Now showing 1 - 10 of 18
  • Publication
    Brian Friel's Greek tragedy : narrative, drama, and fate in Living Quarters
    (Irish University Review, 2000)
    This article examines the use made in Brian Friel's play Living Quarters (1977) of Greek tragedy, and in particular of Euripides' Hippolytus (428 B.C.). The article discusses the character Sir in detail, and examines how Friel uses him to reimagine the Greek concept of fate and made it convincing in contemporary terms.
      815
  • Publication
    Time in Euripides
    This chapter is a narratological study of time in Euripides.
      465
  • Publication
    The politeness of Achilles : off-record conversation strategies in Homer and the meaning of kertomia
    (The Society for the Promotion of Hellenic Studies, 2004)
    This article examines social interaction in Homer in the light of modern conversation analysis, especially Grice's theory of conversational implicature. Some notoriously problematic utterances are explained in terms of their 'off-record' significance. One particular off-record conversation strategy is characterized by Homer as kertomia, and this is discussed in detail. The article focusses on social problems at the end of Achilles' meeting with Priam in Iliad XXIV, and in particular on the much-discussed word epikertomeon (24.649).
      1921
  • Publication
    Review: Hall, E. Adventures with Iphigenia in Tauris: A Cultural History of Euripides' Black Sea Tragedy. New York: Oxford University Press, 2013
    (Cambridge University Press, 2014)
    Edith Hall argues that Euripides’ Iphigenia in Tauris (IT) is ‘one of the most culturally influential of all ancient Greek texts’ (297). She devotes almost half the book to the play’s reception in antiquity, showing how ‘studies that focus primarily on the post-Renaissance reception of an individual Greek tragedy too often ignore the variant readings and intertexts that emanated from antiquity’ (3). She gives an imaginative account of why the story was popular in 4th-C. vase painting, looks at its impact on popular escape narratives, and offers a wide-ranging discussion of Greek mime in 2nd-C. A.D. Egypt. She follows Fritz Graf in discussing how ‘the myth which Euripides had popularized’ (136) accounted for cults of Artemis in various places, including the sanctuary of Diana Nemorensis near Aricia.
      379
  • Publication
    Sophocles
    The introduction to this volume has a section on cognitive narratology which is very helpful for the study of character and characterization in Sophocles. This chapter will accordingly begin with an examination of the relevant schemas available to Sophocles and his audience, followed by a discussion of how the schemas are modified by ‘bottom-up’ processing in the earlier parts of the plays. The chapter will then investigate the various textual techniques used by Sophocles to construct character throughout the plays. This will include discussion of the question ‘who characterizes?’. There will inevitably be a certain amount of overlap between these two sections, but it seems worthwhile to give particular attention to the presentation of characters in the earlier parts of the plays in view of the importance of the effect of ‘primacy’ discussed in the introduction. Finally, the chapter will address the nature of character in Sophocles, with attention to such issues as the long-term stability of traits attributed to characters and the question of character development.
      398
  • Publication
    Review: 'Entering the Agon: Dissent and Authority in Homer, Historiography and Tragedy' by Barker, E. Oxford University Press, Oxford
    (University of Dublin, 2009-08)
    This is a review of Elton T. E. Barker, Entering the Agon: Dissent and Authority in Homer, Historiography and Tragedy (Oxford: Oxford Unversity Press, 2009).
      171
  • Publication
    Positive politeness and mock politeness in Homer
    (Edizioni Quasar, 2021)
    English abstract: This article discusses the phrase ἀγαθός περ ἐών which occurs five times in Homer's Iliad (1. 131, 1. 275, 15. 185, 19. 155, and, in the dative, 24. 53). It argues that it is positively polite (in the terminology of Brown and Levinson 1987) in all five cases. It distinguishes between positive politeness and ‘internal verbal mismatch’, and argues that relatively perfunctory politeness may be acceptable in formal adversarial contexts in which disagreement and criticism are sanctioned. Mock politeness in Homer is more often a case of ‘external’ mismatch, whereby “the context projected by a behaviour mismatches the context of use” (Culpeper 2011: 155). Two examples from the Odyssey are discussed, which reinforce Culpeper’s explanation of how mock politeness achieves its effect. Italian absract: Questo articolo discute l’espressione  ἀγαθός περ ἐών che ricorre cinque volte nell’Iliade (1. 131, 1. 275, 15. 185, 19. 155, e, al dativo, 24. 53) e sostiene che essa esprime positive politeness (nella terminologia di Brown - Levinson 1987) in tutti e cinque i casi. Il contributo distingue tra positive politeness e internal verbal mismatch, e cerca di mostrare come una politeness relativamente “superficiale” può essere accettabile in contesti formali agonistici nei quali sono ammesse espressioni di disaccordo e di critica. In Omero la mock politeness è più spesso un caso di external mismatch, in cui “il contesto evocato da un comportamento produce una discrepanza rispetto al contesto d’uso” (Culpeper 2011, p. 155). Vengono discussi due esempi tratti dall’Odissea, che supportano la spiegazione proposta da Culpeper sul modo in cui la mock politeness ottiene il suo effetto.
      10
  • Publication
    Potere e Politeness in Aristofane
    This paper discussed the relationship between power and politeness in Aristophanes, with particular reference to Acharnians and Clouds. It argued that Aristophanes' heroes behave politely in the earlier parts of his plays when they have less power, but express their greater power at the end by behaving impolitely.
      8
  • Publication
    Divine and human action in Euripides' Ion
    (de Gruyter, 1986)
    This article argues that the ending of Euripides' play Ion is the result of an interaction between the plan of the god Apollo and the reactions of the human characters Creusa and Ion, and that the result is better than it would have been if Apollo's plan had gone smoothly.
      1028Scopus© Citations 2
  • Publication
    Space in Euripides
    This is the chapter on Euripides in a volume which discusses space in Greek literature from the point of view of narratology.
      789