Dana Ferrin Sutton
Biographic Data
| ID | 5627717 |
|---|---|
| NAME | Dana Ferrin Sutton |
| GIVEN NAMES | Dana Ferrin |
| FAMILY NAME | Sutton |
| SIGNATURE | SUTTON D F |
| AFFILIATIONS | University of California, Irvine |
| VERIFIED | No |
| TOTAL WORKS | 31 |
| TOTAL CITATIONS | 79 |
| AUTHOR COUNT | 31 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1974 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 4 |
Cambridge Drama in the Late Tudor and Early Stuart Periods
Oxford Drama in the Late Tudor and Early Stuart Periods
The Theatrical Families of Athens
Conclusion
Dramatic Time
The Actors
Use of the Two-Building “Set” in the Medea
Preliminary Material
Index Locorum
The Plays
The Chorus
Scenic Features
Artificial Blood in the Roman theater
Use of Dramatic Space and the Scaenae Frons
Scenic Effects
The Lost Sophocles
Seneca on the stage
In the absence of the stage directions employed by their modern equivalents, ancient playwrights were obliged to ''encode'' information into their texts that can be described as implicit stage directions. It is the presence of such information that permits modern ''production criticism,'' intended to determine how ancient plays were meant to be staged. Since the early nineteenth century, it has been debated whether Seneca's tragedies were or were…
The Lost Sophocles
The Lost Sophocles
Aeschylus’ Proteus
Seneca's Hercules Furens: One Chorus or Two
Pollux on Special Masks
L'article commente, tant au point de vue littéraire qu'au point de vue archéologique, la description de masques tragiques spéciaux que l'on trouve dans Pollux, Onomasticon, 141-142. Il semble que, contrairement à ce qui est perceptible, chez Pollux, pour d'autres séries de masques comiques et tragiques, le passage en question ne se fonde pas sur une connaissance réelle des masques utilisés au théâtre
The Dramaturgy of the Octavia
A Modest Proposal
Critias and Atheism
One of the best-known fragments of a lost Greek drama is Critias' fr. 43F19 Snell, an extended rhesis from the play Sisyphus in which the protagonist narrates how once upon a time human life was squalid, brutal, and anarchistic; as a remedy men devised Law and Justice; this expedient served to check open wrongdoing but did not hinder secret crimes; then some very clever man hit upon the idea of inventing gods and the notion of divine retribution;…
Seneca on the stage
In the absence of the stage directions employed by their modern equivalents, ancient playwrights were obliged to ''encode'' information into their texts that can be described as implicit stage directions. It is the presence of such information that permits modern ''production criticism,'' intended to determine how ancient plays were meant to be staged. Since the early nineteenth century, it has been debated whether Seneca's tragedies were or were…
The Theatrical Families of Athens
The Comic Theatre of Greece and Rome
Critias and Atheism
One of the best-known fragments of a lost Greek drama is Critias' fr. 43F19 Snell, an extended rhesis from the play Sisyphus in which the protagonist narrates how once upon a time human life was squalid, brutal, and anarchistic; as a remedy men devised Law and Justice; this expedient served to check open wrongdoing but did not hinder secret crimes; then some very clever man hit upon the idea of inventing gods and the notion of divine retribution;…
The Lost Sophocles
Father Silenus: Actor or Coryphaeus
During the entire period of the creative activity of Aeschylus, Sophocles, and Euripides, tragic playwrights were required to enter the dramatic competition at the Dionysia with tetralogies consisting of three tragedies followed by a satyr play. This last was a comparatively short mythological travesty, a , 2 that received its name because its chorus is invariably composed of satyrs:3 comical half-men, half-beasts who regularly embody a wide rang…
Ancient Greek Literature and Society
The Greek Origins of the Cacus Myth
The myth of Hercules and Cacus is related by several Augustan writers: Vergil, Aeneid 8.185–275, Livy 1.7.3, Ovid, Fasti 1.543–86 and 5.643–52, Propertius 4.9.1–20, and Dionysius of Halicarnassus, Roman Antiquities 1.39. These accounts fall naturally into two classes, in which Cacus is represented respectively as a clever rascal and as a superhuman ogre. The former version is found in Livy and Dionysius, and the latter occurs first in Vergil, and…
Handlungsverlauf und Komik in den frühen Komödien des Aristophanes
The Comic Theatre of Greece and Rome
The Classical World Bibliography of Greek Drama and Poetry
Critias and Atheism
One of the best-known fragments of a lost Greek drama is Critias' fr. 43F19 Snell, an extended rhesis from the play Sisyphus in which the protagonist narrates how once upon a time human life was squalid, brutal, and anarchistic; as a remedy men devised Law and Justice; this expedient served to check open wrongdoing but did not hinder secret crimes; then some very clever man hit upon the idea of inventing gods and the notion of divine retribution;…
A Modest Proposal
The Lost Sophocles
Aeschylus’ Proteus
Seneca's Hercules Furens: One Chorus or Two
Pollux on Special Masks
L'article commente, tant au point de vue littéraire qu'au point de vue archéologique, la description de masques tragiques spéciaux que l'on trouve dans Pollux, Onomasticon, 141-142. Il semble que, contrairement à ce qui est perceptible, chez Pollux, pour d'autres séries de masques comiques et tragiques, le passage en question ne se fonde pas sur une connaissance réelle des masques utilisés au théâtre
The Dramaturgy of the Octavia
The Lost Sophocles
Conclusion
Dramatic Time
The Actors
Use of the Two-Building “Set” in the Medea
Preliminary Material
Index Locorum
The Plays
The Chorus
Scenic Features
Artificial Blood in the Roman theater
Use of Dramatic Space and the Scaenae Frons
Art (21 works) · Classical Antiquity Studies (20 works) · History (16 works) · Literature (14 works) · History (10 works) · Philosophy (8 works) · Computer Science (7 works) · Drama (7 works) · Philosophy (7 works) · Historical, Religious, and Philosophical Studies (4 works)