R P Winnington‐ingram
Biographic Data
| ID | 4860361 |
|---|---|
| NAME | R P Winnington‐ingram |
| GIVEN NAMES | R P |
| FAMILY NAME | Winnington‐ingram |
| SIGNATURE | INGRAM R P W |
| AFFILIATIONS | King's College London |
| VERIFIED | No |
| TOTAL WORKS | 26 |
| TOTAL CITATIONS | 10 |
| AUTHOR COUNT | 26 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1928 |
| LATEST PUBLICATION YEAR | 1985 |
| H-INDEX | 2 |
Studies in Aeschylus
Studies in Aeschylus
A New Companion to Greek Tragedy
Sophocles
In this interpretation of the seven extant tragedies of Sophocles, Professor Winnington-Ingram provides not so much a straightforward account of Sophocles as an exploration of his tragic vision of the world. The Sophoclean 'hero' lies at the centre of this vision. Taking the plays individually but without losing sight of the single consistent mind behind them, the author faces the questions of how the hero is to be regarded, what we are to make o…
Septem contra Thebas
T he Septem carries the stamp of greatness: in the entrance-song of the chorus (for instance) and in the sombre rhetoric of the so-called Redepaare . Indeed, throughout we catch what Longinus called ‘the resonance of a great mind’. It has, moreover, a feature which was not to be found in the Persae and will not be found in the Supplices : the dramatic issues are focused upon an arresting individual figure. Eteocles has been called ‘the first Man …
Notes on the Agamemnon of Aeschylus
Journal Article NOTES ON THE AGAMEMNON OF AESCHYLUS Get access R. P. Winnington-Ingram R. P. Winnington-Ingram 7 Ladywell Court, East Heath Road, London N.W.3 Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 21, Issue 1, December 1974, Pages 3–19, https://doi.org/10.1111/j.2041-5370.1974.tb00137.x Published: 12 March 2010
A Word in the Persae
Journal Article A WORD IN THE PERSAE Get access R. P. Winnington-Ingram R. P. Winnington-Ingram Humpstead Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 20, Issue 1, December 1973, Pages 37–38, https://doi.org/10.1111/j.2041-5370.1973.tb00123.x Published: 12 March 2010
Pindar's Ninth Pythian Ode
Journal Article PINDAR'S NINTH PYTHIAN ODE Get access R. P. Winnington‐Ingram R. P. Winnington‐Ingram King's College, London Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 16, Issue 1, December 1969, Pages 9–15, https://doi.org/10.1111/j.2041-5370.1969.tb00655.x Published: 12 March 2010
Tragica
TRAGICA R. P. Winnington‐Ingram R. P. Winnington‐Ingram Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 16, Issue 1, December 1969, Pages 44–54, https://doi.org/10.1111/j.2041-5370.1969.tb00659.x Published: 12 March 2010
Euripides, Bacchae 877–881= 897–901
Aeschylus, Septem 187–190; 750–757
AESCHYLUS, SEPTEM 187–190; 750–757 Get access R. P. Winnington-Ingram R. P. Winnington-Ingram King's College, London Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 13, Issue 1, December 1966, Pages 88–93, https://doi.org/10.1111/j.2041-5370.1966.tb00033.x Published: 12 March 2010
A Michigan Papyrus with Musical Notation
A Michigan Papyrus with Musical Notation
Ta Δ Eonta Eiπein
Journal Article TA Δ EONTA EIΠEIN: CLEON AND DIODOTUS Get access R. P. Winnington-Ingram R. P. Winnington-Ingram King's College, London Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 12, Issue 1, December 1965, Pages 70–82, https://doi.org/10.1111/j.2041-5370.1965.tb00022.x Published: 12 March 2010
Aristidis Quintiliani de Musica Libri Tres
The Glaukos Pontios of Aeschylus
The Pentatonic Tuning of the Greek Lyre
It has commonly been assumed that, on ancient Greek instruments of the lyre-type (lyre, barbitos, cithara), when a string had been tuned to a certain note, that note and that note only could be played, until the string was retuned; thus, that a separate string was required for each note of a given scale. This (which may be called the orthodox) view involves certain difficulties. The canonical number of strings was seven, and seven-stringed lyres …
The ‘Electra’ of Sophocles
The play has given rise to diverse interpretations. The greatest divergence of opinion is about the attitude of Sophocles to the matricidal vengeance. At one extreme we have a robust Homeric Sophocles, untroubled by the squeamishness of Aeschylus; at the other, an Aeschylean sensitiveness to the moral implications of the vengeance and a presumption that the Furies are only waiting for the play to end to begin their pursuit of Orestes. Adherents o…
Aeschylus, Agamemnon 1343–71
When the death-cry of Agamemnon is heard, the Chorus talks, but does nothing. This is the locus classicus of a Chorus which, in a situation that seems to demand effective intervention, is debarred from intervening by the necessity of remaining a Chorus. Did Aeschylus and his audience feel a difficulty here? No, says Professor G. Thomson; it is merely that modern taste is influenced by ‘the crude realism of the Elizabethan drama’. But this will no…
"Euripides and Dionysus, an Interpretation of the "Bacchae
Euripides, Electra 1292–1307
An abstract 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 Rôle of Apollo in the Oresteia
An abstract 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
Aristoxenus and the Intervals of Greek Music
Ancient Greek music was purely or predominantly melodic; and in such music subtleties of intonation count for much. If our sources of information about the intervals used in Greek music are not always easy to interpret, they are at any rate fairly voluminous. On the one hand we have Aristoxenus, by whom musical intervals were regarded spatially and combined and subdivided by the processes of addition and subtraction; for him the octave consisted …
Ancient Greek Music
Journal Article ANCIENT GREEK MUSIC: A SURVEY Get access R. P. WINNINGTON-INGRAM R. P. WINNINGTON-INGRAM Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume X, Issue 4, October 1929, Pages 326–345, https://doi.org/10.1093/ml/X.4.326 Published: 01 October 1929
Ancient greek music
Aristoxenus and the Intervals of Greek Music
Ancient Greek music was purely or predominantly melodic; and in such music subtleties of intonation count for much. If our sources of information about the intervals used in Greek music are not always easy to interpret, they are at any rate fairly voluminous. On the one hand we have Aristoxenus, by whom musical intervals were regarded spatially and combined and subdivided by the processes of addition and subtraction; for him the octave consisted …
Notes on the Agamemnon of Aeschylus
Journal Article NOTES ON THE AGAMEMNON OF AESCHYLUS Get access R. P. Winnington-Ingram R. P. Winnington-Ingram 7 Ladywell Court, East Heath Road, London N.W.3 Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 21, Issue 1, December 1974, Pages 3–19, https://doi.org/10.1111/j.2041-5370.1974.tb00137.x Published: 12 March 2010
The Pentatonic Tuning of the Greek Lyre
It has commonly been assumed that, on ancient Greek instruments of the lyre-type (lyre, barbitos, cithara), when a string had been tuned to a certain note, that note and that note only could be played, until the string was retuned; thus, that a separate string was required for each note of a given scale. This (which may be called the orthodox) view involves certain difficulties. The canonical number of strings was seven, and seven-stringed lyres …
Ta Δ Eonta Eiπein
Journal Article TA Δ EONTA EIΠEIN: CLEON AND DIODOTUS Get access R. P. Winnington-Ingram R. P. Winnington-Ingram King's College, London Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 12, Issue 1, December 1965, Pages 70–82, https://doi.org/10.1111/j.2041-5370.1965.tb00022.x Published: 12 March 2010
The Spondeion Scale
Our information about the early stages of Greek music is so slight that these references of Aristides Quintilianus (p. 28, Meibom) to an the Pseudo-Plutarch to a scale employed by the legendary figure Olympus take on an immense value for us. The dialogue itself is an unskilful patchwork, but the author's sources are often good. These particular passages are almost certainly both derived with small alteration from Aristoxenus, in whose time the tr…
Ancient Greek Music
Journal Article ANCIENT GREEK MUSIC: A SURVEY Get access R. P. WINNINGTON-INGRAM R. P. WINNINGTON-INGRAM Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume X, Issue 4, October 1929, Pages 326–345, https://doi.org/10.1093/ml/X.4.326 Published: 01 October 1929
Ancient greek music
Aristoxenus and the Intervals of Greek Music
Ancient Greek music was purely or predominantly melodic; and in such music subtleties of intonation count for much. If our sources of information about the intervals used in Greek music are not always easy to interpret, they are at any rate fairly voluminous. On the one hand we have Aristoxenus, by whom musical intervals were regarded spatially and combined and subdivided by the processes of addition and subtraction; for him the octave consisted …
The Rôle of Apollo in the Oresteia
An abstract 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
Euripides, Electra 1292–1307
An abstract 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
"Euripides and Dionysus, an Interpretation of the "Bacchae
Aeschylus, Agamemnon 1343–71
When the death-cry of Agamemnon is heard, the Chorus talks, but does nothing. This is the locus classicus of a Chorus which, in a situation that seems to demand effective intervention, is debarred from intervening by the necessity of remaining a Chorus. Did Aeschylus and his audience feel a difficulty here? No, says Professor G. Thomson; it is merely that modern taste is influenced by ‘the crude realism of the Elizabethan drama’. But this will no…
The ‘Electra’ of Sophocles
The play has given rise to diverse interpretations. The greatest divergence of opinion is about the attitude of Sophocles to the matricidal vengeance. At one extreme we have a robust Homeric Sophocles, untroubled by the squeamishness of Aeschylus; at the other, an Aeschylean sensitiveness to the moral implications of the vengeance and a presumption that the Furies are only waiting for the play to end to begin their pursuit of Orestes. Adherents o…
The Pentatonic Tuning of the Greek Lyre
It has commonly been assumed that, on ancient Greek instruments of the lyre-type (lyre, barbitos, cithara), when a string had been tuned to a certain note, that note and that note only could be played, until the string was retuned; thus, that a separate string was required for each note of a given scale. This (which may be called the orthodox) view involves certain difficulties. The canonical number of strings was seven, and seven-stringed lyres …
The Glaukos Pontios of Aeschylus
Aristidis Quintiliani de Musica Libri Tres
A Michigan Papyrus with Musical Notation
A Michigan Papyrus with Musical Notation
Ta Δ Eonta Eiπein
Journal Article TA Δ EONTA EIΠEIN: CLEON AND DIODOTUS Get access R. P. Winnington-Ingram R. P. Winnington-Ingram King's College, London Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 12, Issue 1, December 1965, Pages 70–82, https://doi.org/10.1111/j.2041-5370.1965.tb00022.x Published: 12 March 2010
Euripides, Bacchae 877–881= 897–901
Aeschylus, Septem 187–190; 750–757
AESCHYLUS, SEPTEM 187–190; 750–757 Get access R. P. Winnington-Ingram R. P. Winnington-Ingram King's College, London Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 13, Issue 1, December 1966, Pages 88–93, https://doi.org/10.1111/j.2041-5370.1966.tb00033.x Published: 12 March 2010
Pindar's Ninth Pythian Ode
Journal Article PINDAR'S NINTH PYTHIAN ODE Get access R. P. Winnington‐Ingram R. P. Winnington‐Ingram King's College, London Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 16, Issue 1, December 1969, Pages 9–15, https://doi.org/10.1111/j.2041-5370.1969.tb00655.x Published: 12 March 2010
Tragica
TRAGICA R. P. Winnington‐Ingram R. P. Winnington‐Ingram Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 16, Issue 1, December 1969, Pages 44–54, https://doi.org/10.1111/j.2041-5370.1969.tb00659.x Published: 12 March 2010
A Word in the Persae
Journal Article A WORD IN THE PERSAE Get access R. P. Winnington-Ingram R. P. Winnington-Ingram Humpstead Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 20, Issue 1, December 1973, Pages 37–38, https://doi.org/10.1111/j.2041-5370.1973.tb00123.x Published: 12 March 2010
Notes on the Agamemnon of Aeschylus
Journal Article NOTES ON THE AGAMEMNON OF AESCHYLUS Get access R. P. Winnington-Ingram R. P. Winnington-Ingram 7 Ladywell Court, East Heath Road, London N.W.3 Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 21, Issue 1, December 1974, Pages 3–19, https://doi.org/10.1111/j.2041-5370.1974.tb00137.x Published: 12 March 2010
Septem contra Thebas
T he Septem carries the stamp of greatness: in the entrance-song of the chorus (for instance) and in the sombre rhetoric of the so-called Redepaare . Indeed, throughout we catch what Longinus called ‘the resonance of a great mind’. It has, moreover, a feature which was not to be found in the Persae and will not be found in the Supplices : the dramatic issues are focused upon an arresting individual figure. Eteocles has been called ‘the first Man …
Sophocles
In this interpretation of the seven extant tragedies of Sophocles, Professor Winnington-Ingram provides not so much a straightforward account of Sophocles as an exploration of his tragic vision of the world. The Sophoclean 'hero' lies at the centre of this vision. Taking the plays individually but without losing sight of the single consistent mind behind them, the author faces the questions of how the hero is to be regarded, what we are to make o…
Studies in Aeschylus
Studies in Aeschylus
Art (20 works) · Classical Antiquity Studies (16 works) · History (16 works) · Literature (12 works) · History (11 works) · Philosophy (11 works) · Computer Science (9 works) · Linguistics (7 works) · Classics (6 works) · Library science (6 works)