Colloquial Expressions in Euripides

1937 ◽  
Vol 31 (3-4) ◽  
pp. 182-191 ◽  
Author(s):  
P. T. Stevens
Keyword(s):  
Greek Tragedy ◽  
Marked Change ◽  
The Other ◽  
Greek Literature ◽  
Poetic Tradition ◽  
Other Hand ◽  
Frequent Use ◽  
Minor Degree ◽  
Ordinary Conversation ◽  
A Minor

The language of Greek Tragedy can be considered as a whole by virtue of the characteristics which distinguish it from that of other branches of Greek literature, and the resemblance between the three tragedians in this respect is more noticeable than the differences. Still, if we compare Aeschylus and Euripides it is impossible not to feel a marked change of tone, in λ⋯ξις as in δι⋯νοια and ἤθη. As in E. the familiar legends are frequently set in a more everyday atmosphere and the characters cast in a less heroic mould, it is natural that the tone of the language should be lowered, partly by the frequent use of distinctively prosaic expressions and partly by the introduction of what appear to be colloquialisms. This change of tone in language was at once noted by Aristophanes and is referred to by Aristotle as an innovation of E. On the other hand E.'s style presents a certain anomaly, since while deliberately securing a closer approximation to the language of prose and ordinary conversation he also shows a poetic and archaizing tendency in the use of Aeschylean and Homeric words and forms not found in Sophocles. This may be due to a reluctance to depart too far from the poetic tradition of Greek tragedy, and possibly to a scholar's interest in the language of Aeschylus and Homer, in a minor degree a foreshadowing of the learned archaism of the Alexandrian poets.

A Medieval Open Work

POETICA ◽  
2021 ◽  
Vol 52 (3-4) ◽  
pp. 228-265
Author(s):  
Rafael Simian
Keyword(s):  
The Other ◽  
Specific Function ◽  
Umberto Eco ◽  
New Approach ◽  
Avant Garde ◽  
Other Hand ◽  
Open Work ◽  
New Perspective ◽  
A Minor

Abstract Guigo II is commonly known and praised among specialists of Western mysticism for his Scala claustralium, a work that presents a spiritual program for cloistered monks. His Meditations, on the other hand, have usually been relegated to the margin of attention. The First Meditation, in particular, is generally regarded as a minor piece. The paper argues, however, that a new approach can make better sense of the First Meditation, while also enabling us to recognize its specific function and value. Seen from this new perspective, Guigo’s purpose with the text is to train and exercise his readers’ minds according to the spiritual program laid out in the Scala. The paper shows that the First Meditation realizes that goal, surprisingly, by having the same essential features that Umberto Eco found in the ‘open works’ of the Western avant-garde.

A unified theory of surface roughness

1984 ◽  
Vol 393 (1804) ◽  
pp. 133-157 ◽  
Keyword(s):  
Surface Roughness ◽  
Rough Surface ◽  
Random Noise ◽  
Sampling Interval ◽  
The Other ◽  
Real Surface ◽  
Unified Theory ◽  
Two Dimensional ◽  
Minor Degree ◽  
A Minor

The properties of the peaks and summits of a rough surface are predicted on the assumption that the surface is two-dimensional random noise. The important result is that, in non-dimensional form, the answers depend only to a minor degree on the parameters describing the surface or on the sampling interval used: on the other hand the absolute values are strongly dependent on the sampling interval. Experimental results on a real surface agree remarkably well with the predictions.

Aktaion and a lost ‘Bath of Artemis’

1990 ◽  
Vol 110 ◽  
pp. 26-42 ◽  
Author(s):  
Lamar Ronald Lacy
Keyword(s):  
The Other ◽  
Greek Literature ◽  
Critical Approach ◽  
Other Hand ◽  
Greek Art

Aktaion's own hounds devoured him, convinced by Artemis that he was a deer. This grim reversal, the great hunter who dies like a hunted beast, was the strongest element of the mythic tradition associated with the Boiotian hero and inspired numerous scenes in Greek art. Aktaion's Offense, on the other hand, received little iconographic attention before the imperial era, and Greek literature accounted for Artemis' hostility in a variety of ways. The chronology of the extant sources suggests a neat sequence of misdeeds, and the resulting succession of versions is the object of a well-established scholarly consensus. The information which survives is actually too scant and too fragmentary to bear so straightforward a reading, but a critical approach can suggest the outlines of more plausible, if less neat, picture.

scholarly journals Murine B-cell subpopulations responsive to T-dependent and T-independent antigens.

1976 ◽  
Vol 144 (2) ◽  
pp. 382-397 ◽  
Author(s):  
G K Lewis ◽  
R Ranken ◽  
D E Nitecki ◽  
J W Goodman
Keyword(s):  
B Cells ◽  
B Cell ◽  
Minor Component ◽  
Memory Cell ◽  
Keyhole Limpet Hemocyanin ◽  
The Other ◽  
Other Hand ◽  
Cell Mitogen ◽  
A Minor

Strain A/J mice made secondary indirect plaque-forming cell (PFC) responses to azobenzenearsonate (ABA) conjugates of giant keyhole limpet hemocyanin (KLH), a thymic-dependent antigen, but not to conjugates of Ficoll, a T-independent antigen. ABA-Ficoll was also unable to elicit a response in animals primed with ABA-KLH, which have an expanded anti-ABA memory cell pool. On the other hand, ABA-Ficoll rendered mice unresponsive to ABA-KLH when administered before priming or boosting with the T-dependent immunogen. Hence, the T-independent antigen was able to tolerize but unable to trigger B-memory cells responsive to the T-dependent antigen. A/J mice immunized with dinitrophenyl conjugates of Ficoll or bovine IgG (BGG) made vigorous IgM and IgG PFC responses. PFC responses to ABA-KLH and 2,4-dinitrophenyl (DNP)-BGG were abrogated by depleting mice of C3 with cobra venom factor, whereas the IgM and IgG PFC responses to DNP-Ficoll were unaffected. B lymphocytes were fractionated on the basis of receptors for C3 and the subpopulations were assayed for in vitro PFC responses to DNP-Ficoll. Very little response was obtained from complement receptor lymphocyte [CRL(+)] B cells, whereas CRL(-) cells were more responsive than unfractionated B cells. Both populations responded to a polyclonal B-cell mitogen (lipopolysaccharide). On the other hand, the in vitro PFC response to a T-dependent antigen (sheep erythrocytes) correlated with the presence of CRL(+) B cells in the cultures. However, a minor component of this response, sensitive to anti-Thy-1 serum, was made by CRL(-) B cells, indicating the existence of subpopulations of T-dependent B cells with different signalling requirements. The results suggest that most B cells responsive to T-dependent antigens possess receptors for C3 and that C3 plays an obligatory role in the response of these cells. A distinct subpopulation of B cells which lack C3 receptors respond to T-independent antigens. The precursors of PFC for the ABA epitope reside largely or exclusively in the CRL(+) compartment in A/J mice, whereas precursors for the DNP determinant are found in both compartments.

Governmental Attempts to Regulate the Stage after the Jeremy Collier Controversy

PMLA ◽  
1923 ◽  
Vol 38 (1) ◽  
pp. 153-174
Author(s):  
Joseph Wood Krutch
Keyword(s):  
Literary History ◽  
Marked Change ◽  
The Other ◽  
Other Hand ◽  
Difference Of Opinion ◽  
Complete Failure ◽  
The Government

Although Jeremy Collier's attack on the drama of his time and the subsequent “reform” of the stage in the direction of propriety and dullness have been regarded ever since as commonplaces of literary history, the relation between them has never been adequately investigated, and about this the greatest difference of opinion still exists. Ward declares: “In truth the position in which he [Collier] stood … had been proved impregnable. From this time forward a marked change became visible in the attitude of the Court, the Government, and a section at least of the ruling classes, towards the stage, and its own consciousness of the purposes and restrictions proper to the exercise of its art.” On the other hand, Mr. Whibley asserts: “The poets bowed their knee not an inch in obedience to Collier. They replied to him, they abused him, and they went their way… . The pages of Genest … make evidence the complete failure of Collier's attack.”

scholarly journals La reivindicación cultural e identitaria a través de la autotraducción: el caso de la poesía autotraducida de Xuan Bello del asturiano al español

2018 ◽  
Vol 17 (17) ◽  
pp. 171
Author(s):  
Beatriz Flores Silva
Keyword(s):  
The Other ◽  
Other Hand ◽  
The One ◽  
A Minor ◽  
Sociocultural Systems ◽  
Sobre Todo

La autotraducción es un fenómeno que siempre ha estado presente, sobre todo, en aquellos sistemas socioculturales de gran riqueza lingüística y cultural. Este es el caso del sistema peninsular, donde cada vez más autores bilingües deciden escribir sus obras en una lengua minoritaria y, después, autotraducirlas al español. En este trabajo, se toma como objeto de análisis la poesía autotraducida del asturiano al español de Xuan Bello. Así, se observará si la autotraducción permite a este autor traductor, por un lado, trasladar sus reivindicaciones culturales a otro sistema ajeno al asturiano; y, por otro lado, definir su identidad individual.Palabras clave: autotraducción, poesía, asturiano, español, cultura, identidad.Self-translation is a phenomenon which has always been present, most of all in those sociocultural systems characterized by both their linguistic and cultural richness. One of those is the Spanish peninsular system where more and more bilingual authors tend to write their works in a minor language and subsequently translate them into Spanish. The aim of this paper is to research Xuan Bello’s self-translated poetry from Asturian into Spanish. That way it will be considered whether selftranslation helps this author-translator: on the one hand, to transfer his cultural demands; on the other hand, to define his individual identity.Keywords: self-translation, poetry, Asturian, Spanish, culture, identity.

scholarly journals Clause and predicative constituents in an Austronesian language: Lampung language

2020 ◽  
Vol 21 (2) ◽  
pp. 62-79
Author(s):  
Afrianto ◽  
Eva Tuckyta Sari Sujatna ◽  
Nani Darmayanti ◽  
Farida Ariyani ◽  
Jessamine Cooke-Plagwitz
Keyword(s):  
The Other ◽  
Sentence Structure ◽  
Austronesian Language ◽  
Nominal Phrase ◽  
Other Hand ◽  
The Subject ◽  
A Minor ◽  
Dependent Clause

AbstractThis research is conducted qualitatively and aimed at patterning and describing clause and sentence structure in Lampung language through the configuration of its constituents. Regarding the constituents, Lampung has two types of clause: minor and major clauses. A minor clause is indicated by only one constituent, which is commonly a subject, predicate or adjunct. Regarding its function, it can be classified as vocative, shown by exclamation (Wuy!, Huy!); a greeting, as shown by an expression (tabikpun ngalam pukha); and an Arabic greeting (assalamualaikum). On the other hand, a major clause minimally consists of a subject and predicate, and apart from these there can also be an object, complement and adverbial. Furthermore, this research finds various categories that can act as predicative constituents: they are a verb/verbal phrase, adjective/adjective phrase, and noun/nominal phrase. Additionally, a copular verb (iyulah) and existential marker (wat) can also be the predicate. This research also reveals that in a sentence two or more clauses are connected by a conjunction, and then this conjunction becomes an indicator of dependent clauses. Also, a dependent clause can be found after the subject or the object of the independent clause.

A Playwright Relaxed or Overworked?

1963 ◽  
Vol 10 (2) ◽  
pp. 123-130
Author(s):  
R. Sri Pathmanathan
Keyword(s):  
A Priori ◽  
Greek Tragedy ◽  
The Other ◽  
Old Comedy ◽  
The Third ◽  
Other Hand ◽  
The Moment ◽  
The Grotesque

Having been associated with a recent production of Euripides' Cyclops in the original Greek at Ibadan, I feel prompted to reply to Peter Arnott's charges against Euripides' adaptation of the well-known episode in Homer's Odyssey, ix. We know very little about the origin and nature of satyric drama, and it seems unfair to discuss the structure of the Cyclops on a priori grounds or to compare it with the form of Greek tragedy. We do not subject Old Comedy to this kind of treatment because we are aware in this case of the dissimilar elements which came together to produce the disjointed articulation that Old Comedy displays. It may well be that ‘the pattern of decline’ in the composition of the choruses and episodes noted by Arnott is not the result of hasty composition and overwork but is merely indicative of a looser structure allowed by the conventions of the satyr play. On the other hand, the intervention of the chorus in the Cyclops is always eminently dramatic— not too long-drawn-out or too brief—and gives a life and impetus to the play which modern audiences, unfamiliar with the choral tradition of Greek tragedy, miss in more regularly constructed plays. The ‘miserable couplet’ which serves as exodos is not unparalleled even in tragedy, although the iambics in place of the more usual anapaests are certainly unexpected. In general, the choral odes are admirably suited to the grotesque personalities of the satyrs; they include two haunting lyrics, lines 495–502 and 511–18 (unfortunately somewhat mutilated) which rank in rhythm and imagery with some of the best of Euripides, and at the moment of greatest tension, in the third and fourth stasima, are commendably brief and onomatopoeic.

Hegel and the Politics of Tragedy, Comedy and Terror

2020 ◽  
Vol 25 (1) ◽  
pp. 135-153
Author(s):  
Jeffrey Reid ◽  
Keyword(s):  
Greek Tragedy ◽  
The Other ◽  
Phenomenology Of Spirit ◽  
Other Hand ◽  
Mediating Structures

Greek tragedy, in Hegel’s Phenomenology of Spirit, represents the performative realization of binary political difference, for example, “private versus public,” “man versus woman” or “nation versus state.” On the other hand, Roman comedy and French Revolutionary Terror, in Hegel, can be taken as radical expressions of political in-difference, defined as a state where all mediating structures of association and governance have collapsed into a world of “bread and circuses.” In examining the dialectical interplay between binary, tragic difference and comedic, terrible in-difference, the paper arrives at hypothetical conclusions regarding how these political forms may be observed today.

Lxxv: The Union of the Arts in Die Braut Von Messina

PMLA ◽  
1937 ◽  
Vol 52 (4) ◽  
pp. 1135-1146
Author(s):  
Robert T. Clark
Keyword(s):  
Greek Tragedy ◽  
The Other ◽  
Wilhelm Dilthey ◽  
Other Hand ◽  
The Arts ◽  
The Creation

It has been quite some time since the charge that Schiller's Braut von Messina is a fate-tragedy à la Zacharias Werner was completely dismissed. We can also disregard the mixture of mythologies frowned upon by A. W. Schlegel, since in our day mythologies, like universes, threaten to become relative. The idea that the Braut is a pure imitation of the Greek tragedy, and that its dramatist was following Sophocles particularly, has fallen by implication, since attempts to point out the sources have gone down into ignoble failure.On the other hand, we may today accept the brilliant critical statement of Wilhelm Dilthey, that the Braut is “das Mittelglied zwischen dem antiken Drama und der neuen Form des musikalischen Drama, die Wagner in den Nibelungen schuf.” This idea has been expanded by Josef Nadler, who does not fail to exclaim against the obstinate misinterpretation to which this drama, together with the Jungfrau von Orleans, has consistently been subjected. Nadler sees in the Braut the culmination of a tendency noticeable in the operatic tones of the Jungfrau, a tendency toward the creation of tragedy out of the spirit of music.

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