Mark Griffith
Biographic Data
| ID | 5627296 |
|---|---|
| NAME | Mark Griffith |
| GIVEN NAMES | Mark |
| FAMILY NAME | Griffith |
| SIGNATURE | GRIFFITH M |
| AFFILIATIONS | New College |
| VERIFIED | No |
| TOTAL WORKS | 35 |
| TOTAL CITATIONS | 32 |
| AUTHOR COUNT | 34 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1975 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 3 |
Is Korybantic Performance a (Lyric) Genre
Korybantic rites and other musical performances of similar type involving strong emotional affect were widely practiced throughout the ancient Greek world, but they are not normally discussed as examples of “Greek lyric.” The relative unimportance of the verbal component, together with elite biases, ancient and modern, about the nature, purpose, and participants in such rituals, seem to have unduly marginalized lyric performances of this kind. Wi…
Music and Dance in Tragedy After the Fifth Century
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Extra alliteration on stressed syllables in Old English poetry: Types, uses and evolution
The article assesses the rhetorical uses of the main kinds of non-functional alliteration that are attested in Old English poetry, and gives complete lists of their incidence in all of the poems. Two main general types are isolated. Supererogatory alliteration does not depart from the known alliterative rules, and is deployed ornamentally with some freedom by at least some of the poets. Five sub-types are examined in turn: double alliteration in …
The music of war in Aeschylus’ Seven against Thebes
War was an integral component of fifth-century Greek life, both in the form of active participation in war-making as a soldier or sailor and in terms of direct or indirect encounters with the deadly and painful consequences of war. Fifth-century Greeks were also very musical, of course. Occasions for public and private musical performance were numerous and are relatively well-documented for modern scholars to study. In the contest scene of Aristo…
Old English Philology: Studies in Honour of R.D. Fulk
Essays bringing out the crucial importance of philology for understanding Old English texts. Robert D. Fulk is arguably the greatest Old English philologist to emerge during the twentieth century; his corpus of scholarship has fundamentally shaped contemporary understanding of many aspects of Anglo-Saxon literary historyand English historical linguistics. This volume, in his honour, brings together essays which engage with his work and advance hi…
Old English poetic diction not in Old English verse or prose – and the curious case of Aldhelm's five athletes
Three contexts characterized by the occasional appearance of Old English poetic diction outside of Old English poetry — debased verse, rhythmical prose, and prose passages with rhetorical heightening — have been surveyed by previous scholars, but no serious consideration has been given to the use of poetic lexis to be found in the surviving glosses and glossaries. The article first looks at some examples in these non-poetic texts of poetic words …
Cretan Harmonies and Universal Morals: Early Music and Migrations of Wisdom in Plato’s Laws
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Greek Tragedies 1: Aeschylus: Agamemnon, Prometheus Bound; Sophocles: Oedipus the King, Antigone; Euripides
Aeschylus II: The Oresteia
Aeschylus I: The Persians, The Seven Against Thebes, The Suppliant Maidens, Prometheus Bound
Sophocles I: Antigone, Oedipus the King, Oedipus at Colonus
The register of divine speech in Genesis A
The article argues from an empirical study of the alliterative and metrical characteristics of the speeches of Genesis A that the poet made a concerted attempt to differentiate between the spoken language of God and that of mortal speakers. In particular the analysis shows that divine language is highly patterned, alliteratively ornate and unusually hypermetric. The most extreme effects are generated by the genres of benediction and malediction. …
Extended families, marriage, and inter‐city relations in (later) Athenian tragedy
Writing the Map of Anglo-Saxon England: Essays in Cultural Geography
Greek lyric and the place of humans in the world
Introduction: Human wisdom and poetic expertise Greek lyric poetry was, among other things, a form of communication about the world that its authors and audiences lived in. It was also often an intervention into that world, with intended effects or functions. That is to say, not only does Greek elegiac, iambic, choral and monodic poetry offer explanations, speculations and justifications - or sometimes complaints - about the nature of human exist…
The Cambridge Companion to Greek Lyric
Greek lyric poetry encompassed a wide range of types of poem, from elegy to iambos and dithyramb to epinician. It particularly flourished in the Archaic and Classical periods, and some of its practitioners, such as Sappho and Pindar, had significant cultural influence in subsequent centuries down to the present day. This Companion provides an accessible introduction to this fascinating and diverse body of poetry and its later reception. It takes …
‘Telling the tale’: A performing tradition from Homer to pantomime
Greek and Latin literature and drama have been central and formative components of the Western cultural tradition ever since the Middle Ages; and modern conceptions of theatre in general, as of 'tragedy' and 'comedy' as particular dramatic forms, are indelibly shaped by the specific performance modes that evolved during the sixth to the fourth centuries BC in Athens and during the third to the first centuries BC in Rome. The surviving Greek texts…
The Cambridge Companion to Greek and Roman Theatre
This series of essays by prominent academics and practitioners investigates in detail the history of performance in the classical Greek and Roman world. Beginning with the earliest examples of 'dramatic' presentation in the epic cycles and reaching through to the latter days of the Roman Empire and beyond, this 2007 Companion covers many aspects of these broad presentational societies. Dramatic performances that are text-based form only one part …
Sophocles’ Satyr-Plays and the Language of Romance
Horsepower and Donkeywork: Equids and the Ancient Greek Imagination
Horsepower and Donkeywork: Equids and the Ancient Greek Imagination. Part Two
Satyr Drama: Tragedy at Play
Verses quite like cwen to gebeddan in The Metres of Boethius
The metrical grammar of Beo 665a cwen to gebeddan is, for that poem, strikingly irregular: the verse is of Sievers Type A with a preposition and prefix in the first dip and yet displays single - rather than the expected double - alliteration. The Metres of Boethius, a text whose metrical grammar (unlike that of Beowulf ) generates a number of similar examples of this licence, allows a better understanding of the structure and rhetoric of the Beow…
Public and Private in Early Greek Institutions of Education
This chapter begins with a brief consideration of those trainings that fall clearly into the category of i.e. crafts and skills handed down and taught within the family or professional association, and not subject to the collective concern of the community. It examines certain areas in which the training of young men and women was unequivocally subject to the rules and requirements of the polis at large primarily civic choruses and the military. …
Sophocles: Antigone
The king and eye: The rule of the father in Greek tragedy
Athenian tragedy is a ‘representation of élite practice ...’, focusing primarily on the actions of ‘people superior to us’ in their moral and social station. Although it is debatable exactly what Aristotle means by σπουδαῖος in the context of a tragic plot, and to what degree his theory of tragedy is wedded to a belief in the social, as well as ethical, ‘superiority’ of the leading characters, there is no denying the obvious fact that the survivi…
Horsepower and Donkeywork: Equids and the Ancient Greek Imagination. Part Two
Horsepower and Donkeywork: Equids and the Ancient Greek Imagination
Man and the Leaves: A Study of Mimnermos fr. 2
All Greek poets worked in the shadow of Homer. The connections between the poems and the different genres that flour ished in the succeeding five hundred years or so are complex and various, and none is more difficult to pin down than that between the epic and the earliest surviving poets of the Lyric Age. The change of mood from the heroic world of Achilles to the archaic world of Archilochos and Solon is clear enough,1 but there is less room fo…
Aeschylus II: The Oresteia
Sophocles I: Antigone, Oedipus the King, Oedipus at Colonus
Man and the Leaves: A Study of Mimnermos fr. 2
All Greek poets worked in the shadow of Homer. The connections between the poems and the different genres that flour ished in the succeeding five hundred years or so are complex and various, and none is more difficult to pin down than that between the epic and the earliest surviving poets of the Lyric Age. The change of mood from the heroic world of Achilles to the archaic world of Archilochos and Solon is clear enough,1 but there is less room fo…
The Authenticity of 'Prometheus Bound
List of tables Preface 1. The problem 2. External evidence 3. The lyric metres 4. The recitative Anapaests 5. The Iambic trimeters 6. Structure and dramatic technique 7. Staging 8. Vocabulary 9. Style and syntax 10. Alternatives to Aeschylean authorship Appendixes Notes Bibliography Subject index Index of Greek words discussed Index of passages cited
The Stagecraft of Aeschylus: The Dramatic Use of Exits and Entrances in Greek Tragedy
What Does Aeneas Look like?
Poetic language and the Paris Psalter: The decay of the Old English tradition
The metrical version of psalms LI–CL, known as the Paris Psalter, is a pedestrian and unimaginative piece of poetic translation. It is rarely read by students of Old English, and most Anglo-Saxonists make only passing reference to it. There is scarcely any literary criticism written on the text, although some work has been done on its vocabulary and metre. I hope to show in this article, however, that its stylistic peculiarities mark an important…
Recording of deaths in hospital information systems: Implications for audit and outcome studies
STUDY OBJECTIVE--The aim was to report on the extent to which death certificates which specify that death occurred in hospital can be matched and linked with routine hospital inpatient information systems. DESIGN--The study involved linkage of hospital records which specified that death occurred in hospital to corresponding death certificates; and linkage of death certificates which specified that death occurred in hospital to corresponding hospi…
Convention and originality in the Old English ‘beasts of battle’ typescene
The main part of this paper will deal with the typescene of the beasts of battle, and will describe its content and use as rigorously as possible in formulaic terms. In particular, the relationship between the conventional and the original will be examined in order to show that the scene is more traditional than has been thought and that many of the variations occur within conventional parameters. The term ‘typescene’ has been used with too much …
Some difficulties in Beowulf , lines 874–902: Sigemund reconsidered
The episode of Beowulf's fight with Grendel is followed almost immediately by brief accounts of two very different heroic careers – those of Sigemund and of Heremod – sung by a minstrel-thegn of Hrothgar, apparently in praise of the hero, as the celebrating Danes race their horses back from Grendel's mere. This narrative sequence invites us to contextualize Beowulf's first great exploit in a broader frame, but the poet does not make explicit the …
The king and eye: The rule of the father in Greek tragedy
Athenian tragedy is a ‘representation of élite practice ...’, focusing primarily on the actions of ‘people superior to us’ in their moral and social station. Although it is debatable exactly what Aristotle means by σπουδαῖος in the context of a tragic plot, and to what degree his theory of tragedy is wedded to a belief in the social, as well as ethical, ‘superiority’ of the leading characters, there is no denying the obvious fact that the survivi…
Ælfric's Preface to Genesis: Genre, rhetoric and the origins of the ars dictaminis
The preface by Ælfric occurs in complete form in two manuscripts and in part in a third. Oxford, Bodleian Library, Laud Miscellany 509 (s. xi 2 ) contains the preface (fols. 1–3, headed with the words Incipit prefatio genesis anglice ), together with the Old English Hexateuch (fols. 3–107) and Ælfric's selections from Judges (fols. 108–15). Cambridge, University Library, Ii. 1. 33 (s. xii 2 ) has the preface, without tide, followed by Ælfric's pa…
Public and Private in Early Greek Institutions of Education
This chapter begins with a brief consideration of those trainings that fall clearly into the category of i.e. crafts and skills handed down and taught within the family or professional association, and not subject to the collective concern of the community. It examines certain areas in which the training of young men and women was unequivocally subject to the rules and requirements of the polis at large primarily civic choruses and the military. …
Sophocles: Antigone
Satyr Drama: Tragedy at Play
Verses quite like cwen to gebeddan in The Metres of Boethius
The metrical grammar of Beo 665a cwen to gebeddan is, for that poem, strikingly irregular: the verse is of Sievers Type A with a preposition and prefix in the first dip and yet displays single - rather than the expected double - alliteration. The Metres of Boethius, a text whose metrical grammar (unlike that of Beowulf ) generates a number of similar examples of this licence, allows a better understanding of the structure and rhetoric of the Beow…
Sophocles’ Satyr-Plays and the Language of Romance
Horsepower and Donkeywork: Equids and the Ancient Greek Imagination
Horsepower and Donkeywork: Equids and the Ancient Greek Imagination. Part Two
‘Telling the tale’: A performing tradition from Homer to pantomime
Greek and Latin literature and drama have been central and formative components of the Western cultural tradition ever since the Middle Ages; and modern conceptions of theatre in general, as of 'tragedy' and 'comedy' as particular dramatic forms, are indelibly shaped by the specific performance modes that evolved during the sixth to the fourth centuries BC in Athens and during the third to the first centuries BC in Rome. The surviving Greek texts…
The Cambridge Companion to Greek and Roman Theatre
This series of essays by prominent academics and practitioners investigates in detail the history of performance in the classical Greek and Roman world. Beginning with the earliest examples of 'dramatic' presentation in the epic cycles and reaching through to the latter days of the Roman Empire and beyond, this 2007 Companion covers many aspects of these broad presentational societies. Dramatic performances that are text-based form only one part …
Greek lyric and the place of humans in the world
Introduction: Human wisdom and poetic expertise Greek lyric poetry was, among other things, a form of communication about the world that its authors and audiences lived in. It was also often an intervention into that world, with intended effects or functions. That is to say, not only does Greek elegiac, iambic, choral and monodic poetry offer explanations, speculations and justifications - or sometimes complaints - about the nature of human exist…
The Cambridge Companion to Greek Lyric
Greek lyric poetry encompassed a wide range of types of poem, from elegy to iambos and dithyramb to epinician. It particularly flourished in the Archaic and Classical periods, and some of its practitioners, such as Sappho and Pindar, had significant cultural influence in subsequent centuries down to the present day. This Companion provides an accessible introduction to this fascinating and diverse body of poetry and its later reception. It takes …
Writing the Map of Anglo-Saxon England: Essays in Cultural Geography
Extended families, marriage, and inter‐city relations in (later) Athenian tragedy
The register of divine speech in Genesis A
The article argues from an empirical study of the alliterative and metrical characteristics of the speeches of Genesis A that the poet made a concerted attempt to differentiate between the spoken language of God and that of mortal speakers. In particular the analysis shows that divine language is highly patterned, alliteratively ornate and unusually hypermetric. The most extreme effects are generated by the genres of benediction and malediction. …
Cretan Harmonies and Universal Morals: Early Music and Migrations of Wisdom in Plato’s Laws
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.
Art (28 works) · Literature (25 works) · Classical Antiquity Studies (20 works) · History (18 works) · Philosophy (18 works) · Philosophy (14 works) · Linguistics (10 works) · Poetry (10 works) · History (9 works) · Linguistics and language evolution (8 works)