Johanna Hanink
Biographic Data
| ID | 5370081 |
|---|---|
| NAME | Johanna Hanink |
| GIVEN NAMES | Johanna |
| FAMILY NAME | Hanink |
| SIGNATURE | HANINK J |
| AFFILIATIONS | John Brown University |
| VERIFIED | No |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 19 |
| WORKS AS AUTHOR | 14 |
| WORKS AS EDITOR | 2 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Euripides’ Erechtheus and the Athenian Catalogue of Exploits
Funeral orators came to rehearse four ‘standard’ myths. The classical Athenians believed that the earliest was the victory of their ancestors against an army that the Thracian Eumolpus had led into Attica. The widely held position is that these four mythical erga were a part of the genre from its beginning. Yet, this chapter firmly establishes that this position simply does not hold when it comes to the myth about Eumolpus. Indeed, the first fune…
Homeric Epic and Nation-Building in Modern Greece and Turkey
This chapter traces the shadow that ancient Greek epic, and the Homeric poems most particularly, have cast over the modern nations of Greece and Turkey, using case studies with a specific focus on how the epics came to figure in the nation-building work of both countries. Greece presents a unique case for the reception of these poems for two related reasons: Homeric Greek can be integrated into modern Greek literature without transl(iter)ation, a…
How to Think about War
Scholars and Scholarship on Tragedy
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.
Pausanias’ Dead Poets Society
This chapter examines the tombs of poets in Pausanias’ Description of Greece . It argues that the buried bones of ancient poets, and of heroes featured in their poetry, function as a kind of root system that, in Pausanias’ imagination, nourishes the sacred landscape of Greece, ensuring that the memories it holds always stay lush with life. For Pausanias, poets, through their deaths and their graves, become part of the mythical history that is its…
Aeschylus and His Afterlife in the Classical Period
The Classical Debt
Ever since the International Monetary Fund's first bailout of Greece's sinking economy in 2010, the phrase "Greek debt" has meant one thing to the country's creditors. But for millions who claim to prize culture over capital, it means something quite different: the symbolic debt that Western civilization owes to Greece for furnishing its principles of democracy, philosophy, mathematics, and fine art. Where did this other idea of Greek debt come f…
Creative Lives in Classical Antiquity
What happened when creative biographers took on especially creative subjects (poets, artists and others) in Greek and Roman antiquity? Creative Lives in Classical Antiquity examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers i…
Why 386 BC?’ Lost Empire, Old Tragedy and Reperformance in the Era of the Corinthian War
386 BC is considered to be one of the most important dates in the history of Greek theater: that year
Literary Evidence for New Tragic Production
Lycurgan Athens and the Making of Classical Tragedy
Through a series of interdisciplinary studies this book argues that the Athenians themselves invented the notion of 'classical' tragedy just a few generations after the city's defeat in the Peloponnesian War. In the third quarter of the fourth century BC, and specifically during the 'Lycurgan Era' (338–322 BC), a number of measures were taken in Athens to affirm to the Greek world that the achievement of tragedy was owed to the unique character o…
Crossing Genres
This chapter considers the similarities, differences, and points of engagement between the three main dramatic genres of classical Athens: comedy, tragedy, and satyr play. After an overview of the perceived absolute distinction between comedy and tragedy in Greek antiquity, the chapter goes on to outline the respective performance grammars of the two forms during the later fifth century. It then offers a survey of the variety of ways in which com…
Epitaphioi mythoi and tragedy as encomium of Athens
Fourth-century Athenian orators of epitaphioi logoi and other Athenian panegyric attempt to portray fifth-century tragedy as fundamentally encomiastic of Athens. This is borne out by the rhetorical reception of two 'epitaphioi mythoi', i.e. myths handled by both tragedians and orators: Erechtheus' repulsion of Eumolpus' invasion of Athens and Theseus' efforts to secure the burial of the 'Seven against Thebes'. The orators' 'encomiastic' view of t…
Actors and Icons of the Ancient Theater (review)
Reviewed by: Actors and Icons of the Ancient Theater Johanna Hanink Eric Csapo. Actors and Icons of the Ancient Theater. Malden, Mass.: Wiley-Blackwell, 2010. Pp. xiv, 233. $119.95. ISBN 978-1-4051-3536-8. Actors and Icons of the Ancient Theater is a collection of six essays, four of which began life as the Nellie Wallace lectures delivered by Csapo at Oxford in 2004, and all of which are organized around the theme of the actor’s image in (mostly…
Aristotle and the Tragic Theater in the Fourth Century b.c
In a recent article in Arethusa , J. Wise argues that the theory of tragedy put forth by Aristotle in the Poetics was one heavily distorted by his own experience of contemporary tragic performance. In this response, I argue that, although the Poetics does provide evidence of fourth-century dramatic practice, Aristotle was far more aware of the arc of Athenian theater history than Wise’s article presupposes. I also suggest that the problem of the …
The Classical Tragedians, from Athenian Idols to Wandering Poets
Epitaphioi mythoi and tragedy as encomium of Athens
Fourth-century Athenian orators of epitaphioi logoi and other Athenian panegyric attempt to portray fifth-century tragedy as fundamentally encomiastic of Athens. This is borne out by the rhetorical reception of two 'epitaphioi mythoi', i.e. myths handled by both tragedians and orators: Erechtheus' repulsion of Eumolpus' invasion of Athens and Theseus' efforts to secure the burial of the 'Seven against Thebes'. The orators' 'encomiastic' view of t…
Why 386 BC?’ Lost Empire, Old Tragedy and Reperformance in the Era of the Corinthian War
386 BC is considered to be one of the most important dates in the history of Greek theater: that year
The Classical Debt
Ever since the International Monetary Fund's first bailout of Greece's sinking economy in 2010, the phrase "Greek debt" has meant one thing to the country's creditors. But for millions who claim to prize culture over capital, it means something quite different: the symbolic debt that Western civilization owes to Greece for furnishing its principles of democracy, philosophy, mathematics, and fine art. Where did this other idea of Greek debt come f…
The Classical Tragedians, from Athenian Idols to Wandering Poets
Aristotle and the Tragic Theater in the Fourth Century b.c
In a recent article in Arethusa , J. Wise argues that the theory of tragedy put forth by Aristotle in the Poetics was one heavily distorted by his own experience of contemporary tragic performance. In this response, I argue that, although the Poetics does provide evidence of fourth-century dramatic practice, Aristotle was far more aware of the arc of Athenian theater history than Wise’s article presupposes. I also suggest that the problem of the …
Actors and Icons of the Ancient Theater (review)
Reviewed by: Actors and Icons of the Ancient Theater Johanna Hanink Eric Csapo. Actors and Icons of the Ancient Theater. Malden, Mass.: Wiley-Blackwell, 2010. Pp. xiv, 233. $119.95. ISBN 978-1-4051-3536-8. Actors and Icons of the Ancient Theater is a collection of six essays, four of which began life as the Nellie Wallace lectures delivered by Csapo at Oxford in 2004, and all of which are organized around the theme of the actor’s image in (mostly…
Crossing Genres
This chapter considers the similarities, differences, and points of engagement between the three main dramatic genres of classical Athens: comedy, tragedy, and satyr play. After an overview of the perceived absolute distinction between comedy and tragedy in Greek antiquity, the chapter goes on to outline the respective performance grammars of the two forms during the later fifth century. It then offers a survey of the variety of ways in which com…
Epitaphioi mythoi and tragedy as encomium of Athens
Fourth-century Athenian orators of epitaphioi logoi and other Athenian panegyric attempt to portray fifth-century tragedy as fundamentally encomiastic of Athens. This is borne out by the rhetorical reception of two 'epitaphioi mythoi', i.e. myths handled by both tragedians and orators: Erechtheus' repulsion of Eumolpus' invasion of Athens and Theseus' efforts to secure the burial of the 'Seven against Thebes'. The orators' 'encomiastic' view of t…
Literary Evidence for New Tragic Production
Lycurgan Athens and the Making of Classical Tragedy
Through a series of interdisciplinary studies this book argues that the Athenians themselves invented the notion of 'classical' tragedy just a few generations after the city's defeat in the Peloponnesian War. In the third quarter of the fourth century BC, and specifically during the 'Lycurgan Era' (338–322 BC), a number of measures were taken in Athens to affirm to the Greek world that the achievement of tragedy was owed to the unique character o…
Why 386 BC?’ Lost Empire, Old Tragedy and Reperformance in the Era of the Corinthian War
386 BC is considered to be one of the most important dates in the history of Greek theater: that year
Creative Lives in Classical Antiquity
What happened when creative biographers took on especially creative subjects (poets, artists and others) in Greek and Roman antiquity? Creative Lives in Classical Antiquity examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers i…
Aeschylus and His Afterlife in the Classical Period
The Classical Debt
Ever since the International Monetary Fund's first bailout of Greece's sinking economy in 2010, the phrase "Greek debt" has meant one thing to the country's creditors. But for millions who claim to prize culture over capital, it means something quite different: the symbolic debt that Western civilization owes to Greece for furnishing its principles of democracy, philosophy, mathematics, and fine art. Where did this other idea of Greek debt come f…
Scholars and Scholarship on Tragedy
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.
Pausanias’ Dead Poets Society
This chapter examines the tombs of poets in Pausanias’ Description of Greece . It argues that the buried bones of ancient poets, and of heroes featured in their poetry, function as a kind of root system that, in Pausanias’ imagination, nourishes the sacred landscape of Greece, ensuring that the memories it holds always stay lush with life. For Pausanias, poets, through their deaths and their graves, become part of the mythical history that is its…
How to Think about War
Euripides’ Erechtheus and the Athenian Catalogue of Exploits
Funeral orators came to rehearse four ‘standard’ myths. The classical Athenians believed that the earliest was the victory of their ancestors against an army that the Thracian Eumolpus had led into Attica. The widely held position is that these four mythical erga were a part of the genre from its beginning. Yet, this chapter firmly establishes that this position simply does not hold when it comes to the myth about Eumolpus. Indeed, the first fune…
Homeric Epic and Nation-Building in Modern Greece and Turkey
This chapter traces the shadow that ancient Greek epic, and the Homeric poems most particularly, have cast over the modern nations of Greece and Turkey, using case studies with a specific focus on how the epics came to figure in the nation-building work of both countries. Greece presents a unique case for the reception of these poems for two related reasons: Homeric Greek can be integrated into modern Greek literature without transl(iter)ation, a…
Classical Antiquity Studies (15 works) · Art (12 works) · Literature (12 works) · History (11 works) · Classics (6 works) · History (5 works) · Political science (5 works) · Ancient history (4 works) · Law (4 works) · Classical Philosophy and Thought (3 works)