Florence Yoon
Biographic Data
| ID | 1429396 |
|---|---|
| NAME | Florence Yoon |
| GIVEN NAMES | Florence |
| FAMILY NAME | Yoon |
| SIGNATURE | YOON F |
| AFFILIATIONS | University of British Columbia |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 7 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 2 |
Heralds and Messengers
The term “messenger” is generally used in the discussion of Greek tragedy to identify an anonymous character who reports offstage events. Yet “messenger” is not a fixed identifier, to be used in parallel with character names, but a description of a fluid conventional function, best compared with terms such as “prologue-speaker.” By contrasting the messenger with the related figure of the herald we can more clearly articulate the distinction betwe…
The Mirrored Structure of Thesmophoriazusae
While most Aristophanic plots follow a single hero through a single scheme, the dramatic focus of Thesmophoriazusae is inverted halfway through the play as Euripides and his kēdestēs exchange the roles of hero and victim. The ring composition of the plot also governs the play's thematic focus, which moves from the exploration of gender through genre to the exploration of genre through gender
Against a Prometheia
This paper argues that Prometheus Bound and Prometheus Unbound were independent plays. It reevaluates the evidence for connected trilogies in general and questions the assumption that this was Aeschylus’s preferred dramatic structure. It considers both the external and internal evidence for the connection of the two Prometheus plays, and concludes that they were originally written and produced independently—either by two authors, one of whom was …
The Herald of Hyllus? Identifying the Υλλου Πενεστης in Euripides' Heraclidae
At Euripides' Heraclidae 630, an anonymous character arrives onstage to report the arrival of Hyllus' army, and returns at 928 accompanying the defeated Eurystheus. He is generally identified by editors as a therapōn , following the dramatis personae of the hypothesis. Mastronarde briefly challenges this assumption, stating that ‘he is a soldier, not a servant’. There are, however, four reasons to identify the character as neither a soldier nor a…
The Use of Anonymous Characters in Greek Tragedy
This book examines the substantial role played by invented anonymous figures in the transformation of traditional mythological heroes into the unique dramatic characters of Greek Tragedy
Against a Prometheia
This paper argues that Prometheus Bound and Prometheus Unbound were independent plays. It reevaluates the evidence for connected trilogies in general and questions the assumption that this was Aeschylus’s preferred dramatic structure. It considers both the external and internal evidence for the connection of the two Prometheus plays, and concludes that they were originally written and produced independently—either by two authors, one of whom was …
The Use of Anonymous Characters in Greek Tragedy
This book examines the substantial role played by invented anonymous figures in the transformation of traditional mythological heroes into the unique dramatic characters of Greek Tragedy
The Use of Anonymous Characters in Greek Tragedy
This book examines the substantial role played by invented anonymous figures in the transformation of traditional mythological heroes into the unique dramatic characters of Greek Tragedy
The Herald of Hyllus? Identifying the Υλλου Πενεστης in Euripides' Heraclidae
At Euripides' Heraclidae 630, an anonymous character arrives onstage to report the arrival of Hyllus' army, and returns at 928 accompanying the defeated Eurystheus. He is generally identified by editors as a therapōn , following the dramatis personae of the hypothesis. Mastronarde briefly challenges this assumption, stating that ‘he is a soldier, not a servant’. There are, however, four reasons to identify the character as neither a soldier nor a…
Against a Prometheia
This paper argues that Prometheus Bound and Prometheus Unbound were independent plays. It reevaluates the evidence for connected trilogies in general and questions the assumption that this was Aeschylus’s preferred dramatic structure. It considers both the external and internal evidence for the connection of the two Prometheus plays, and concludes that they were originally written and produced independently—either by two authors, one of whom was …
The Mirrored Structure of Thesmophoriazusae
While most Aristophanic plots follow a single hero through a single scheme, the dramatic focus of Thesmophoriazusae is inverted halfway through the play as Euripides and his kēdestēs exchange the roles of hero and victim. The ring composition of the plot also governs the play's thematic focus, which moves from the exploration of gender through genre to the exploration of genre through gender
Heralds and Messengers
The term “messenger” is generally used in the discussion of Greek tragedy to identify an anonymous character who reports offstage events. Yet “messenger” is not a fixed identifier, to be used in parallel with character names, but a description of a fluid conventional function, best compared with terms such as “prologue-speaker.” By contrasting the messenger with the related figure of the herald we can more clearly articulate the distinction betwe…
Art (5 works) · Classical Antiquity Studies (5 works) · Literature (5 works) · History (4 works) · Mathematics (4 works) · History (3 works) · Crime, Deviance, and Social Control (2 works) · Philosophy (2 works) · Psychology (2 works) · Aesthetics (1 work)