The study of old age in the humanities has developed significantly in the last few decades, but there is still much scope for progress. This thesis, therefore, seeks to contribute to the growing academic discourse in this area by considering ageing as it is represented in ancient Greek theatre. At the same time, it seeks to take its place within Classical Studies by developing new readings of the plays. To develop a context for its analysis, this study begins with consideration of the contemporary demographics, social position, and stage portrayal of old age, and following this dedicates a chapter to each of the four surviving fifth century dramatists. In Aiskhylos’ Agamemnon, old age emerges as a crucial element in choral self-identity, and an important component of the authority that they display. Following this, the thesis considers the chorus of Euripides’ Herakles, in particular its use of metadramatic language, and the impact this has on plot-development and the representation of their age. The next chapter, on Oidipous Koloneus, shifts to consideration of the protagonist. The old age of Oidipous emerges as a powerful driver of his mental and spiritual power, and forms a striking background to the exploration of his character. The final chapter of the thesis examines how mechanisms of renewal that old men undergo in Aristophanes’ comedies (Knights, Akharnians, Peace, Wasps, Birds) differ across the dramas, and the impact this difference has on their interpretations. Such reassessments of ancient dramatic texts through the lens of old age can provide significant insight into the complexity of old men’s characterisations and of their involvement in the dramas. At the same time (from a gerontological perspective), this thesis’ analysis contributes to the developing discussion of the history of ageing, and highlights the differences between the ancient and modern worlds in this respect.

Thesis (Ph. D.)--University of Michigan, [1918] / Also available in digital form on the Internet Archive Web site.

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Thesis (Ph. D.)--University of Michigan, (1918).

Thesis (Ph. D.)--University of Michigan, (1918).

Dans l’Antiquité, en Grèce, la tragédie joue un rôle important dans la vie des Grecs. Il y avait des concours tragiques pendant des fêtes religieuses ; surtout, pendant les Grandes Dionysies, avait lieu le concours tragique le plus important. Beaucoup de dramaturges y participaient et trois grands tragiques ont émergé, dont Eschyle a été le premier dramaturge illustre et connu. Il s’inspirait des sources mythiques et des légendes antiques. Il posait les questions et présentait sur scène les problèmes que les Athéniens rencontraient. Il faisait réfléchir les citoyens athéniens par ses tragédies. Il a introduit de nombreux personnages féminins dans l’espace théâtral et leur a accordé des rôles importants. Cela ne correspondait pas à la situation réelle des femmes grecques de cette période-là. Les femmes grecques devaient rester toujours dans le gynécée, s’occuper des affaires à l’intérieur de la maison, être en charge du filage et du tissage, rester toujours silencieuses sans se mêler des affaires politiques et donner naissance aux enfants pour assurer le renouvellement des générations. En revanche, les figures féminines du monde créé par Eschyle quittent leur gynécée, voyagent, s’exposent devant le public, s’expriment à haute-voix, se mêlent des affaires politiques, refusent le mariage et la maternité ou montrent peu d’amour maternel envers leurs enfants. Mais pourquoi le dramaturge se décide-t-il à mettre sur scène de si nombreuses figures féminines qui ont un rôle important ? D’abord, il ne faut pas oublier que les personnages féminins sont joués par les acteurs masculins et que les chœurs féminins sont constitués de choreutes masculins ; par conséquent, les figures féminines sont créées par le dramaturge Eschyle. Il y a plusieurs raisons : la beauté scénique qui séduit l’attention de l’auditoire ; la nature de femme qui est à l’origine des maux humains et son irrationalité qui pousse le développement tragique ; et la faiblesse féminine qui entraîne le manque de contrôle et de maîtrise de soi et qui rend les figures féminines aptes à jouer le rôle que les personnages masculins ont du mal à interpréter. / In ancient Greece, the tragedy plays an important role in the lives of Greeks. There were tragic contests during the religious holidays. During the Great Dionysia, there was the most important tragedy contest. Many playwrights participated in it and there emerged three great tragedians, the first playwright, Aeschylus included. He was inspired by the mythical sources and ancient legends. He showed the problems met by the Athenians on stage through mythical characters. His tragedies made the Athenians think about the problems. He showed many female roles in theatrical space and put them in an important place, which didn't correspond to the real situation of the Greek women in that period. These Greek women had to remain still in the harem, take care of household affairs, charge the spinning and the weaving, always remain silent without meddling in political affairs and give birth to children for the family. In contrast, the female figures in the world created by Aeschylus leave their harem, travel, expose themselves to the public, express themselves loudly, get involved political affairs, refuse marriage and show little maternal love towards their children. But why the playwright decides to make the many female figures on stage play the important roles? First, we need to notice that the female characters are played by male actors and that the female choirs consist of male choruses, therefore, the female figures are created by the playwright Aeschylus. There are several reasons for this : the beauty in the scene attracted the attention of the audience; woman is the source of human evil ; irrationality of women drives the development of the tragedy ; and the weakness of women decides their lack of self-control and make them more suitable to play the roles that male characters struggle to interpret.

The purpose of this project was to observe and analyze Takis Muzenidis' methods of casting, rehearsal procedures and philosophy of directing as illustrated.in his production of The Libation Bearers at North Texas State University. Chapter I is an introduction to Muzenidis' background, qualifications and purpose for being at North Texas. Chapter II is a subjective description of Muzenidis' methods of casting, style of directing and relationship with the cast and crew. Chapter III discusses problems that occurred in the production. Chapter IV examines the production results through an audience analysis and interviews with the cast and crew. Chapter V is a summary of the thesis with a personal evaluation of the production and the director.

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Le Dictionnaire des hapax dans la poésie grecque archaïque, d'Homère à Eschyle vise à inventorier les hapax absolus (mots uniques) de la poésie archaïque. Chaque entrée du dictionnaire offre une traduction du lemme, son analyse morphologique et lexicale ainsi que sa situation en contexte, pour expliquer son sémantisme et son étiologie. Des remarques métriques viennent compléter ces explications. Ce dictionnaire peut servir de référence ouverte à tous ceux qui s’intéressent à la création lexicale de près ou de loin, à la fois pour des travaux stylistiques et métriques, mais aussi des travaux de traduction, de papyrologie ou d’épigraphie. Il représente un outil précieux pour favoriser la recherche sur la création lexicale pour tous les linguistes. Il peut être utile aux spécialistes de littérature dans toutes les langues car il constitue une base de travail pour une véritable réflexion sur la création poétique. Un volume de commentaire au dictionnaire, Hapax legomena dans la poésie archaïque, offre une définition précise et une réflexion sur la notion d’hapax absolu, une analyse des caractéristiques majeures de la création deshapax chez les auteurs archaïques, un inventaire thématique des principaux morphèmes préfixaux et suffixaux mais aussi des lexèmes les plus récurrents en composition. Enfin, la question de la réception des hapax en synchronie, par les spectateurs ou auditeurs anciens mais aussi par les scholiastes et lexicographes, comme en diachronie, à cause des difficultés d’interprétation de certaines leçons dans les manuscrits, est traitée. / The Dictionary of hapax legomena in early Greek poetry, from Homer to Aeschylus, aims to inventory the absolute hapax unique words) in archaic poetry. Each entry in the dictionary offers a translation of the lemma, its morphological and lexical analysis as well as its situation in context, to explain its semantics and etiology. Metric remarks complete these explanations. This dictionary can serve as an open reference for all those interested in lexical creation from near and far, both for stylistic and metrical work, but also works of translation, papyrology or epigraphy. It is a valuable tool for promoting lexical creation research for all linguists. It can be useful to literary specialists in all languages as it provides a basis for a real reflection on poetic creation. A volume of commentary on the dictionary, Hapax legomena in early poetry, offers a precise definition and a reflection about the notion of absolute hapax, an analysis of the major features of hapax creation in archaic authors, a thematic inventory of the main prefix and suffixal morphemes, but also the most recurrent lexemes in composition. Finally, the question of the reception of the hapax is treated, first in synchrony, by the spectators or listeners but also by scholiasts and lexicographers, then in diachronic, because of the difficulties of interpretation of some lessons in the manuscripts.

Breast-baring occurs in fifth century Attic tragedy in a variety of situations, but almost always within a mournful context. Many connotations of the naked breast—vulnerability, womanhood, motherhood, and voluntary humiliation—can be evoked. Breast-baring can be a precursor of the death of the woman who exposes herself or of the death of the person to whom she makes the gesture. The most commonly represented context is the supplication of a son by a mother, a topos which finds its origin in Hecuba’s supplication of Hector (Il. 22.79-89). As a consistent failure, breast-baring during supplication reinforces the idea, commonly held in the society of the time, that female power is inferior to male power. The motivations for the gesture will be examined both within the respective literary contexts and within the society of the period. / Classics and World Languages / MA (Classical Studies)