Henrichs, Albert. 2013. “Dionysos: One Or Many?” Redefining Dionysos, edited by Alberto Bernabé, Miguel Herrero de Jáuregui, Ana Isabel Jiménez San Cristóbal, and Raquel Martín Hernández, 554–582. Berlin; New York: De Gruyter.
Nagy, Gregory. 2013. “Virgil’s verse invitus, regina … and its poetic antecedents.” More modoque: Die Wurzeln der europäischen Kultur und deren Rezeption im Orient und Okzident, edited by P Fodor, G Mayer, M Monostori, K Szovák, and L Takács, 155–165. Budapest: Forschungszentrum für Humanwissenschaften der Ungarischen Akademie der Wissenschaften. Festschrift für Miklós Maróth zum siebzigsten Geburtstag.
Coleman, Kathleen, and Rebecca Benefiel. 2013. “The graffiti.” Excavations at Zeugma Conducted by Oxford Archaeology, edited by William Aylward, 1: 178–191. Los Altos, CA: Packard Humanities Institute.
The ancient Greeks’ concept of “the hero” was very different from what we understand by the term today, Gregory Nagy argues—and it is only through analyzing their historical contexts that we can truly understand Achilles, Odysseus, Oedipus, and Herakles.
In Greek tradition, a hero was a human, male or female, of the remote past, who was endowed with superhuman abilities by virtue of being descended from an immortal god. Despite their mortality, heroes, like the gods, were objects of cult worship. Nagy examines this distinctively religious notion of the hero in its many dimensions, in texts spanning the eighth to fourth centuries BCE: the Homeric Iliad and Odyssey; tragedies of Aeschylus, Sophocles, and Euripides; songs of Sappho and Pindar; and dialogues of Plato. All works are presented in English translation, with attention to the subtleties of the original Greek, and are often further illuminated by illustrations taken from Athenian vase paintings.
The fifth-century BCE historian Herodotus said that to read Homer is to be a civilized person. In twenty-four installments, based on the Harvard University course Nagy has taught and refined since the late 1970s, The Ancient Greek Hero in 24 Hours offers an exploration of civilization’s roots in the Homeric epics and other Classical literature, a lineage that continues to challenge and inspire us today.
Taking as its point of departure the complex question about whether Surrealist theatre exists, this book re-examines the much misunderstood artistic medium of theatre within Surrealism, especially when compared to poetry and painting. This study reconsiders Surrealist theatre specifically from the perspective of ludics-a poetics of play and games-an ideal approach to the Surrealists, whose games blur the boundaries between the 'playful' and the 'serious.'
Vassiliki Rapti's aims are threefold: first, to demystify André Breton's controversial attitude toward theatre; second, to do justice to Surrealist theatre, by highlighting the unique character that derives from its inherent element of play; and finally, to trace the impact of Surrealist theatre in areas far beyond its generally acknowledged influence on the Theatre of the Absurd-an impact being felt even on the contemporary world stage. Beginning with the Surrealists' 'one-into-another' game and its illustration of Breton's ludic dramatic theory, Rapti then examines the traces of this kind of game in the works of a wide variety of Surrealist and Post-Surrealist playwrights and stage directors, from several different countries, and from the 1920s to the present: Roger Vitrac, Antonin Artaud, Günter Berghaus, Nanos Valaoritis, Robert Wilson, and Megan Terry.
The Poetics of Consent breaks new ground in Homeric studies by interpreting the Iliad’s depictions of political action in terms of the poetic forces that shaped the Iliad itself. Arguing that consensus is a central theme of the epic, David Elmer analyzes in detail scenes in which the poem’s three political communities—Achaeans, Trojans, and Olympian gods—engage in the process of collective decision making.
These scenes reflect an awareness of the negotiation involved in reconciling rival versions of the Iliad over centuries. They also point beyond the Iliad’s world of gods and heroes to the here-and-now of the poem’s performance and reception, in which the consensus over the shape and meaning of the Iliadic tradition is continuously evolving.
Elmer synthesizes ideas and methods from literary and political theory, classical philology, anthropology, and folklore studies to construct an alternative to conventional understandings of the Iliad’s politics. The Poetics of Consent reveals the ways in which consensus and collective decision making determined the authoritative account of the Trojan War that we know as the Iliad.
Preface by P. DUCREY; Introduction by K. COLEMAN and J. NELIS-CLEMENT;J. NOLLE "Stadtprägungen des Ostens und die 'explosion agonistique': Überlegungen zu Umfang, Aussagen und Hintergründen der Propagierung von Agonen auf den Prägungen der Städte des griechischen Ostens"; O. M. VAN NIJF "Political games"; C. KOKKINIA "Games vs. buildings as euergetic choices"; M. L. CALDELLI "Associazioni di artisti a Roma: una messa a punto"; J-P. THUILLIER "L'organisation des ludi circenses: les quatre factions (République, Haut-Empire)"; R. WEBB "The nature and representation of competition in pantomime and mime"; G. CHAMBERLAND "La mémoire des spectacles: l'autoreprésentation des donateurs"; C. JONES "The organization of spectacle in Late Antiquity".
Weiss, Naomi A. 2012. “Recognition and Identity in Euripides' Ion.” Recognition and Modes of Knowledge: Anagnorisis from Antiquity to Contemporary Theory, edited by T Russo, 33–50. Edmonton: University of Alberta Press.
Thomas, Richard F. 2012. “The Streets of Rome: The Classical Dylan.” Reception and the Classics: An Interdisciplinary Approach to the Classical Tradition, edited by William Brockliss, Pramit Chaudhuri, Ayelet Haimson Lushkov, and Katherine Wasdin, 134–159. Cambridge; New York: Cambridge University Press.