Ann N Michelini
Datos Biográficos
| ID | 998118 |
|---|---|
| NOMBRE | Ann N Michelini |
| NOMBRES | Ann N |
| APELLIDO | Michelini |
| FIRMA | MICHELINI A N |
| AFILIACIONES | University of Cincinnati |
| VERIFICADO | No |
| TOTAL DE OBRAS | 29 |
| TOTAL DE CITAS | 27 |
| TOTAL COMO AUTOR | 29 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1971 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2003 |
| ÍNDICE H | 3 |
Plato’s Socratic Mask
Plato
The Unity of Plato's Sophist
Plato's later dialogue, the Sophist, is deemed one of the greatest works in the history of philosophy, but scholars have been shy of confronting the central problem of the dialogue. For Plato, defining the sophist is the basic philosophical problem: any inquirer must face the 'sophist within us' in order to secure the very possibility of dialogue, and of philosophy, against sophistic counterattack. Examining the connection between the large and d…
Socrates Plays the Buffoon
American Journal of Philology - Volume 121, Number 4 (Whole Number 484), Winter 2000
Πολλη Αγροικια
Aeschylus
In and out of Mind
The Textual Tradition of Euripides' Orestes
Conspectus Siglorum preliminaries the manuscripts the veteres the papyri testimonia colometry conjectures in the medieval tradition truth preserved in a minority
The Maze of the Logos
In Euripides' Suppliants as one commentator remarks, ‘the play consists of talk’. Much of the talk is about ideas, which weave a tantalizing and complex intellectual dance through the debates of the central figures. The tone is set by the first debate, between the suppliant Adrastus and the young Theseus. The former makes a plea in terms that he himself seems to characterize as inadequate, while the latter rejects the suppliant with a bravura spe…
Aeschylus' Oresteia
Traditionally, books on Greek tragedy tend to fall into two classes: scholarly editions with commentaries on textual, linguistic, and detailed interpretive points, and literary-critical studies which sometimes include summary treatments of questions involving a detailed study of the texts. Classics specialists tend, for obvious reasons, to concentrate on the former. Readers of translations have, of necessity, been limited to the latter kind of ai…
Greek Tragedy and Its Legacy
The Unclassical as Classic
In tracing the history of scholarship on the Greek tragedian Euripides (see Michelini, 1987), I became increasingly convinced that the prevailing views on Euripides have remained essentially unchanged since the end of the eighteenth century. It is my thesis that the Euripidean problem had its point of origin in the initial self-definition of modern studies and of modern classicism. T. J. Reiss (1982: 96-97) has suggested that there are crucial mo…
Euripides
Dionysiac Poetics and Euripides' Bacchae
In his play Bacchae, Euripides chooses as his central figure the god who crosses the boundaries among god, man, and beast, between reality and imagination, and between art and madness. In so doing, he explores what in tragedy is able to reach beyond the social, ritual, and historical context from which tragedy itself rises. Charles Segal's reading of Euripides' Bacchae builds gradually from concrete details of cult, setting, and imagery to the wo…
Archaic Elements in the Persians
Bibliography of Works Most Frequently Cited
The Rheseis
Major Themes in Lineverse and Lyric
Trochaic Tetrameter
Appendix, Plautus, Captivi
Paratactic Style in Drama
General Index
Preliminary Material
Dramatic Art in the Persians
References to Aeschylean Plays
Tradition and Dramatic Form in the Persians of Aeschylus
Aeschylus' Oresteia
Traditionally, books on Greek tragedy tend to fall into two classes: scholarly editions with commentaries on textual, linguistic, and detailed interpretive points, and literary-critical studies which sometimes include summary treatments of questions involving a detailed study of the texts. Classics specialists tend, for obvious reasons, to concentrate on the former. Readers of translations have, of necessity, been limited to the latter kind of ai…
In and out of Mind
Il tetrametro giambico catalettico nella commedia greca
Greek Tragedy and Its Legacy
The Unclassical as Classic
In tracing the history of scholarship on the Greek tragedian Euripides (see Michelini, 1987), I became increasingly convinced that the prevailing views on Euripides have remained essentially unchanged since the end of the eighteenth century. It is my thesis that the Euripidean problem had its point of origin in the initial self-definition of modern studies and of modern classicism. T. J. Reiss (1982: 96-97) has suggested that there are crucial mo…
Il tetrametro giambico catalettico nella commedia greca
Characters and Character Change in Aeschylus
While it is widely agreed that psychological realism is not a primary objective of Aeschylean dramaturgy, it remains somewhat uncertain whether any psychological interpretation can be valid for this sort of drama. Do Aeschylean stage figures possess ‘dramatic character’ at all? The answer probably depends upon a definition of ‘character’. Even in recent years, some critics have continued to assume that psychological analysis will not work at all …
Archaic Elements in the Persians
Bibliography of Works Most Frequently Cited
The Rheseis
Major Themes in Lineverse and Lyric
Trochaic Tetrameter
Appendix, Plautus, Captivi
Paratactic Style in Drama
General Index
Preliminary Material
Dramatic Art in the Persians
References to Aeschylean Plays
General Index
Tradition and Dramatic Form in the Persians of Aeschylus
Dionysiac Poetics and Euripides' Bacchae
In his play Bacchae, Euripides chooses as his central figure the god who crosses the boundaries among god, man, and beast, between reality and imagination, and between art and madness. In so doing, he explores what in tragedy is able to reach beyond the social, ritual, and historical context from which tragedy itself rises. Charles Segal's reading of Euripides' Bacchae builds gradually from concrete details of cult, setting, and imagery to the wo…
Euripides
Greek Tragedy and Its Legacy
The Unclassical as Classic
In tracing the history of scholarship on the Greek tragedian Euripides (see Michelini, 1987), I became increasingly convinced that the prevailing views on Euripides have remained essentially unchanged since the end of the eighteenth century. It is my thesis that the Euripidean problem had its point of origin in the initial self-definition of modern studies and of modern classicism. T. J. Reiss (1982: 96-97) has suggested that there are crucial mo…
Aeschylus' Oresteia
Traditionally, books on Greek tragedy tend to fall into two classes: scholarly editions with commentaries on textual, linguistic, and detailed interpretive points, and literary-critical studies which sometimes include summary treatments of questions involving a detailed study of the texts. Classics specialists tend, for obvious reasons, to concentrate on the former. Readers of translations have, of necessity, been limited to the latter kind of ai…
The Maze of the Logos
In Euripides' Suppliants as one commentator remarks, ‘the play consists of talk’. Much of the talk is about ideas, which weave a tantalizing and complex intellectual dance through the debates of the central figures. The tone is set by the first debate, between the suppliant Adrastus and the young Theseus. The former makes a plea in terms that he himself seems to characterize as inadequate, while the latter rejects the suppliant with a bravura spe…
The Textual Tradition of Euripides' Orestes
Conspectus Siglorum preliminaries the manuscripts the veteres the papyri testimonia colometry conjectures in the medieval tradition truth preserved in a minority
In and out of Mind
Aeschylus
Πολλη Αγροικια
Art (23 obras) · Literature (19 obras) · Classical Antiquity Studies (18 obras) · Philosophy (17 obras) · Philosophy (11 obras) · History (8 obras) · Epistemology (6 obras) · Classical Philosophy and Thought (5 obras) · Psychology (5 obras) · History (4 obras)