No description available.

Thesis (Ph. D.)--University of Iowa, 1938. / Published also without thesis note. Bibliography: p. 219-226.

Thesis (Ph. D.)--University of Chicago. / Published also under title: The rule of three actors in the classical Greek drama.

Thesis (doctoral)--University of Göttingen. / Vita. Includes bibliographical references and index.

Diss.--Münster, 1973. / Bibliography: p. iv-v.

La Phèdre de Sénèque au regard de la tradition antithétique : personnages, espace, temps. / Seneca's Phaedra as a complex system of antithesis. / La Phaedra di Seneca all'incrocio di tradizioni antitetiche : antitesi spaziali, "naturam sequere" e vita contro natura, conflitto parentale, parola e silenzio.

Inaug.-Diss.--Halle. / Lebenslauf. "Literatur": p. [ix]-xvii.

Inaug.-Diss.--Halle. / Lebenslauf. "Literatur": p. [ix]-xvii.

The aim of this study is to demonstrate the destructive effects of infidelity in the old-aged husband-the young wife marriages which end up with tragedy. In John Ford&rsquo / s Love&rsquo / s Sacrifice (1633) and Lope de Vega&rsquo / s Punishment Without Revenge (1631), tragedy turns out to be the inevitable consequence of the plays since the motives of jealousy, honour, revenge and love converge and lead people to commit sinful crimes. Within this scope, the first chapter of the thesis is devoted to the historical information about the state of English and Spanish theatres together with the biographies of the playwrights. In the second chapter, the tripartite relationship between jealousy, revenge, and honour is dealt with based upon examples from the primary sources in a historical framework. The reasons and results of these themes are studied through the characters in the plays. The third chapter covers the theme of love, its history and its influence on characters. In this chapter, the nature of love between the characters and its consequences are examined. The conclusion asserts that the old-aged husband and the young wife create a mismatched union and accompanied with the motives of honour, jealousy and revenge, the institution of marriage breeds tragic consequences. The analysis of the above mentioned themes is based on a historical context and it is also concluded that although Love&rsquo / s Sacrifice (1633) and Punishment Without Revenge (1631) belong to the Renaissance age, both plays bear the influences of the Greco-Roman drama tradition. Thus, the similarities and differences between classical and Renaissance tragedy are demonstrated.

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.