The Chorus in New Tragedy

2019 ◽  
pp. 51-82
Author(s):  
Lucy C. M. M. Jackson
Keyword(s):  
Final Section ◽  
Fourth Century ◽  
Classical Period ◽  
Dramatic Structure ◽  
Dramatic Activity ◽  
Poetic Composition

This chapter brings together known and possible fourth-century choral tragic texts, analysing and evaluating the chorus’ dramatic activity in the later Classical period. Beginning with the Rhesus once attributed to Euripides, it examines the innovations and dramatic potential of this tragedy’s chorus in performance. In particular it highlights the unique instances of a fragmented choral voice, a striking independence in the chorus’ character, and the use of separated strophic pairs for dramatic structure. There follows an evaluation of the possible fragments of fourth-century tragic choral speech or song, and closer consideration of three such fragments all incidentally linked to the tragedian Astydamas. In these fragments the chapter views further signs of activity, choral interaction with actors, and literary play. A final section introduces a comparison with lyric poetic composition in the fourth century, taking Philodamus’ Paean to Dionysus as an illuminating example of sophisticated and potent choral performance in the fourth century.

Paradise and the Cave

2018 ◽  
pp. 129-159
Author(s):  
David Satran
Keyword(s):  
Final Section ◽  
Fourth Century ◽  
Effective Model ◽  
Classical Rhetoric ◽  
Prodigal Son ◽  
Leave Taking

This chapter analyzes the final section of the Thanksgiving Address, an elaborate assembly of scriptural examples—the expulsion of Adam from Eden, Abraham’s departure from his homeland, the parable of the prodigal son, the Babylonian captivity of the Jews—which the author marshals in order to lament his own departure from his studies with Origen. The passage is not easily coordinated with the classical rhetoric of leave-taking—as described by Menander of Laodicaea and exemplified in an oration by the fourth-century bishop Gregory of Nazianzen—but may be closer to a form of rabbinic homiletics. Especially pronounced is the reversal of both classical and scriptural structures and the lack of clarity surrounding the necessity of departure. It is suggested that the Plato’s Republic and the necessity of the guardians to return to the cave, thus retracing their philosophical ascent, might have provided the effective model. Origen’s own writings are examined in order to bolster the hypothesis.

Prehistoric and early historic settlement in the Ziros region, eastern Crete

1998 ◽  
Vol 93 ◽  
pp. 23-90 ◽  
Author(s):  
Keith Branigan
Keyword(s):  
Bronze Age ◽  
Survey Data ◽  
Final Section ◽  
Fourth Century ◽  
Human Settlement ◽  
Data Manipulation ◽  
The Third ◽  
Third Phase ◽  
Pottery Analysis ◽  
Historic Settlement

The paper presents the results of an intensive survey of two upland basins in eastern Crete. Following a description of the geology and topography of the area, the methods of survey, data manipulation, and pottery analysis are described. There follow catalogues of ceramic type fabrics and other finds. The results of the survey are then presented in three chronological phases (Neolithic, Bronze Age, Graeco-Roman), interpretations are suggested, and a final section provides an overview of the development of human settlement in the region. It is suggested that initial colonisation took place in the Final Neolithic but was short-lived. The basins were only reoccupied during the Protopalatial period, when both nucleated and dispersed settlements were occupied. There is no certain evidence for continued occupation after LM IIIA and the third phase of occupation did not begin until the fourth century BC. Hellenistic and Roman occupation in both nucleated settlements and farmsteads seems to have prospered over a period of eight or nine centuries.

The shape of musical improvisation

2017 ◽  
Author(s):  
Milton Mermikides ◽  
Eugene Feygelson
Keyword(s):  
Nineteenth Century ◽  
Theoretical Model ◽  
Detailed Analysis ◽  
Final Section ◽  
Theoretical Framework ◽  
Classical Period ◽  
Violin Concerto ◽  
Fourth Section ◽  
Musical Space ◽  
The Third

This chapter presents practitioner–researcher perspectives on shape in improvisation. A theoretical framework based in jazz improvisational pedagogy and practice is established, and employed in the analysis of examples from both jazz and classical-period repertoire. The chapter is laid out in five sections. The first section provides a brief overview of improvisational research, while the second discusses the concept of improvisation as ‘chains-of-thought’ (a logical narrative established through the repetition and transformation of musical objects). The third reflects upon improvisation as the limitation and variation of a changing set of musical parameters. Using this concept, the fourth section builds a theoretical model of improvisation as navigation through multidimensional musical space (M-Space). The final section uses this model in a detailed analysis of the nineteenth-century violinist Hubert Léonard’s cadenza for Beethoven’s Violin Concerto Op. 61.

Change and continuity at the intersection of received history and the material record during the Warring States Period

2020 ◽  
pp. 622-636
Author(s):  
Charles Sanft
Keyword(s):  
Material Culture ◽  
Final Section ◽  
Fourth Century ◽  
Warring States Period ◽  
Household Registration ◽  
Population Statistics ◽  
Warring States ◽  
Important Means ◽  
Material Record

This chapter concentrates on archaeologically recovered paleographic and material culture remaining from the pre-imperial and early imperial periods in China. One part of the chapter treats capitals and the settlements and cities that preceded them. Another section considers the systems of household registration that, beginning circa fourth century bce, created and maintained records of the population. Those records allowed officials to keep track of population statistics. Another section looks at the information we have about practices connected with oaths and covenants. Whether between states or within polities and groups, oaths and covenants were an important means of affirming agreement and creating cohesion. The final section concerns tallies, which archaeologists have recovered in various forms. Tallies were a way of proving authority and establishing trust and are known from examples in shapes ranging from tigers and dragons to bamboo.

Revelation and Trinity

2021 ◽  
pp. 121-138
Author(s):  
Matthew Levering
Keyword(s):  
Final Section ◽  
Fourth Century ◽  
The Church ◽  
The Trinity

The purpose of this chapter is to reflect upon the Trinity’s revelation of the Trinity, since only God can reveal God. It turns first to the scriptural testimony (specifically the Gospels of Matthew and John) and asks whether this testimony warrants Trinitarian faith. It then addresses the problem that if the Gospels warrant Trinitarian faith, how is it that the Church in the fourth century almost rejected the truth of the Trinity? After arguing that the pro-Trinitarian Fathers were correct in their claims about the scriptural testimony, the final section turns to the revelatory power of Scripture and the development of doctrine in the Church, in light of historical-critical exegesis.

Some Early Evidence for the Use of the Running Drill

1975 ◽  
Vol 70 ◽  
pp. 199-201
Author(s):  
A. F. Stewart
Keyword(s):  
Technical Change ◽  
Fourth Century ◽  
Classical Period ◽  
Early Evidence ◽  
Considerable Controversy ◽  
Greek Sculpture

The publication of Sheila Adam's lively and closely argued study of the technique of Greek sculpture has aroused considerable controversy; not the least disputed of her views was that the running drill, ‘the only major technical change which occurs in Greek sculpture of the Classical Period’, was not introduced until the second quarter of the fourth century B.C., a full seventy years or more after Blümel's date for its invention. Although such examination as I have been able to make of extant Greek originals from this period suggests to me that Adam was correct in concluding that the tool was not in general use until after c. 370, there does seem to be some evidence that sculptors were experimenting with it for about twenty to thirty years beforehand.

scholarly journals Politeness in Pronouns

Philologus ◽  
2017 ◽  
Vol 161 (2) ◽  
Author(s):  
Klaas Bentein
Keyword(s):  
Fourth Century ◽  
Classical Period ◽  
Ancient Greek ◽  
Second Person ◽  
Person Plural ◽  
The Third ◽  
Third Person ◽  
Byzantine Period ◽  
Pronominal Reference ◽  
The Third Person

AbstractIn many languages, a person can be addressed either in the second person singular or the second person plural: the former indicates familiarity and/or lack of respect, while the latter suggests distance and/or respect towards the addressee. While in Ancient Greek pronominal reference initially was not used as a ‘politeness strategy’, in the Post-classical period a T–V distinction did develop. In the Early Byzantine period, I argue, yet another pronominal usage developed: a person could also be addressed in the third person singular. This should be connected to the rise of abstract nominal forms of address, a process which can be dated to the fourth century AD.

The Chorus in ‘Old’ Tragedy

2019 ◽  
pp. 83-112
Author(s):  
Lucy C. M. M. Jackson
Keyword(s):  
Fourth Century ◽  
Fifth Century ◽  
Classical Period ◽  
Recent Scholarship ◽  
Seven Against Thebes ◽  
Iphigenia At Aulis

The practice of revival and reperformance of drama in the fourth century, a practice illuminated by recent scholarship, allows for a recalibration of the view of fourth-century dramatic choral practice. Acknowledging the fifth-century plays (and their choruses) that were definitely and possibly revived in the fourth century instantly enriches the picture of fourth-century dramatic choral culture. As well as reviewing the significance of revivals for fourth-century dramatic culture more generally, this chapter considers the sections of tragic text (so-called ‘interpolations’) that seem to have been added to fifth-century plays for, it contends, fourth-century revivals. The reconfigured choruses of Euripides’ Iphigenia at Aulis and Aeschylus’ Seven Against Thebes, indicate what might have been possible and desirable for producers to change for revivals of these plays. The qualities of the additions here analysed add further evidence for varied and valued dramatic choruses in the later classical period.

Socratic Humor in the Hellenistic Period

2018 ◽  
pp. 157-178
Author(s):  
John Lombardini
Keyword(s):  
Final Section ◽  
Classical Period ◽  
Hellenistic Period

This chapter begins with an overview of the legacy of Socratic humor within Stoic and Epicurean philosophy in order to indicate how this legacy continued to be debated beyond the classical period. It then turns to Diogenes of Sinope and the topic of Cynic humor more broadly. Using Xenophon’s Symposium (and, in particular, Xenophon’s depiction of Antisthenes’s use of humor in that work), it is argued that Cynic humor possesses a plausibly Socratic connection. Looking to Lucian’s Demonax then illustrates how such Cynic humor more closely resembles the direct forms of mockery found in Aristophanes and (occasionally) in Xenophon, rather than the indirect forms of irony associated with the Platonic Socrates. The final section of the chapter analyzes how such Cynic humor is linked to the Cynic attempt to live in accordance with nature.

THE GREEK ὝΜΝΟΣ: HIGH PRAISE FOR GODS AND MEN

2019 ◽  
Vol 69 (1) ◽  
pp. 167-186
Author(s):  
Michael E. Brumbaugh
Keyword(s):  
Fourth Century ◽  
Classical Period ◽  
Abundant Evidence

Over a hundred instances of the word ὕμνος from extant archaic poetry demonstrate that the Greek hymn was understood broadly as a song of praise. The majority of these instances comes from Pindar, who regularly uses the term to describe his poems celebrating athletic victors. Indeed, Pindar and his contemporaries saw the ὕμνος as a powerful vehicle for praising gods, heroes, men and their achievements—often in service of an ideological agenda. Writing a century later Plato used the term frequently and with much the same range. A survey of his usage reveals instances of ὕμνοι for gods, daimones, heroes, ancestors, leading citizens, noble deeds, sites and landscapes. Despite abundant evidence of Plato's own practice, studies of the Greek hymn posit an extreme narrowing of the genre in the classical period and cite the philosopher as the sole witness to, if not the originator of, this development. Two passages in particular, one from the Republic and one from the Laws, are seen to support the claim that by the fourth century b.c.e. the term ὕμνος refers exclusively to songs for gods. In Republic Book 10, we find the memorable edict on poetic censorship: ‘But we must know that of poetry only ὕμνοι for the gods and ἐγκώμια for the good must be admitted into our city.’ Laws Book 3 offers what appears to be an even more straightforward pronouncement: ‘Back then our music was divided according to its various types and arrangements; and a certain type of song was prayers to the gods, and these were called by the name ὕμνοι.’ From these two statements has arisen the consensus that Plato saw a divine recipient as the defining feature of the ὕμνος and, moreover, that this position reflects the communis opinio from at least the fourth century b.c.e. onward.

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