The author's inaug.-diss.--Heidelberg, 1921. / Includes bibliographical references and index.

Inaug.-Diss.--Kiel. / Lebenslauf. Includes bibliographical references.

Thesis (Ph. D.)--University of Nebraska. / Vita auctoris. Bibliography: p. 105-106.

No description available.

In this thesis two branches of Euripidean lyric metres are discussed: aeolic and prosodiac-enoplian. A. M. Dale established aeolo-choriambic and prosodiac-enoplian as genera subsuming as species a number of various forms previously treated separately. She also treated both of these under the same name, aeolic. But whether each form should be grouped within these two genera, and whether both genera should be taken as aeolic, still lacked thorough examination. The first task of classification is to collect every parallel of each form. The scope is restricted to Euripidean odes, but Aeshylean and Sophoclean passages are taken into account as much as possible, especially in Part II. Part I treats glyconics and related metres. The decision as to which metre is associated with glyconics relies on basically two criteria: metrical context and similarity of forms. After a survey of the metrical construction of each ode, the general characteristics of aeolic metres, such as aeolic base, are examined with statistics. Then the manner of Euripidean usage is described metre by metre with a list of all examples. Part II is devoted to prosodiac-enoplian. Prosodiac-enoplian is associative with dochmiacs, especially in duets and a certain kind of choral odes, while aeolic (in the narrower sense) is quite alien in these odes. After the classification of predecessors is surveyed, each form which is classified in the genus 'prosodiac-enoplian' by Dale is subdivided from the point of similarity of form. Every occurrence of each form is examined in the Notes. Metrical context is given special attention. The classification adopted here is considerably different from that of Dale, in that it is argued that cola can and should be taken as meaningful units for analysis of tragic metres. The central figures of prosodiac-enoplian are ... [illegible]. The second of these has been overlooked; but parallelism with the first may be observed not only in structure of these and their compounds but also in usage. They are followed by another colon to make a dicolon as well as prolonged by suffix. Unlike the work of Wilamowitz and Schroeder, this thesis refrains from historical speculation. An appendix on the 'choriambic dimeter' and an index of discussed passages is attached.

No description available.

No description available.

This study sets out to reveal the groundbreaking use of monody in the late plays of Euripides: in his hands, it is shaped into a potent and flexible instrument for representing emotion and establishing new narrative and thematic structures. Engaging with the current scholarly debate on music, affect, and characterization in Greek tragedy, I examine the role that monody plays in the musical design of four plays of Euripides, all produced in the last decade of his career: Ion, Iphigenia in Tauris, Phoenician Women, and Orestes. These plays are marked by the increased presence of actors’ song in proportion to choral song. The lyric voice of the individual takes on an unprecedented prominence with far-reaching implications for the structure and impact of each play. The monodies of Euripides are a true dramatic innovation: in addition to creating an effect of heightened emotion, monody is used to develop character and shape plot. In Ion, Iphigenia in Tauris, Phoenician Women, and Orestes, Euripides uncouples monody’s traditional and exclusive connection with lament. In contrast to the work of Aeschylus and Sophocles, where actors’ song is always connected with grief and pain, in these four plays monody conveys varied moods and states of mind. Monody expresses joy, hope, anxiety, bewilderment, accusation, and deliberation. Often, and simultaneously, it moves forward narrative exposition. The scope and dramatic function of monody grows and changes: passages of actors’ lyric become longer, more metrically complex, more detached from the other characters onstage, and more intensely focused on the internal experience of the singer. In the four plays under discussion we see a steadily increasing refinement and expansion of the form, a development that rests upon the changes in the style and function of contemporary music in the late fifth century. By 415 B.C., many formal features of tragedy had become highly conventionalized, and determined a set of expectations in the contemporary audience. Reacting against this tradition, Euripides successively redefines monody: each song takes over a traditional Bauform of tragedy, and builds upon it. The playwright uses the paired monodies of Ion to pose a conflict of ideas that might otherwise be conveyed through an agon. In Iphigenia in Tauris the heroine’s crisis and its resolution are presented in lyrics, rather than as a deliberative rhesis. In Phoenician Women, Antigone, Jocasta, and Oedipus replace the Chorus in lamenting the fall of the royal house. Finally, the Phrygian slave in Orestes sings a monody explicitly marked as a messenger speech that inverts the conventions of the form to raise questions about objectivity and truth in a disordered world. In examining these four plays, I hope to show some of the various potentials of this new Euripidean music as a major structural element in tragic drama, insofar as it can heighten emphasis, allow for the development of emotional states both subtle and extreme, reveal and deepen character, and mirror thematic movements. Euripides establishes monody as a dramatic form of considerable versatility and power. The poetry is charged with increased affect and expressivity; at the same time it articulates a new self-consciousness about the reciprocal capacities of form and content to shape one another. Here we may discern the shift of sensibility in Euripides’ late work, which proceeds pari passu with an apparent loosening of structural demands, or what one with equal justice might recognize as an increase in degrees of freedom. As the playwright repeatedly reconfigures the relationship between form and content, the range of what can happen onstage, of what can be said and sung, expands.

Thesis -- Departmental honors in Classical Civilizations. / Includes bibliography: ℓ. 104-106.

This study explores how in central plays of Euripides – namely, Alcestis, Hippolytus, Helen, and Bacchae – bodies, landscapes, and objects (both seen on stage and described in speeches, dialogues, and choral odes) serve as media for assessing affective states, materializing the characters’ feelings and sensations and hence enabling the audience to vividly perceive them. My focus is grounded in the ancient conceptions of bodies and the senses in material from the Pre-Socratic and the Hippocratic writings, including theories about how the surrounding environment influences bodily types. It is also underpinned by theoretical perspectives that have come to prominence in recent research in ancient literature and culture. First, it draws on insights from phenomenology, aesthetics, and affective theory that in ancient drama highlight embodiment, synaesthesia, and the circulation of affects among characters and spectators. Second, it engages with works inspired by the new materialisms, which have produced a new attention to the mutual and symbiotic relationship between humans and nonhuman entities. Finally, it is based on the “enactive” approach to cognition, which makes a compelling case for visualization (e.g., spectators’ imagination of the things sung, spoken, or narrated) as grounded in the active, embodied structure of experience. Building on such theories, I posit that Euripides’ plays illustrate how the characters’ feelings and emotions combine with sensory indicators (sight, taste, smell, and touch), so that they operate as visible marks of states usually conceived of as inner. These states are, I suggest, exteriorized not only on bodies but also in their surroundings, such that landscapes as mapped onto the dramatic stage and objects with which the characters interact function as supplements to embodied affective manifestations. In addition to onstage action, I focus on how Euripides’ language triggers a strong resonance in the spectators’ imagination. In this regard, my argument takes up the insights of ancient critics such as Longinus, who has praised Euripides’ ability to generate “emotion” (τὸ παθητικόν) and “excitement” (τὸ συγκεκινημένον) in the audience through “visualization” (φαντασία) and “vividness” (ἐνάργεια). Thus, I examine how references to onstage performance and visualizing language interact, giving the spectators a full picture of the dramatic action. In Alcestis, I explore how embodiment, sensorial phenomena, and physical interactions put the characters’ feelings of pain and grief on prominent display, eliciting the audience’s sensory reaction. In Hippolytus, I examine how the characters’ emotions blend into the surroundings, such that forms, colors, and textures of landscape and objects allow the spectators to perceive inner states more forcefully. In Helen, I investigate how material and nonhuman things, such as rivers, plants, costumes, weapons, statues, ships connect to the characters as parts of an affective entanglement that heightens the experiential appeal of the characters’ feelings and sensations. In the Bacchae, I regard Dionysus’ action as an affective force that spreads throughout the world of the play, cracks, and mutates things, including human and animal bodies, natural elements, and objects. This action creates an enmeshment between things, which is embodied by the thyrsus topped with Pentheus’ head (mask) that gives the spectators a keen sense of the multiple, productive, and transformative nature of Dionysus’ power. In conclusion, this study argues that bodies, landscapes, and objects represent the privileged sites for exploring the affective exchange between the characters and the audience, refining our understanding of the intensity, impact, and reception of the Euripidean theater.