Martin Revermann
Biographic Data
| ID | 1679765 |
|---|---|
| NAME | Martin Revermann |
| GIVEN NAMES | Martin |
| FAMILY NAME | Revermann |
| SIGNATURE | REVERMANN M |
| AFFILIATIONS | University of Toronto |
| VERIFIED | No |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 11 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 4 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
The Cambridge Companion to Pindar
Pindar was the single most important, canonical and influential lyric poet in the ancient Greek world, and he remains one of the most demanding and rewarding poets whose work has come down to us from antiquity. This volume represents the most comprehensive introduction to the poet and his reception yet published. Eighteen leading contemporary scholars contribute individual chapters that together help to provide a holistic understanding of Pindar'…
A Cultural History of Theatre in Antiquity
A Cultural History of Theatre in Antiquity provides a comprehensive and interdisciplinary overview of the cultural history of theatre in Graeco-Roman antiquity. Drawing together contributions from leading scholars, this volume examines the Greek and Roman cultural spheres in conjunction. Each chapter takes a different theme as its focus, including institutional frameworks; social functions; sexuality and gender; the environment of theatre; circul…
Brecht and Greek Tragedy
Brecht's interactions with Greek tragedy are central and illuminating indicators of his self‐positioning relative to the Western theatre tradition that preceded him. Part of the appeal to Brecht is the status of Greek tragedy as a particularly prominent manifestation of Tragedy, a cultural universal with a distinct set of ideological assumptions (political, social, religious and philosophical) that Brecht opposed vigorously. Brecht's relationship…
Divinity and religious practice
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
The Cambridge Companion to Greek Comedy
Greek comedy flourished in the fifth and fourth centuries BC, both in and beyond Athens. Aristophanes and Menander are the best-known writers whose work is in part extant, but many other dramatists are known from surviving fragments of their plays. This sophisticated but accessible introduction explores the genre as a whole, integrating literary questions (such as characterisation, dramatic technique or diction) with contextual ones (for example …
Generalizing about Props
This chapter takes a broader approach—broader in theoretical and cultural terms by widening the disciplinary perspective through integrating Theatre Studies and the analysis of other performance traditions to illustrate the use of props in ancient theatricality into different relief. The theoretical concepts that feed into the analysis are chiefly borrowed from semiotics and, to a smaller extent and less overtly, psychoanalysis. The power of prop…
Greek Comedy and the Discourse of Genres
Recent scholarship has acknowledged that the intertextual discourse of ancient comedy with previous and contemporary literary traditions is not limited to tragedy. This book is a timely response to the more sophisticated and theory-grounded way of viewing comedy's interactions with its cultural and intellectual context. It shows that in the process of its self-definition, comedy emerges as voracious and multifarious with a wide spectrum of litera…
Beyond the Fifth Century
Beyond the Fifth Century brings together 13 scholars from various disciplines (Classics, Ancient History, Mediaeval Studies) to explore interactions with Greek tragedy from the 4th century BCE up to the Middle Ages. The volume breaks new ground in several ways. Its chronological scope encompasses periods that are not usually part of research on tragedy reception, especially the Hellenistic period, late antiquity and the Middle Ages. The volume al…
Beyond the fifth century
Performance, iconography, reception
The semiotics of curtain calls
This article examines an under-researched feature of the theatrical event, curtain calls, from a semiotic perspective. It argues that curtain calls demand the semiotician's special attention as they mark a threshold phase, the transition from the world of the play into that of the audience. In other words, two modes of semiotization coincide, and particular attention is devoted to how audiences navigate their way through this clash of semiotic mo…
The ‘Cleveland Medea’ Calyx Crater and the Iconography of Ancient Greek Theatre
This article examines a spectacular example of Greek theatre-related vase iconography, the so-called ‘Cleveland Medea’, by studying the ways in which a painter appropriates iconography for his own narrative purposes. Of special interest are the interactions called for by the vessel from its prospective viewers in the symposium context. Throughout, the artefact is treated as an important document of the cultural history of Greek tragedy in the fou…
The Text of Iliad 18.603–6 and the Presence of an ΑΟΙΔΟΣ on the Shield of Achilles
This is the text of II . 18.603–6, the final scene on the Shield of Achilles, as presented unanimously by our manuscript tradition, five Vulgate papyri from the first to the sixth century A.D., our scholia, and in a quotation in Dionysius of Halicarnassus. 1 As is well-known, a much discussed and contentious textual problem raised by Wolf 2 is lurking behind it. It is prompted by a passage in Athenaeus providing an additional line after which men…
The ‘Cleveland Medea’ Calyx Crater and the Iconography of Ancient Greek Theatre
This article examines a spectacular example of Greek theatre-related vase iconography, the so-called ‘Cleveland Medea’, by studying the ways in which a painter appropriates iconography for his own narrative purposes. Of special interest are the interactions called for by the vessel from its prospective viewers in the symposium context. Throughout, the artefact is treated as an important document of the cultural history of Greek tragedy in the fou…
Brecht and Greek Tragedy
Brecht's interactions with Greek tragedy are central and illuminating indicators of his self‐positioning relative to the Western theatre tradition that preceded him. Part of the appeal to Brecht is the status of Greek tragedy as a particularly prominent manifestation of Tragedy, a cultural universal with a distinct set of ideological assumptions (political, social, religious and philosophical) that Brecht opposed vigorously. Brecht's relationship…
The Text of Iliad 18.603–6 and the Presence of an ΑΟΙΔΟΣ on the Shield of Achilles
This is the text of II . 18.603–6, the final scene on the Shield of Achilles, as presented unanimously by our manuscript tradition, five Vulgate papyri from the first to the sixth century A.D., our scholia, and in a quotation in Dionysius of Halicarnassus. 1 As is well-known, a much discussed and contentious textual problem raised by Wolf 2 is lurking behind it. It is prompted by a passage in Athenaeus providing an additional line after which men…
The ‘Cleveland Medea’ Calyx Crater and the Iconography of Ancient Greek Theatre
This article examines a spectacular example of Greek theatre-related vase iconography, the so-called ‘Cleveland Medea’, by studying the ways in which a painter appropriates iconography for his own narrative purposes. Of special interest are the interactions called for by the vessel from its prospective viewers in the symposium context. Throughout, the artefact is treated as an important document of the cultural history of Greek tragedy in the fou…
Performance, iconography, reception
The semiotics of curtain calls
This article examines an under-researched feature of the theatrical event, curtain calls, from a semiotic perspective. It argues that curtain calls demand the semiotician's special attention as they mark a threshold phase, the transition from the world of the play into that of the audience. In other words, two modes of semiotization coincide, and particular attention is devoted to how audiences navigate their way through this clash of semiotic mo…
Beyond the Fifth Century
Beyond the Fifth Century brings together 13 scholars from various disciplines (Classics, Ancient History, Mediaeval Studies) to explore interactions with Greek tragedy from the 4th century BCE up to the Middle Ages. The volume breaks new ground in several ways. Its chronological scope encompasses periods that are not usually part of research on tragedy reception, especially the Hellenistic period, late antiquity and the Middle Ages. The volume al…
Beyond the fifth century
Generalizing about Props
This chapter takes a broader approach—broader in theoretical and cultural terms by widening the disciplinary perspective through integrating Theatre Studies and the analysis of other performance traditions to illustrate the use of props in ancient theatricality into different relief. The theoretical concepts that feed into the analysis are chiefly borrowed from semiotics and, to a smaller extent and less overtly, psychoanalysis. The power of prop…
Greek Comedy and the Discourse of Genres
Recent scholarship has acknowledged that the intertextual discourse of ancient comedy with previous and contemporary literary traditions is not limited to tragedy. This book is a timely response to the more sophisticated and theory-grounded way of viewing comedy's interactions with its cultural and intellectual context. It shows that in the process of its self-definition, comedy emerges as voracious and multifarious with a wide spectrum of litera…
Divinity and religious practice
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
The Cambridge Companion to Greek Comedy
Greek comedy flourished in the fifth and fourth centuries BC, both in and beyond Athens. Aristophanes and Menander are the best-known writers whose work is in part extant, but many other dramatists are known from surviving fragments of their plays. This sophisticated but accessible introduction explores the genre as a whole, integrating literary questions (such as characterisation, dramatic technique or diction) with contextual ones (for example …
Brecht and Greek Tragedy
Brecht's interactions with Greek tragedy are central and illuminating indicators of his self‐positioning relative to the Western theatre tradition that preceded him. Part of the appeal to Brecht is the status of Greek tragedy as a particularly prominent manifestation of Tragedy, a cultural universal with a distinct set of ideological assumptions (political, social, religious and philosophical) that Brecht opposed vigorously. Brecht's relationship…
A Cultural History of Theatre in Antiquity
A Cultural History of Theatre in Antiquity provides a comprehensive and interdisciplinary overview of the cultural history of theatre in Graeco-Roman antiquity. Drawing together contributions from leading scholars, this volume examines the Greek and Roman cultural spheres in conjunction. Each chapter takes a different theme as its focus, including institutional frameworks; social functions; sexuality and gender; the environment of theatre; circul…
The Cambridge Companion to Pindar
Pindar was the single most important, canonical and influential lyric poet in the ancient Greek world, and he remains one of the most demanding and rewarding poets whose work has come down to us from antiquity. This volume represents the most comprehensive introduction to the poet and his reception yet published. Eighteen leading contemporary scholars contribute individual chapters that together help to provide a holistic understanding of Pindar'…
Art (9 works) · History (8 works) · Literature (8 works) · Classical Antiquity Studies (7 works) · Philosophy (5 works) · Greek drama (4 works) · Shakespeare, Adaptation, and Literary Criticism (4 works) · Ancient Greek (3 works) · Archaeology (3 works) · Greek drama, history and criticism (3 works)