Laura Gianvittorio-Ungar
Biographic Data
| ID | 5899818 |
|---|---|
| NAME | Laura Gianvittorio-Ungar |
| GIVEN NAMES | Laura |
| FAMILY NAME | Gianvittorio-Ungar |
| SIGNATURE | GIANVITTORIO-UNGAR L |
| AFFILIATIONS | University of Vienna |
| ORCID | 0000-0002-7249-0956 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Static Actors, Silent Singers
Aeschylean actors could be silent and motionless on the stage for a notoriously long time. My paper reconsiders this curious phenomenon from two mutually related angles. First, it enquires into how spectacles of inactivity had to affect the overall musical and movement design of the plays in which they were originally embedded. Building on these findings, the paper then historicises how the iconic scenes quickly entered the theatrical repertoire …
Narratives in Motion
The purpose of the symposium “Narratives in Motion. The Art of Dancing Stories in Antiquity and Beyond” was to make original contributions to the thriving field of study on ancient Greek and Roman dance by tackling this issue from an angle which is both specific in that it narrows down the focus on dance narrativity across different performance genres, and inclusive in that it encompasses transcultural, transhistorical and practice-based approach…
Dancing the War Report in Aeschylus’ Seven against Thebes
This chapter reconsiders in its theatrical and narrative-related implications a testimony by Athenaeus (1,22 A), according to whom, at some point in Seven against Thebes , a dancer called Telestes danced the events so skilfully as to make them manifest. Departing from previous views on the subject, the chapter argues that, in Seven , the most suitable moment for Telestes’ dance to take place was not during the spoken lines of the Redepaare but du…
Sprechen und Verstehen bei Heraklit und Parmenides
Many scholars explain the epistemological value of Heraclitus’ λόγος by interpreting it as a rational or mathematical pattern, whose translations refer to the related semantic fields: e.g. ‘law of thinking’, ‘proportion’, ‘formula of things’. Such meanings are not safely documented earlier than the philosophical language of the fourth century BC. From Homer until the end of the sixth century BC, λέγειν means basically ‘to collect’ and ‘to tell’, …
Il discorso di Eraclito
Since the “scuola urbinate” (e. g. B. Gentili) applied the oral theory to the Greek lyricists, orality is seen to have influenced thought and language not only of rhapsodists, but of archaic authors in general. Against this background, I investigate how the interaction between orality and literacy, which I suggest to call “aurality”, influences the semantics and the linguistic reasoning chiefly of Heraclitus among the early presocratic thinkers. …
Sprechen und Verstehen bei Heraklit und Parmenides
Many scholars explain the epistemological value of Heraclitus’ λόγος by interpreting it as a rational or mathematical pattern, whose translations refer to the related semantic fields: e.g. ‘law of thinking’, ‘proportion’, ‘formula of things’. Such meanings are not safely documented earlier than the philosophical language of the fourth century BC. From Homer until the end of the sixth century BC, λέγειν means basically ‘to collect’ and ‘to tell’, …
Il discorso di Eraclito
Since the “scuola urbinate” (e. g. B. Gentili) applied the oral theory to the Greek lyricists, orality is seen to have influenced thought and language not only of rhapsodists, but of archaic authors in general. Against this background, I investigate how the interaction between orality and literacy, which I suggest to call “aurality”, influences the semantics and the linguistic reasoning chiefly of Heraclitus among the early presocratic thinkers. …
Sprechen und Verstehen bei Heraklit und Parmenides
Many scholars explain the epistemological value of Heraclitus’ λόγος by interpreting it as a rational or mathematical pattern, whose translations refer to the related semantic fields: e.g. ‘law of thinking’, ‘proportion’, ‘formula of things’. Such meanings are not safely documented earlier than the philosophical language of the fourth century BC. From Homer until the end of the sixth century BC, λέγειν means basically ‘to collect’ and ‘to tell’, …
Dancing the War Report in Aeschylus’ Seven against Thebes
This chapter reconsiders in its theatrical and narrative-related implications a testimony by Athenaeus (1,22 A), according to whom, at some point in Seven against Thebes , a dancer called Telestes danced the events so skilfully as to make them manifest. Departing from previous views on the subject, the chapter argues that, in Seven , the most suitable moment for Telestes’ dance to take place was not during the spoken lines of the Redepaare but du…
Narratives in Motion
The purpose of the symposium “Narratives in Motion. The Art of Dancing Stories in Antiquity and Beyond” was to make original contributions to the thriving field of study on ancient Greek and Roman dance by tackling this issue from an angle which is both specific in that it narrows down the focus on dance narrativity across different performance genres, and inclusive in that it encompasses transcultural, transhistorical and practice-based approach…
Static Actors, Silent Singers
Aeschylean actors could be silent and motionless on the stage for a notoriously long time. My paper reconsiders this curious phenomenon from two mutually related angles. First, it enquires into how spectacles of inactivity had to affect the overall musical and movement design of the plays in which they were originally embedded. Building on these findings, the paper then historicises how the iconic scenes quickly entered the theatrical repertoire …
History (4 works) · Art (3 works) · Classical Antiquity Studies (3 works) · Literature (3 works) · Philosophy (3 works) · Classical Philosophy and Thought (2 works) · Communication (2 works) · Dance (2 works) · Drama (2 works) · Epistemology (2 works)