali). In this context, the contributions of papyrology and of the new images of antiquity that have emerged in the works of writers, narrators, and translators of our time have been considered. This part finishes with the presentation of some of the most influential scholars of the last decades (B. Snell, E.R. Dodds, J.-P. Vernant, B. Gentili, N. Loraux).
In 1602 and 1604 two collections of paradoxes, both entitled Four Paradoxes, authored by Thomas Scott, and Thomas and Dudley Digges, respectively, were published. Scott, a Protestant preacher, wrote four poems about art, law, war, and service. On the other hand, the diplomat and intellectual Dudley Digges published his father’s two paradoxes about the art of war together with his own two texts concerning the worthiness of war and warriors. What do these two collections of paradoxes have in common, and why publishing their critical edition together? Apparently, besides sharing the same title, the two works do not seem to have anything else in common. Nevertheless, this modern spelling critical edition of both texts aims at demonstrating that they share political, cultural, and genre-related features connected with the circulation of paradoxical discourse about war in early modern England.
This volume originates as a continuation of the previous volume in the CEMP series (1.1) and aims at furthering scholarly interest in the nature and function of theatrical paradox in early modern plays, considering how classical paradoxical culture was received in Renaissance England. The book is articulated into three sections: the first, “Paradoxical Culture and Drama”, is devoted to an investigation of classical definitions of paradox and the dramatic uses of paradox in ancient Greek drama; the second, “Paradoxes in/of Elizabethan and Jacobean Drama” looks at the functions and uses of paradox in the play-texts of Shakespeare and his contemporaries; finally, the essays in “Paradoxes in Drama and the Digital” examine how the Digital Humanities can enrich our knowledge of paradoxes in classical and early modern drama.