SOSITHEUS AND HIS ‘NEW’ SATYR PLAY

2019 ◽  
Vol 69 (1) ◽  
pp. 202-213
Author(s):  
Sebastiana Nervegna
Keyword(s):  
New Music ◽  
Third Century ◽  
Greek Drama ◽  
The Third ◽  
The Past ◽  
Original Contribution ◽  
History Of ◽  
The Relationship ◽  
Looking Back ◽  
Selection Of

Active in Alexandria during the second half of the third century, Dioscorides is the author of some forty epigrams preserved in the Anthologia Palatina. Five of these epigrams are concerned with Greek playwrights: three dramatists of the archaic and classical periods, Thespis, Aeschylus and Sophocles, and two contemporary ones, Sositheus and Machon. Dioscorides conceived four epigrams as two pairs (Thespis and Aeschylus, Sophocles and Sositheus) clearly marked by verbal connections, and celebrates each playwright for his original contribution to the history of Greek drama. Thespis boasts to have discovered tragedy; Aeschylus to have elevated it. The twin epigrams devoted to Sophocles and Sositheus present Sophocles as refining the satyrs and Sositheus as making them, once again, primitive. Finally, Machon is singled out for his comedies as ‘worthy remnants of ancient art (τέχνης … ἀρχαίης)’. Dioscorides’ miniature history of Greek drama, which is interesting both for its debts to the ancient tradition surrounding classical playwrights and for the light it sheds on contemporary drama, clearly smacks of archaizing sympathies. They drive Dioscorides’ selection of authors and his treatment of contemporary dramatists: both Sositheus and Machon are praised for consciously looking back to the masters of the past. My focus is on Sositheus and his ‘new’ satyr-play. After discussing the relationship that Dioscorides establishes between Sophocles’ and Sositheus’ satyrs, and reviewing scholarly interpretations of Sositheus’ innovations, I will argue that Dioscorides speaks the language of New Music. His epigram celebrates Sositheus as rejecting New Music and its trends, and as composing satyr plays that were musically old fashioned and therefore reactionary.

scholarly journals Examination of the View of John Burton Concerning the Relationship between Abrogation and Collection of the Qurʾān

2017 ◽  
Vol 9 (1) ◽  
pp. 254
Author(s):  
Hamed Purrostami
Keyword(s):  
Third Century ◽  
Historical Evidence ◽  
The Third ◽  
History Of ◽  
The Relationship

The British Qurʾānic researcher, John Burton, believes that the extant Qurʾān was organised and approved by the Prophet of Islam himself. The role of the Prophet of Islam in collection and promulgation of the Qurʾān was negated in favour of the concept of abrogation. Abrogation of both wording and ruling and abrogation of wording, but not of ruling are ideas fabricated by Muslim jurists attempting to base their juristic decrees on the Qurʾān even though the Qurʾānic text lacked any reference to such decrees. If the Prophet of Islam had, in fact, edited, checked, and promulgated the Qurʾānic document, jurists could no longer speak of such omissions or abrogations of texts in the extant Qurʾān. Their solution was to falsify traditions in order to exclude the Prophet of Islam from the history of collection of the Qurʾānic text, suspending such collection until after his death. John Burton’s treatment of the relationship between abrogation and collection of the Qurʾān demonstrates the rigour of his research in Qurʾānic and Islamic sources. On the basis of his book, traditions dealing with collection of the Qurʾān developed in the third century AH. One thing he did not consider was whether historical evidence confirms his depiction of the development of these traditions.

P. Herennius Dexippus: The Greek World and the Third-Century Invasions

1969 ◽  
Vol 59 ◽  
pp. 12-29 ◽  
Author(s):  
Fergus Millar
Keyword(s):  
Intellectual History ◽  
Third Century ◽  
Crucial Question ◽  
Greek Culture ◽  
The Third ◽  
The World ◽  
History Of ◽  
History Of Europe ◽  
The Relationship ◽  
Greek World

The legend of the Scythians and the books of Athens, with Petrus Patricius' comments on it, raises precisely the most crucial question about the culture and society of later Antiquity: what was the relationship between the all-pervasive literary culture of the time, with its obsessive and apparently sterile fascination with the classical past, and men's conduct in the world ? The question cannot of course be answered. If we wished to stress the positive and vital aspects of Imperial Greek culture, we could partly avoid answering it by concentrating on a few figures of real intellectual stature in the second to early fourth centuries, and thereby pointing to a number of fields in which the Greek Renaissance saw significant, sometimes revolutionary, progress. Ptolemy, Galen, Diophantus, Origen, Plotinus, Porphyry and Eusebius all in their different ways marked an epoch in the intellectual history of Europe. Even a man of much lesser originality, Cassius Dio, provided the Byzantine world with its definitive account of the history of Rome. But we can also try, if not to answer the question properly, at least to raise some themes directly relevant to it.

The Presentation of Herodas' Mimiamboi

Antichthon ◽  
1993 ◽  
Vol 27 ◽  
pp. 31-44 ◽  
Author(s):  
Richard Hunter
Keyword(s):  
Third Century ◽  
Full Account ◽  
Literary Genres ◽  
General Satisfaction ◽  
The Public ◽  
The Third ◽  
The Past ◽  
History Of ◽  
Poetic Practice

The mimiamboi of Herodas reveal familiar hallmarks of the poetry of the third century: characters drawn from socially humble backgrounds; a literary re-casting of sub-literary ‘genres’; the revival of an archaic metre; the free reconstruction of an artificial literary dialect; the reaching back to claim authority for poetic practice in a great figure of the past. Obvious links between the mimiamboi and the roughly contemporary ‘mime’ poems of Theocritus (especially Idylls 2, 3, 14, and 15) have always attracted attention since the publication of the major papyrus in 1891. No subject has, however, so dominated discussion of the mimiambs as the question of how they were intended to be presented to the public, and how indeed they were so. Were they merely to be read (privately), or to be ‘performed’ either by a solo performer (with or without the assistance of mute extras), or by a ‘troupe’ of actors? We must not assume, of course, that the mode of reception of all the mimiambs was the same, or that one poem was not at different times ‘performed’ in different ways. Moreover, the history of the debate since 1891, a history of which Giuseppe Mastromarco has given a full account, suggests that it is hardly possible on internal grounds alone to prove to general satisfaction that the poems were presented in one way rather than another.

Displace of Documentary Heritage from the Soviet Union to Poland during the Third Decade of the XXth Century

2014 ◽  
Vol 3 ◽  
pp. 127-137
Author(s):  
Tatsiana Hiarnovich
Keyword(s):  
Soviet Union ◽  
International Agreements ◽  
Peace Treaty ◽  
Actual Process ◽  
Xxth Century ◽  
The Third ◽  
The Soviet Union ◽  
History Of ◽  
Selection Of

The paper explores the displace of Polish archives from the Soviet Union that was performed in 1920s according to the Riga Peace Treaty of 1921 and other international agreements. The aim of the research is to reconstruct the process of displace, based on the archival sources and literature. The object of the research is those documents that were preserved in the archives of Belarus and together with archives from other republics were displaced to Poland. The exploration leads to clarification of the selection of document fonds to be displaced, the actual process of movement and the explanation of the role that the archivists of Belarus performed in the history of cultural relationships between Poland and the Soviet Union. The articles of the Treaty of Riga had been formulated without taking into account the indivisibility of archive fonds that is one of the most important principles of restitution, which caused the failure of the treaty by the Soviet part.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

scholarly journals The Battles of Andros and Cos

1909 ◽  
Vol 29 (2) ◽  
pp. 264-285 ◽  
Author(s):  
W. W. Tarn
Keyword(s):  
Third Century ◽  
Subsequent Paper ◽  
The Third ◽  
History Of ◽  
Working Out ◽  
Important Evidence

No apology should be needed for treating afresh these much-discussed battles, if only because the last two years have produced new and important evidence from Delos; though in fact the literary allusions, scanty as they are, have hardly even yet been sufficiently elucidated. I hope in this paper to fix the dates of Andros and Cos by the Delian archon-list, and to consider what that means in terms of B.C. In a subsequent paper, to be published in the next number of this Journal, I hope, by working out the history of the ship which Antigonus Gonatas dedicated to Apollo, to confirm the date assigned to Cos in this paper. If these two dates could really be fixed, they would be invaluable for our understanding of Aegean history in the middle of the third century.

scholarly journals Beyond the Islamicate Chancery: Archives, Paperwork, and Textual Encounters across Eurasia, a Preface

Itinerario ◽  
2020 ◽  
Vol 44 (3) ◽  
pp. 471-473
Author(s):  
Paolo Sartori
Keyword(s):  
Cultural Encounters ◽  
University Of Pittsburgh ◽  
The Third ◽  
Austrian Academy ◽  
Iranian Studies ◽  
Technical Discipline ◽  
The University ◽  
Academy Of Sciences ◽  
The Relationship ◽  
Selection Of

AbstractThis thematic issue of Itinerario brings together a selection of papers presented at the international conference Beyond the Islamicate Chancery: Archives, Paperwork, and Textual Encounters across Eurasia, which was held at the Austrian Academy of Sciences in Vienna in early October 2018. The conference was the third instalment in a series of collaborations between the Institute of Iranian Studies at the Austrian Academy of Sciences and the University of Pittsburgh examining Islamicate cultures of documentation from different angles. Surviving precolonial and colonial chancery archives across Eurasia provide an unparalleled glimpse into the inner workings of connectivity across writing cultures and, especially, documentary practices. This particular meeting has attempted to situate what has traditionally been a highly technical discipline in a broader historical dialogue on the relationship between state power, the archive, and cultural encounters.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

Wisdom and Wisdom Literature

2021 ◽  
pp. xxii-14
Author(s):  
Will Kynes
Keyword(s):  
Paradigm Shift ◽  
Wisdom Literature ◽  
The Past ◽  
The Bible ◽  
The Future ◽  
History Of ◽  
The Relationship

This chapter introduces the volume by arguing that the study of biblical wisdom is in the midst of a potential paradigm shift, as interpreters are beginning to reconsider the relationship between the concept of wisdom in the Bible and the category Wisdom Literature. This offers an opportunity to explore how the two have been related in the past, in the history of Jewish and Christian interpretation, how they are connected in the present, as three competing primary approaches to Wisdom study have developed, and how they could be treated in the future, as new possibilities for understanding wisdom with insight from before and beyond the development of the Wisdom Literature category are emerging.

Sign in / Sign up

Export Citation Format

Share Document