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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.
This collective volume contains 27 original studies that address in a critical way the position of classical studies in the twenty-first century and its challenges, as captured in the oxymoron of the theme title 'the future of the past'. The relevance of classical antiquity is reflected in all aspects of modern life: the sciences, the linguistic forms, literary expressions, cultural tradition, religion and ethics, philosophical thinking, modes of argument, political theory, history, the arts, and an entire host of other areas--in a word, much of what modern man is. As the conversation between past and present is best demonstrated at the intersection of different disciplines and cultural trends, interdisciplinary and intercultural topics are discussed in the essays. The contributions are organized in thematic groups according to the topics and sub-topics covered, and explore new ways of viewing the values of the classical past and their relevance to the present and future of societies. The work is of special relevance to scholars interested in classical studies, ancient history, critical thinking, the reception of classical ideas in the modern world, and the relation of the past with the present and the future of humanity.
This companion to the Classical Quarterly contains reviews of new work dealing with the literatures and civilizations of ancient Greece and Rome. Over 300 books are reviewed each year.
Why did Greek tragedy and "the tragic" come to be seen as essential to conceptions of modernity? And how has this belief affected modern understandings of Greek drama? In Genealogy of the Tragic, Joshua Billings answers these and related questions by tracing the emergence of the modern theory of the tragic, which was first developed around 1800 by thinkers associated with German Idealism. The book argues that the idea of the tragic arose in response to a new consciousness of history in the late eighteenth century, which spurred theorists to see Greek tragedy as both a unique, historically remote form and a timeless literary genre full of meaning for the present. The book offers a new interpretation of the theories of Schiller, Schelling, Hegel, Hölderlin, and others, as mediations between these historicizing and universalizing impulses, and shows the roots of their approaches in earlier discussions of Greek tragedy in Germany, France, and England. By examining eighteenth-century readings of tragedy and the interactions between idealist thinkers in detail, Genealogy of the Tragic offers the most comprehensive historical account of the tragic to date, as well as the fullest explanation of why and how the idea was used to make sense of modernity. The book argues that idealist theories remain fundamental to contemporary interpretations of Greek tragedy, and calls for a renewed engagement with philosophical questions in criticism of tragedy.
This volume assembles for the first time writings from the past two hundred years by philosophers engaging the dramatic work of William Shakespeare.
This is most comprehensive study of Seneca's Hercules Furens to date and indeed of any Roman tragedy. Apart from illustrating the poetic language, the literary conventions and the dramatic technique of the play, the book highlights the figure of the Roman Hercules in relation to its Greek model, the Euripidean Herakles. The comprehensive introduction on myth, modern interpretations and textual transmission of the play is followed by a discussion of the newly discovered collation of the codex Etruscus by J.F. Gronovius. The detailed commentary is provided with a new critical edition and a new German translation. The work includes a full bibliography, an analytical index and a complete index of passages cited. Special attention is given to literary motifs and topoi as well as to Seneca's poetic language in its pivotal position between the Augustan poets and Neronian-Flavian epic.