This quantity brings jointly archeologists, paintings historians, philologists, literary students, political scientists and historians to articulate the ways that western Greek theater was once unique from that of the Greek mainland and, while, to enquire how the 2 traditions interacted. The papers intersect and construct on one another of their pursuit of a couple of shared questions and issues: where of theater within the cultural lifetime of Sicilian and South Italian 'colonial cities;' theater as a style of cultural self-identification; shared mythological subject matters in functionality texts and theatrical vase-painting; and the mirrored image and research of Sicilian and South Italian theater within the paintings of Athenian philosophers and playwrights. jointly, the essays discover critical difficulties within the learn of western Greek theater. via amassing a number views and techniques, this quantity deals the 1st wide-ranging exam of this hitherto overlooked heritage.
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Extra resources for Theater outside Athens: Drama in Greek Sicily and South Italy
Ahrens (1843) 267, with complete dialogue; notice the Doric identical of Att. ke±nov, i. e. ok nov, in Epich. fr. 88. 2 and [Epich. ] fr. 276. 6. For the translation it really is beside the point no matter if a niche of 4 strains is to be posited among strains 10 and eleven, as steered through the marginal scholion on Epich. fr. ninety seven (cf. Blass (1889) 260, Barigazzi (1955) 125–6). at the targeted which means of gaqik see now Cassio (2002) 81–2, after Gomperz (1889) eight (‘virtuous conduct’, no longer ‘comfort’; cf. Phot. s. v. gaqik = AB 1. 324. 7 = Suda a 113: gaqiká t spouda±a). Blass (1889) 261, supplementations in traces 11–12 aqì gÛn] gì ßfeilon nqn Õsper kels[ant» me, e²ta m ti] tän gaqikän kak protimsai ktl. Downloaded from Cambridge Books on-line by means of IP 128. 122. 149. 154 on Fri Nov 15 19:10:42 rainy 2013. http://dx. doi. org/10. 1017/CBO9781139032377. 005 Cambridge Books on-line © Cambridge college Press, 2013 Challenging authority: Epicharmus, epic, rhetoric at the beginning, all of this turns out to contradict a well-established communis opinio: that Epicharmus dependent his plot at the episode of the spying venture with which Odysseus is entrusted in response to Iliad 1041 and, with a few divergences, in keeping with Odyssey four (lines 242–58) and the Little Iliad of the epic cycle. Proclus’ precis of the cyclical model informs us that Odysseus beat himself up on the way to make his personal visual appeal much less heroic and seem like a extra believable deserter. forty two Ever because the 19th century43 interpreters have taken it without any consideration that the Epicharmian identify ìOdusseÆv aÉt»molov needs to element to an identical story-line: Odysseus as a secret agent and fictitious deserter. even if, there isn't the slightest aid for this kind of concept. Any unprejudiced reader may still really finish from the identify because it stands that Odysseus quite abandoned. forty four after we settle for this, every little thing unexpectedly falls into position. As in Iliad 10 the choice of Agamemnon and the Greek commanders to ship Odysseus to Troy as a undercover agent should have been the place to begin of the plot. Odysseus refers to this choice whilst he says, in line eleven, ßfeilon nqn Õsper kelsant» me ‘would that I had long gone the place they instructed me to go’. rather than performing therefore, besides the fact that, he most well liked the motion of a coward (gaqikän kak protimsai) and have become a deserter: a real aÉt»molov, no longer a fictitious one. most likely Agamemnon had advised him to overcome himself up with the intention to execute the venture extra convincingly, ‘having disfigured himself’ (a«kismenov aut»n) as Proclus has it in his precis of the Little Iliad. Understandably, Odysseus had disliked this concept simply up to the damaging plan in its entirety, yet now that he's being crushed not only ‘for the sake of appearance’, yet for actual, the Oxyrhynchus commentator properly contrasts the observe oÌtwv in line 6 with an imaginary prospoitwv loi sqai. forty-one forty two forty three forty four Cassio (2002) seventy nine, highlights a number of verbal parallels among Epich. fr. ninety seven. 13–16 and Il. 10. 204–13 (e. g. pnta puq»menov ∼ pnta pÅqoito, y pagge©lai ∼ y lqoi, skhqv ∼ skhqv and so on. ). Procl.