<p> A particular range of sounds express the presence and power of the god Dionysos. &Bgr;&rhov;&oacute;&mu;&iota;o&sigmav;, an epithet almost exclusively applied to Dionysos, especially connotes powerful sounds from the natural world, frenetic sounds, and sounds construed as foreign. The kind of noise conveyed by the name &Bgr;&rhov;&oacute;&mu;&iota;o&sigmav; is created in the ecstatic worship of Dionysos, generating an aurally-defined mobile and temporary Dionysiac space that blurs boundaries and infringes upon other types of spaces. Dionysiac sound conveys the vitality associated with Dionysos and provides a mechanism for his epiphany.</p><p> Accounting for Dionysos&rsquo; relationship with sound allows for new readings of <i>Bacchae</i> and <i>Frogs.</i> The aural aspects of Bacchae provide a counterpoint to its rich visual imagery. Pentheus threatens to silence Dionysos and remains oblivious to the importance of sound in Dionysiac worship. When he dresses as a maenad, he assumes only the visual aspects of the cult. Pentheus&rsquo; screams are incorporated into the Dionysiac soundscape before he dies, silenced forever. Aristophanes&rsquo; <i> Frogs</i> subverts the usual relationship between Dionysos and sound in a way that emphasizes the comical stereotype of the god as weak and incompetent. In particular, both choruses present Dionysiac sound to an oblivious Dionysos. He is irritated by the frogs and enthralled by the initiates.</p>

<p> The Orphic myth in the <i>Pseudo-Clementines</i> has attracted the attention of scholars attempting to decipher the evolution of the myth. Between the two versions of the <i>Pseudo-Clementines</i>, the <i> Klementia</i> (also known as the <i>Homilies</i>) and the <i> Recognition</i>, the majority of scholars have determined that the <i> Homilies</i> preserve the oldest version of the myth and reflect the <i> Basic Writer</i>'s presentation. The predominant problem with this assertion is that it neglects to address the lack of a detailed comparative analysis of both texts.</p><p> The textual method used in this study will involve a comparison of parallel sections of the <i>Homilies</i> and the <i>Recognition</i>. The aim is to identify the more redacted version as the secondary text and the common material as reflective of the outline of the <i>Basic Writer </i>. Moreover, those findings will be compared to other versions of the myth. This analysis will demonstrate that, in the Orphic material, the <i> Recognition</i> preserves the older version of the <i>Pseudo-Clementines </i> and also reflects the original presentation by the <i>Basic Writer</i>.</p>

<p> In this dissertation, I explore the intertextual dialogue between two fifth century Attic playwrights, the comedian Aristophanes and the tragedian Euripides, and the influence that each had on the development of the other's characteristic style, or 'brand' (&chi;&alpha;&rho;&alpha;&kappa;&tau;&eta;&rho;). Scholarship on the two playwrights has tended to focus almost exclusively on the transgression of generic boundaries. But studies of paratragedy and parody in Aristophanic comedy and comic elements in late Euripidean tragedy fail to take into consideration the fact that in addition to appropriating material widely across genres, Aristophanes and Euripides also seem to have shared a specific mutual interest in each other's work. I propose a refinement to the traditional model and argue that the two playwrights mutually drew inspiration from each other's differing interpretations of similar themes and motifs. </p><p> Over the period of two decades, the comedian and the tragedian gradually expanded a common repertoire from which they responsively developed variations on the same themes. Each sequence of variations on a theme begins with an Aristophanic running gag mocking a recurring tendency in Euripides' tragedies. Euripides tended to respond to Aristophanes' variations on his themes by embracing and continuing to employ the tropes that Aristophanes had singled out as being characteristically Euripidean. My study focuses primarily on Aristophanes' <i>Acharnians</i> and <i>Thesmophoriazusae </i> and Euripides' <i>Helen</i> and <i>Bacchae</i>. I argue that this exploration of shared thematic material was for both Aristophanes and Euripides an endeavor that was especially productive of their unique brands. </p>

xiii, 136 p. : ill. (some col.) / The Demosion Sema ["Public Tomb"] was an area of the Kerameikos in Athens that in the 5th and 4th centuries BCE functioned as the state burial ground--the repository of mass graves for those who had lost their lives in war. In an annual ritual known as the patrios nomos ["the ancestral custom"], the war-dead were eulogized and publicly mourned. Their mass graves [ polyandria ] were regularly marked by marble monuments with reliefs of soldiers in combat, under which the names of the dead were listed according to their tribe, but without demotic or patronymic information. This thesis explores the various aspects of the patrios nomos and the iconography of the funerary monuments of the state burial ground. By analyzing features of the ritual, such as the attendant funeral orations ( epitaphios logos ), and aspects of the imagery found in the polyandria , we are able to learn not only about the function of the Demosion Sema within the Athenian polis but also how Athenians mourned and remembered their war-dead within the context of a democratic ideology. / Committee in charge: Jeffrey M. Hurwit, Chairperson; James Harper, Member; Christopher Eckerman, Member

This thesis analyzes the narratological structure of the Life of Aaron, a hagiographical text from Late Antique Egypt. Such an analysis has not yet been performed on this text, and the method is still rarely applied to hagiographical literature. In the short term, I intend for this thesis to expose the complex yet consistent structure of this fascinating text. In the long term, I see this thesis as part of a broader movement to incorporate Coptology into the mainstream study of Late Antique literature. My general introduction discusses the Life of Aaron, its manuscript and archaeological evidence, and the state of scholarship on it. Following this, my first chapter compares the text to five significant Late Antique hagiographical works from Egypt: the Life of Antony, the Life of Pachomius, the Historia Monachorum in Aegypto, the Life of Onnophrius, and the Life of Shenoute. My second chapter surveys the ancient (Aristotelian) and modern (structuralist) narratological methods employed in this thesis. Finally, my third chapter contrasts the Life of Aaron’s literal structure with its underlying chronology - what narratologists call the fabula - and exposes the story’s narrator hierarchy. An epilogue then proposes avenues for future research, and the thesis closes with two short appendix graphs which summarize my analysis.

The life and career of the remarkable Russian poet, Marina Tsvetaeva (1892-1941) offers a paradigm for the modern woman writer. Despite the great number of women associated with Western Modernism, the Modernist canon is striking for the paucity of its women representatives. This thesis hopes to redress that situation, starting with a new reading of Tsvetaeva's epic poem of the Russian Civil War, Perekop (1928-1929). Perekop is the culmination of Tsvetaeva's verse experimentation with her culture's received constructs of gender and genre and it is the work in which she realizes the voice of an anonymous female bard. The failure of this poem to attract critical recognition parallels the experience of comparably innovative work among Tsvetaeva's female contemporaries. Tsvetaeva's work, in verse and prose, is a de facto manifesto of a female poetics. Deciphering the terms of this female modernist poetics provides a critical discourse in which to appreciate the comparably innovative and de-valued work of other modernist women writers. My thesis first outlines the cultural obstacles to Tsvetaeva's epic ambition, then explicates the strategies by which she accomplishes it. Through her re-writing of the gender-linked metaphors of Western poetics, Tsvetaeva creates the modern female bard. The trajectory of my analysis is determined by the unifying system of lyric tropes I extract from both prose and verse. This series of tropes is then located in Tsvetaeva's appropriation of western ideas, ranging from the practice of Homer, Herodotus, Hesiod and Heraclitus through the theories of the German Romantics and Nietzsche to the practice of the Russian poets Aleksandr Pushkin and Boris Pasternak. My analysis culminates in the exploration of the medieval Russian text Slovo o polku Igoreve as the unifying sub-text of Tsvetaeva's Perekop.

No description available.

No description available.

No description available.

No description available.