This quantity brings jointly archeologists, paintings historians, philologists, literary students, political scientists and historians to articulate the ways that western Greek theater used to be detailed 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 few shared questions and topics: 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 vital difficulties within the research of western Greek theater. by means of amassing a number views and strategies, this quantity bargains the 1st wide-ranging exam of this hitherto ignored heritage.
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Additional resources for Theater outside Athens: Drama in Greek Sicily and South Italy
Wv çidinì e˼mein taÓta kaª to±v dexiwtroiv ˻meÓ[v. (B. ) –k–]mªn doke±te pgcu kaª kat tr»p˻on kaª oik˼»twv peÅxasqì, a tiv nqume±n g[a l i. (Od. ) –k–]gì ßfeilon nqn Õsper kels[–k– –k–]t. wn gaqikän kak protimsai q[k– –k k©n]dunon telssai kaª klov qe±on l. [abe±n –k–]n molÜn v stu, pnta dì eÔ safa[nwv puq»me]nov d©oiv tì %caio±v paid© tì %trov f©[lwi y pag]g. e©lai t thne± kaÉt¼v skhqv . [ ] é ê ©. n. [ ––––– 21 Kassel and Austin (2001) 60, after the 1st versions through Gomperz (1889) and Lobel (1959) respectively. Downloaded from Cambridge Books on-line by way of IP 128. 122. 149. 154 on Fri Nov 15 19:10:37 rainy 2013. http://dx. doi. org/10. 1017/CBO9781139032377. 005 Cambridge Books on-line © Cambridge collage Press, 2013 10 15 sixty three 64 andreas willi (Od. ) ‘. . . this roaming . . . simply as . . . encountering . . . i may conveniently do that or the other factor, yet I see – why are you hurting me, you idiot!? – the Achaeans are shut in order that i'm so much unlucky. ’ (B. ) ‘Yes, certainly you're a villain! ’ (Od. ) ‘For I would/should I now not go back fast, to be thrashed like this can be undesirable. i'm going to move right here and take a seat and say that this stuff are effortless even should you are extra capable than i'm. ’ (B. ) ‘It turns out to me that you've got prayed greatly in personality and as is commonplace of you, come to think about it! ’ (Od. ) ‘Would that I had long past the place they instructed me to head . . . [not] most well liked the undesirable to the nice . . . run the danger and received divine glory . . . going into town and, researching every thing basically, mentioned the issues there again to the elegant Achaeans and the precious son of Atreus and, being unhurt myself . . . ’ In view of the kingdom of the textual content and the problems of interpretation concerned, the interpretation simply given is simply initial. with the intention to comprehend the composition, we needs to familiarise ourselves one after the other with its components. In line 1, point out is made up of a plnov, a ‘roaming’. even supposing the Oxyrhynchus observation preserves purely the 1st letters of the observe itself, the complement in all fairness convinced because the lemma is for this reason glossed by way of the commentator with the synonym plnh and with fluar©a ‘nonsense’ (Epich. fr. ninety eight. 28); so plnov should have been used metaphorically. In line 2, a person talks approximately an come across (suntucÛn), however it is just from line three onwards that issues turn into clearer. The speaker says, utilizing the optative, ‘I may well with ease do that or the other factor (£ Âti)’, yet then he interrupts himself including ‘but I see: the Achaeans are shut in order that i'm such a lot unlucky (ponhr»tatov)’. In among there's an exclamation t©, ÝizÅrì, ni iv ‘why are you hurting me, you idiot!? ’, a parenthetical comment in line with the Oxyrhynchus commentator (Epich. fr. ninety eight. 32: di msou22 ). additionally, the observation notes that line five is a quick rejoinder by means of a moment speaker B whose ironic ‘Yes, certainly you're ponhr»v! ’ echoes the note ponhr»tatov utilized by A yet this time employs it in its pejorative feel ‘you are quite a villain! ’. Then speaker A resumes back and talks approximately ‘returning quick’ (mpal©n cì nÅsaimi) and approximately ‘being thrashed’ (loi sqai).