Joe Park Poe
Biographic Data
| ID | 5634260 |
|---|---|
| NAME | Joe Park Poe |
| GIVEN NAMES | Joe Park |
| FAMILY NAME | Poe |
| SIGNATURE | POE J P |
| AFFILIATIONS | 1Department of Classical Studies, Tulane University, New Orleans, Louisiana, USA;, Email: [email protected] |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 30 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1963 |
| LATEST PUBLICATION YEAR | 2009 |
| H-INDEX | 3 |
Description of Action in the Narratives of Euripidean and Sophoclean Tragedy
Drama and narrative share basic constituents, such as a chronological series of actions, their agents, and a setting in time and place. Narrative, moreover, often makes use of dialogue, while dramatic dialogue is hardly conceivable without narrative. Recognition of this kinship has encouraged the notion that narrative and dialogue are naturally complementary, so that when a story is told in tragic dialogue, for instance, the dramatic illusion is …
Word and Deed
Taking its departure from the generally-accepted opinion that (almost) all important movements and gestures of the actors in Greek tragedy are indicated in the text itself, this essay asks how the generic, and aesthetic, character of tragedy is affected by the verbal communication of so much visual detail. Do the passages that refer to movement advance the dialogue— that is, the dramatic action? If many of them seem to convey much the same inform…
The Supposed Conventional Meanings of Dramatic Masks
The Determination of Episodes in Greek Tragedy
Octavia Praetexta and Its Senecan Model
Heroism and Divine Justice in Sophocles’ Philoctetes
Heroism and Divine Justice in Sophocles' Philoctetes
An Analysis of Seneca's Thyestes
Livy, a History of Rome
The Supposed Conventional Meanings of Dramatic Masks
Word and Deed
Taking its departure from the generally-accepted opinion that (almost) all important movements and gestures of the actors in Greek tragedy are indicated in the text itself, this essay asks how the generic, and aesthetic, character of tragedy is affected by the verbal communication of so much visual detail. Do the passages that refer to movement advance the dialogue— that is, the dramatic action? If many of them seem to convey much the same inform…
An Analysis of Seneca's Thyestes
Octavia Praetexta and Its Senecan Model
Livy, a History of Rome
An Analysis of Seneca's Thyestes
Heroism and Divine Justice in Sophocles’ Philoctetes
Heroism and Divine Justice in Sophocles' Philoctetes
Octavia Praetexta and Its Senecan Model
The Determination of Episodes in Greek Tragedy
The Supposed Conventional Meanings of Dramatic Masks
Word and Deed
Taking its departure from the generally-accepted opinion that (almost) all important movements and gestures of the actors in Greek tragedy are indicated in the text itself, this essay asks how the generic, and aesthetic, character of tragedy is affected by the verbal communication of so much visual detail. Do the passages that refer to movement advance the dialogue— that is, the dramatic action? If many of them seem to convey much the same inform…
Description of Action in the Narratives of Euripidean and Sophoclean Tragedy
Drama and narrative share basic constituents, such as a chronological series of actions, their agents, and a setting in time and place. Narrative, moreover, often makes use of dialogue, while dramatic dialogue is hardly conceivable without narrative. Recognition of this kinship has encouraged the notion that narrative and dialogue are naturally complementary, so that when a story is told in tragic dialogue, for instance, the dramatic illusion is …
Art (8 works) · Classical Antiquity Studies (7 works) · Literature (6 works) · History (5 works) · History (4 works) · Philosophy (4 works) · Law (3 works) · Philosophy (3 works) · Political science (3 works) · Tragedy (event (3 works)