A functional discourse approach to the particle ἀτάρ in Classical Greek

2021 ◽  
Vol 126 (1) ◽  
pp. 141-166
Author(s):  
Clara Lacerda Crepaldi
Keyword(s):  
Discourse Structure ◽  
Greek Drama ◽  
Discourse Grammar ◽  
Classical Prose ◽  
Conversational Structure

Abstract Taking into consideration both discourse structure and the pragmatics of contrast, this paper draws on Functional Discourse Grammar (FDG) to provide a comprehensive and unified account of ἀτάρ in Classical Greek. In classical Greek drama, the particle ἀτάρ designates two main types of contrast. In its most common usage, it marks a discourse contrast, a boundary in conversational structure, such as the beginning of a new exchange or adjacency pair. More specifically, ἀτάρ can signal a change of addressee; the introduction of a new topic or new visual focus; or an abrupt thematic discontinuity such as an interruption. Moreover, ἀτάρ can also mark denial of expectation, especially when preceded by a preparatory μέν. When expressing counterexpectation, the particle instructs the addressee to process the next discourse segment in such a way as to contradict or eliminate some piece of information possibly inferred from the preceding segment. Very similarly, the classical prose of Herodotus, Plato and Xenophon shows analogous usages of ἀτάρ, namely, as a boundary between larger portions of discourse with or without thematic discontinuity, or as a marker of denial of expectation between acts and moves.

Playing the Other: Theater, Theatricality, and the Feminine in Greek Drama

1985 ◽  
Vol 11 (1) ◽  
pp. 63-94 ◽  
Author(s):  
Froma I. Zeitlin
Keyword(s):  
The Other ◽  
Greek Drama ◽  
The Feminine

VOICE AND FREQUENCY IN QUENTIN TARANTINO’S PULP FICTION MOVIE SCRIPT

CALL ◽  
2020 ◽  
Vol 2 (1) ◽  
Author(s):  
Sandy Agung ◽  
Dadan Rusmana ◽  
Lili Awaludin
Keyword(s):  
Research Problem ◽  
Narrative Discourse ◽  
Discourse Theory ◽  
Discourse Structure ◽  
Pulp Fiction ◽  
Movie Script

This research discusses the narrative discourse structure in Quentin Tarantino’s Pulp Fiction movie script. Pulp Fiction (1994) Pulp Fiction is known as one of the best crime and drama genre movie. Pulp Fiction directed by Quentin Tarantino. Quentin Tarantino and Roger Avery wrote the script. The movie presented many drops of blood, fights, and gun in the scenes. This movie also provides us with many “nigga” words. The researcher used Gerrard Genette’s narrative discourse theory. This study was conducted into two research problem; 1. What are the kinds of voice that consist in Quentin Tarantino’s Pulp Fiction movie script? 2. What are the kinds of frequency that consists in Quentin Tarantino’s Pulp Fiction movie script? The result of this research shows that in this movie there are two kinds of voice. Moreover, there are some data that show frequency that exist in Quentin Tarantino’ Pulp Fiction movie script.

Review of Van Zyl Smit, B. 2016. A Handbook to the Reception of Greek Drama

Acta Classica ◽  
2017 ◽  
Vol 60 (annual) ◽  
pp. 213-218
Author(s):  
Simon Perris ◽  
Keyword(s):  
Greek Drama

Classroom Discourse Structure in MTs Negeri Rantauprapat

2016 ◽  
Vol 13 (1) ◽  
Author(s):  
Jupriaman Jupriaman ◽  
Sri Minda Murni
Keyword(s):  
Classroom Discourse ◽  
Tape Recorder ◽  
The Other ◽  
Discourse Structure ◽  
Video Tape ◽  
English Teacher ◽  
Video Tape Recorder ◽  
Field Note

The objectives of this study were to describe the classroom discourse structure, to describe how the classroom discourse is realized by teacher and students and the reasons for the realizations of the ways they are. The source of the data was English teacher and the students while the data are verbal and non verbal utterances of students and teachers. The instruments for collecting data were video tape recorder and researcher’s field note. The data were collected by observing and recording the utterances uttered by the teacher and students. The findings showed that the classroom discourse structures were dominantly realized by Initiation and Response (IR) structure. It was reflected in teacher direct, elicit and information exchanges was found that the classroom discourse structures. The other exchanges occur are boundary (framing and focusing move), directive, informing, check, accept, react, reply, nomination, marker, bid and conclusion acts. The reasons why the realization as the ways they are (1) teacher as a centre of interaction, (2) teacher gives some questions without any caring to the evaluation, appreciation and feedback without any feedback to make dialogue, (3) students have been disciplined not to speak in classes without a teacher’s direction, and most of them are unwilling to speak English.   Keywords: Classroom Discourse Structures, Initiation and Response, Sinclair and Coulthard Theory

Introduction

2018 ◽  
Author(s):  
Melinda Powers
Keyword(s):  
Twentieth Century ◽  
Greek Drama ◽  
Early Twentieth Century ◽  
Historical Moment ◽  
Twentieth Century America

The Introduction begins by providing a brief overview of the reception of Greek drama by under-represented communities in nineteenth- and early-twentieth-century America. After situating the book’s topic within this historical timeline, it proceeds to explain the development of the project, the focus on live theatre, the choice of productions, and the reasons for them. It defines terms, provides disclaimers, explains the methodology used, clarifies the topic, situates it within its historical moment, summarizes each of the chapters, describes the development of the ‘democratic turn’ in Greek drama, and finally speculates on the reasons for the appeal of Greek drama to artists working with under-represented communities.

Diversifying Greek Tragedy on the Contemporary US Stage

2018 ◽  
Author(s):  
Melinda Powers
Keyword(s):  
Cross Section ◽  
Performance Studies ◽  
Greek Tragedy ◽  
Live Performance ◽  
Greek Drama ◽  
The Us ◽  
Social Concerns ◽  
Performance Context ◽  
Historical Identity ◽  
Ancient Drama

Demonstrating that ancient drama can be a powerful tool in seeking justice, this book investigates a cross section of live theatrical productions on the US stage that have reimagined Greek tragedy to address political and social concerns. To address this subject, it engages with some of the latest research in the field of performance studies to interpret not dramatic texts in isolation from their performance context, but instead the dynamic experience of live theatre. The book’s focus is on the ability of engaged performances to pose critical challenges to long-standing stereotypes that have contributed to the misrepresentation and marginalization of under-represented communities. Yet, in the process, it also uncovers the ways in which performances can inadvertently reinforce the very stereotypes they aim to challenge. This book thus offers a study of the live performance of Greek drama and its role in creating and reflecting social, cultural, and historical identity in contemporary America.

Between Jerusalem and Athens

2018 ◽  
Author(s):  
Nurit Yaari
Keyword(s):  
Real Time ◽  
Social Conditions ◽  
Cultural Events ◽  
Greek Drama ◽  
The Past ◽  
Key Points ◽  
Mise En Scene ◽  
Dramatic Writing ◽  
Artistic Performance

How does a theatrical tradition emerge in the fields of dramatic writing and artistic performance? Can a culture, in which theatre played no part in the past, create a theatrical tradition in real time—and how? What was the contribution of classical Greek drama to the evolution of Israeli theatre? How do political and social conditions affect the encounter between cultures—and what role do they play in creating a theatre with a distinctive identity? This book, the first of its kind, attempts to answer these and other questions, by examining the reception of classical Greek drama in the Israeli theatre over the last seventy years. It deals with dramatic and aesthetic issues while analysing translations, adaptations, new writing, mise-en-scène, and ‘post dramatic’ performances of classical Greek drama that were created and staged at key points of the development of Israeli culture amidst fateful political, social, and cultural events in the country’s history.

The Classical Tradition in University Theatre

2018 ◽  
Author(s):  
Nurit Yaari
Keyword(s):  
Art Education ◽  
Classical Tradition ◽  
Theory And Practice ◽  
Theatre Arts ◽  
Tel Aviv ◽  
Greek Drama ◽  
Mise En Scene ◽  
History Of ◽  
Stage Performance ◽  
And Performance

This chapter surveys the history of classical Greek drama productions at the Department of Theatre Arts of Tel Aviv University as the basis for an exploration of the issue of theatre and art education. By analysing the students’ approach to classical Greek drama, we can see how they deal with the interpretative reading, translation, and performance of such texts on stage. We also see how the ancient works invite the students to delve more deeply into their distinctive content and forms; to draw links between theory and practice, and between text and context; to gain a deeper understanding of the issues of style and styling; and to engage in a richer experimentation with various aspects of stage performance—such as pronunciation, diction, voice, movement, music, and mise-en-scène.

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