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By Betine van Zyl Smit

A instruction manual to the Reception of Greek Drama deals a sequence of unique essays that symbolize a complete assessment of the worldwide reception of old Greek tragedies and comedies from antiquity to the current day.

  • Represents the 1st quantity to supply an entire evaluate of the reception of historic drama from antiquity to the present
  • Covers the interpretation, transmission, functionality, creation, and edition of Greek tragedy from the time the performs have been first created in old Athens throughout the twenty first century
  • Features overviews of the background of the reception of Greek drama in such a lot nations of the world
  • Includes chapters masking the reception of Greek drama in glossy opera and film

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Extra resources for A Handbook to the Reception of Greek Drama

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Toward an Aesthetic of Reception. Trans. Timothy Bahti. Brighton: The Harvester Press. Part I The Ancient World 1 The Reception of Greek Tragedy from 500 to 323 BC Martin Revermann When Aeschylus, one of the earlier Greek tragic playwrights and the oldest among the three who would achieve canonical status, died in or around 456 BC, he was not buried in Athens, his home‐city in which he had spent all but the last couple of years of his life and where his plays were well known and regularly performed.

In Nothing to Do with Dionysus? Athenian Drama in its Social Context, edited by John Winkler and Froma Zeitlin, 130–167. Princeton, NJ: Princeton University Press.  500–323 BC Alan H. Sommerstein The fifth and fourth centuries BC were the time when Greek comedy arose, attained official status, flourished, spread widely, and metamorphosed into something which its early practitioners would hardly have recognized. Quite early in the period, comedy became, at least in Athens, both an important part and an important subject of public, civic discourse—in which, however, its status was to some extent ambivalent.

1884. Die attische Politik seit Perikles. Leipzig: Teubner. Bosher, Kathryn. 2014. ” In Revermann (2014): 79–94. Clay, Diskin. 2004. Archilochos Heros: The Cult of Poets in the Greek Polis. Cambridge, MA: Harvard University Press. Collard, Christopher and Martin Cropp. 2008. Euripides, vol. VII, Fragments: Aegeus‐Meleager. Cambridge, MA: Harvard University Press. Csapo, Eric. 2010. Actors and Icons of the Ancient Theater. Chichester: Wiley‐Blackwell. Csapo, Eric, Hans‐Ruprecht Goette, Richard Green, and Peter Wilson.

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