This book is part of the Greece and Rome: Texts and Contexts series (eds. J. Morwood and E. Dugda... more This book is part of the Greece and Rome: Texts and Contexts series (eds. J. Morwood and E. Dugdale). Greek Theatre in Context offers a valuable guide to Greek theatre. It allows readers to learn about Greek theatre through direct engagement with the ancient evidence. It presents a broad selection of key ancient sources, both visual and literary, about all aspects of performance – including actors, masks, stage props and choral dancing – as well as scenes from the plays themselves that offer insights into their staging, plots, and reception. The dramatic brilliance of playwrights such as Sophocles, Aristophanes and Menander is brought to the fore by helpful commentary that provides a framework for the interpretation of Greek drama, fleshes out its cultural contexts, and invites students to consider a range of provocative questions.
This translation and commentary is part of the Cambridge Translations from Greek Drama series (ed... more This translation and commentary is part of the Cambridge Translations from Greek Drama series (eds. J. Harrison and J. Affleck). The series aims to bring classical Greek drama to life through new translations that remain faithful to the original Greek yet offer the immediacy of contemporary English. The commentary seeks to help readers understand the cultural context, mythical background and dramatic conventions that inform the play. With its focus on theatre in performance, the book aims to enable readers to discover the play within the text; far from offering prescriptive recommendations for ‘authentic’ performances, the notes aim to stimulate new ideas for staging the play today.
summary: This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a part... more summary: This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a particular verbal element marking many recognitions in tragedy: referred to as the recognition formula, it typically pairs proximal and distal deictics (e.g., ὅδ᾿ ἐστίν ... κεῖνος, Soph. OT 1145), and is mentioned in Aristotle’s discussion of recognition (οὗτος ἐκεῖνος, Poetics 1448b17). Its occurrence at key moments in Sophocles’ Electra highlights the spatial relocation of the returning exile Orestes. It also points to the play’s interest in deception and the implications of this for recognition, and broadens our understanding of what constitutes recognition beyond the single “recognition scene.”
Situation comedies thrive on spatial and temporal coincidences. In Menander’s Dyskolos, the audie... more Situation comedies thrive on spatial and temporal coincidences. In Menander’s Dyskolos, the audience is repeatedly alerted to coincidences of place and time. Key words that express this coordination are καιρός and τυγχάνω and their cognates. Both have spatial and temporal dimensions and self-consciously highlight the machinations of the plot. By drawing attention to spatial and temporal coincidence as well as failures to coincide due to Knemon’s misanthropy, Menander puts the audience in a position to appreciate the irony of his characters’ words and to enjoy the timely misfortunes that eventually overcome Knemon’s evasiveness.
The following papers originated in a panel, co-organized by Ronnie Ancona and Eric Dugdale and sp... more The following papers originated in a panel, co-organized by Ronnie Ancona and Eric Dugdale and sponsored by the Education Committee of the American Philological Association, which took place at the 2012 APA Annual Meeting in Philadelphia. All have undergone some revision for publication. We would like to thank CW editor, Matthew Santirocco, and CW associate editor, Judith Hallett, for encouraging us to submit them. The lively response to the panel made us realize that the topic was one of interest to a wide group of classicists.
This article considers the social implications of the uncertainty surrounding Oedipus' identity i... more This article considers the social implications of the uncertainty surrounding Oedipus' identity in Oedipus Tyrannus. It argues that questions of legitimacy, citizenship, and social status are raised at critical points in the play, and teases out the implications of details whose significance has not been recognized. It interprets Oedipus' famous speech at 1076-85, in which he declares himself a "child of Tyche\ ," as a response to the news that he is a foundling; Oedipus acknowledges the stigma attached to those without a proven pedigree at the same time as he seeks to neutralize its effect on public perception.
An exciting series that provides students with direct access to the ancient world by offering new... more An exciting series that provides students with direct access to the ancient world by offering new translations of extracts from its key texts. This book offers a valuable guide to Greek theatre. It presents a broad selection of key ancient sources, both visual and literary, about all aspects of performance - including actors, masks, stage props and choral dancing - as well as scenes from the plays themselves that offer insights into their staging, plots, and reception. The dramatic brilliance of playwrights such as Sophocles, Aristophanes and Menander is brought to the fore by helpful commentary that provides a framework for the interpretation of Greek drama, fleshes out its cultural contexts, and invites students to consider a range of provocative questions.
summary: This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a part... more summary: This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a particular verbal element marking many recognitions in tragedy: referred to as the recognition formula, it typically pairs proximal and distal deictics (e.g., ὅδ᾿ ἐστίν ... κεῖνος, Soph. OT 1145), and is mentioned in Aristotle’s discussion of recognition (οὗτος ἐκεῖνος, Poetics 1448b17). Its occurrence at key moments in Sophocles’ Electra highlights the spatial relocation of the returning exile Orestes. It also points to the play’s interest in deception and the implications of this for recognition, and broadens our understanding of what constitutes recognition beyond the single “recognition scene.”
Polis: The Journal for Ancient Greek Political Thought
In this article, we explore the forms of justice presented in Aeschylus’ Eumenides. Most scholars... more In this article, we explore the forms of justice presented in Aeschylus’ Eumenides. Most scholarship hitherto has focused on the shift from retaliatory justice to trial by court of law enacted in the play. However, the verdict pronounced in Orestes’ favor does not bring about resolution, but rather threatens to destabilize the polis, as the Furies redirect their anger against Athens. Indeed, the play can be seen as a study in the limitations of criminal justice. Our article examines the resolution of the conflict in the post-trial phase of the play in the light of principles and practices of modern restorative justice. Such comparison is not intended as arguing for correspondence. Rather, the aim is to understand more fully the dynamics of Athena’s intervention by analyzing it against key elements of restorative justice.
Transactions of the American Philological Association, 2017
This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a particular ve... more This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a particular verbal element marking many recognitions in tragedy: referred to as the recognition formula, it typically pairs proximal and distal deictics (e.g., ὅδ᾿ ἐστίν... κεῖνος, Soph. OT 1145), and is mentioned in Aristotle’s discussion of recognition (οὗτος ἐκεῖνος, Poetics 1448b17). Its occurrence at key moments in Sophocles’ Electra highlights the spatial relocation of the returning exile Orestes. It also points to the play’s interest in deception and the implications of this for recognition, and broadens our understanding of what constitutes recognition beyond the single “recognition scene.”
This book is part of the Greece and Rome: Texts and Contexts series (eds. J. Morwood and E. Dugda... more This book is part of the Greece and Rome: Texts and Contexts series (eds. J. Morwood and E. Dugdale). Greek Theatre in Context offers a valuable guide to Greek theatre. It allows readers to learn about Greek theatre through direct engagement with the ancient evidence. It presents a broad selection of key ancient sources, both visual and literary, about all aspects of performance – including actors, masks, stage props and choral dancing – as well as scenes from the plays themselves that offer insights into their staging, plots, and reception. The dramatic brilliance of playwrights such as Sophocles, Aristophanes and Menander is brought to the fore by helpful commentary that provides a framework for the interpretation of Greek drama, fleshes out its cultural contexts, and invites students to consider a range of provocative questions.
This translation and commentary is part of the Cambridge Translations from Greek Drama series (ed... more This translation and commentary is part of the Cambridge Translations from Greek Drama series (eds. J. Harrison and J. Affleck). The series aims to bring classical Greek drama to life through new translations that remain faithful to the original Greek yet offer the immediacy of contemporary English. The commentary seeks to help readers understand the cultural context, mythical background and dramatic conventions that inform the play. With its focus on theatre in performance, the book aims to enable readers to discover the play within the text; far from offering prescriptive recommendations for ‘authentic’ performances, the notes aim to stimulate new ideas for staging the play today.
summary: This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a part... more summary: This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a particular verbal element marking many recognitions in tragedy: referred to as the recognition formula, it typically pairs proximal and distal deictics (e.g., ὅδ᾿ ἐστίν ... κεῖνος, Soph. OT 1145), and is mentioned in Aristotle’s discussion of recognition (οὗτος ἐκεῖνος, Poetics 1448b17). Its occurrence at key moments in Sophocles’ Electra highlights the spatial relocation of the returning exile Orestes. It also points to the play’s interest in deception and the implications of this for recognition, and broadens our understanding of what constitutes recognition beyond the single “recognition scene.”
Situation comedies thrive on spatial and temporal coincidences. In Menander’s Dyskolos, the audie... more Situation comedies thrive on spatial and temporal coincidences. In Menander’s Dyskolos, the audience is repeatedly alerted to coincidences of place and time. Key words that express this coordination are καιρός and τυγχάνω and their cognates. Both have spatial and temporal dimensions and self-consciously highlight the machinations of the plot. By drawing attention to spatial and temporal coincidence as well as failures to coincide due to Knemon’s misanthropy, Menander puts the audience in a position to appreciate the irony of his characters’ words and to enjoy the timely misfortunes that eventually overcome Knemon’s evasiveness.
The following papers originated in a panel, co-organized by Ronnie Ancona and Eric Dugdale and sp... more The following papers originated in a panel, co-organized by Ronnie Ancona and Eric Dugdale and sponsored by the Education Committee of the American Philological Association, which took place at the 2012 APA Annual Meeting in Philadelphia. All have undergone some revision for publication. We would like to thank CW editor, Matthew Santirocco, and CW associate editor, Judith Hallett, for encouraging us to submit them. The lively response to the panel made us realize that the topic was one of interest to a wide group of classicists.
This article considers the social implications of the uncertainty surrounding Oedipus' identity i... more This article considers the social implications of the uncertainty surrounding Oedipus' identity in Oedipus Tyrannus. It argues that questions of legitimacy, citizenship, and social status are raised at critical points in the play, and teases out the implications of details whose significance has not been recognized. It interprets Oedipus' famous speech at 1076-85, in which he declares himself a "child of Tyche\ ," as a response to the news that he is a foundling; Oedipus acknowledges the stigma attached to those without a proven pedigree at the same time as he seeks to neutralize its effect on public perception.
An exciting series that provides students with direct access to the ancient world by offering new... more An exciting series that provides students with direct access to the ancient world by offering new translations of extracts from its key texts. This book offers a valuable guide to Greek theatre. It presents a broad selection of key ancient sources, both visual and literary, about all aspects of performance - including actors, masks, stage props and choral dancing - as well as scenes from the plays themselves that offer insights into their staging, plots, and reception. The dramatic brilliance of playwrights such as Sophocles, Aristophanes and Menander is brought to the fore by helpful commentary that provides a framework for the interpretation of Greek drama, fleshes out its cultural contexts, and invites students to consider a range of provocative questions.
summary: This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a part... more summary: This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a particular verbal element marking many recognitions in tragedy: referred to as the recognition formula, it typically pairs proximal and distal deictics (e.g., ὅδ᾿ ἐστίν ... κεῖνος, Soph. OT 1145), and is mentioned in Aristotle’s discussion of recognition (οὗτος ἐκεῖνος, Poetics 1448b17). Its occurrence at key moments in Sophocles’ Electra highlights the spatial relocation of the returning exile Orestes. It also points to the play’s interest in deception and the implications of this for recognition, and broadens our understanding of what constitutes recognition beyond the single “recognition scene.”
Polis: The Journal for Ancient Greek Political Thought
In this article, we explore the forms of justice presented in Aeschylus’ Eumenides. Most scholars... more In this article, we explore the forms of justice presented in Aeschylus’ Eumenides. Most scholarship hitherto has focused on the shift from retaliatory justice to trial by court of law enacted in the play. However, the verdict pronounced in Orestes’ favor does not bring about resolution, but rather threatens to destabilize the polis, as the Furies redirect their anger against Athens. Indeed, the play can be seen as a study in the limitations of criminal justice. Our article examines the resolution of the conflict in the post-trial phase of the play in the light of principles and practices of modern restorative justice. Such comparison is not intended as arguing for correspondence. Rather, the aim is to understand more fully the dynamics of Athena’s intervention by analyzing it against key elements of restorative justice.
Transactions of the American Philological Association, 2017
This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a particular ve... more This paper offers an analysis of recognition in Sophocles’ Electra. It identifies a particular verbal element marking many recognitions in tragedy: referred to as the recognition formula, it typically pairs proximal and distal deictics (e.g., ὅδ᾿ ἐστίν... κεῖνος, Soph. OT 1145), and is mentioned in Aristotle’s discussion of recognition (οὗτος ἐκεῖνος, Poetics 1448b17). Its occurrence at key moments in Sophocles’ Electra highlights the spatial relocation of the returning exile Orestes. It also points to the play’s interest in deception and the implications of this for recognition, and broadens our understanding of what constitutes recognition beyond the single “recognition scene.”
In this article, we explore the forms of justice presented in Aeschylus’ Eumenides. Most scholars... more In this article, we explore the forms of justice presented in Aeschylus’ Eumenides. Most scholarship hitherto has focused on the shift from retaliatory justice to trial by court of law enacted in the play. However, the verdict pronounced in Orestes’ favor does not bring about resolution, but rather threatens to destabilize the polis, as the Furies redirect their anger against Athens. Indeed, the play can be seen as a study in the limitations of criminal justice. Our article examines the resolution of the conflict in the post-trial phase of the play in the light of principles and practices of modern restorative justice. Such comparison is not intended as arguing for correspondence. Rather, the aim is to understand more fully the dynamics of Athena’s intervention by analyzing it against key elements of restorative justice.
This article considers the social implications of the uncertainty surrounding Oedipus’ identity i... more This article considers the social implications of the uncertainty surrounding Oedipus’ identity in Oedipus Tyrannus. It argues that questions of legitimacy, citizenship, and social status are raised at critical points in the play, and teases out the implications of details whose significance has not been recognized. It interprets Oedipus’ famous speech at 1076–85, in which he declares himself a “child of Tyche,” as a response to the news that he is a foundling; Oedipus acknowledges the stigma attached to those without a proven pedigree at the same time as he seeks to neutralize its effect on public perception.
Production of Anne Carson's Antigonick at Augsburg College, Minneapolis, Minnesota, U.S.A. (Janua... more Production of Anne Carson's Antigonick at Augsburg College, Minneapolis, Minnesota, U.S.A. (January/February 2014). Review includes photos and video clips.
Review of production of The Oresteia, by Aeschylus, translated and adapted by Rob Hardy, directed... more Review of production of The Oresteia, by Aeschylus, translated and adapted by Rob Hardy, directed by Ruth Weiner, Weitz Center for Creativity Theater, Northfield, Minnesota, USA (May 2012)
have been tightened up, perhaps, for example, by placing the analysis of Jachimo and Posthumus im... more have been tightened up, perhaps, for example, by placing the analysis of Jachimo and Posthumus immediately a er the chapter on the Italianate Englishman (especially as it takes 120 pages for the focus to move to Shakespeare speci cally). Overall, however, the book is an innovative, interesting, and worthy addition to recent scholarship on Shakespeare's dramatic engagement with Italian materials, and indeed one that o ers a far broader and richer analysis of English attitudes toward Italy and its political culture in the late sixteenth and early seventeenth centuries than its title leads us to anticipate. J L University of Hull Ian C. Storey. Euripides: Suppliant Women. Duckworth Companions to Greek and Roman Tragedy. London: Duckworth, 2008. Pp. 160. $24.00.
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