Lyndsay Coo
Dados Biográficos
| ID | 5634608 |
|---|---|
| NOME | Lyndsay Coo |
| PRENOMES | Lyndsay |
| SOBRENOME | Coo |
| ASSINATURA | COO L |
| AFILIAÇÕES | University of Bristol |
| ORCID | 0000-0002-7626-7516 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 8 |
| TOTAL DE CITAÇÕES | 5 |
| TOTAL COMO AUTOR | 7 |
| TOTAL COMO EDITOR | 1 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2013 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2024 |
| ÍNDICE H | 1 |
Texts and Intertexts in Archaic and Classical Greece
Encompassing the period from the earliest archaic epics down through classical Athenian drama, this is the first concerted, step-by-step examination of the development of allusive poetics in the early Greek world. Recent decades have seen a marked rise in intertextual approaches to early Greek literature; as scholars increasingly agree on the need to read these texts in a comparative way, this only makes all the more urgent the question of how be…
A Judgment of Parodies? ‘Momus’ on a Black-Figure Hydria in Chicago
A Judgment of Paris scene on a black-figure hydria of ca. 510–500 bc includes a mysterious winged man among its characters. In 1980, Erika Simon identified the figure as Momus, which would make this the only plausible example of the god's depiction to survive in ancient art. This article re-examines Simon's argument through both a reconsideration of the ancient literary sources for Momus and a new visual analysis of the scene on the hydria. By dr…
Sappho in Fifth- and Fourth-Century Greek Literature
Chapter 19 of The Cambridge Companion to Sappho takes the narrative into the culture of fifth and fourth-centry Greece, showing Sappho’s immense and varied significance, made e.g. into a typical figure of fun on the comic stage, but also Plato’s praeceptor amoris in the Phaedrus.
Greek Tragedy and the Theatre of Sisterhood
This chapter draws attention to a familial relationship that has been treated as all but invisible: that between sisters. Although we find examples of this bond in our surviving tragedies, it has long been overshadowed by a focus on male/female relations. This discussion, prompted by the recent productive debate between the fields of classics and political theory over the sisterhood of Antigone, employs close readings of Sophocles’ Tereus and Eur…
Female Characters in Fragmentary Greek Tragedy
How were women represented in Greek tragedy? This question lies at the heart of much modern scholarship on ancient drama, yet it has typically been approached using evidence drawn only from the thirty-two tragedies that survive complete - neglecting tragic fragments, especially those recently discovered and often very substantial fragmentary papyri from plays that had been thought lost. Drawing on the latest research on both gender in tragedy and…
Introduction
For a fifth-century Athenian who regularly attended the tragic productions mounted at the City Dionysia each spring, there will have been few theatrical roles more familiar than that of the satyr chorus. Whatever identities the chorus may have assumed in the preceding three tragedies, the end of the day would find these citizen-performers transformed into satyrs—the mythical creatures, half-horse, half-man, who served and celebrated Dionysus and …
Satyric Nostalgia in the Aeschylean Tetralogy
This article examines the role of the satyr play in what appears to have been the distinctly Aeschylean form of the thematically connected tetralogy. In all known cases, Aeschylus’ satyr plays move backwards in time, dramatizing episodes that occur either before or within the time frame of their accompanying tragedies. I argue that this chronological dislocation means that the ‘happy endings’ of satyr play must be understood in the light of the e…
A Sophoclean Slip
This article examines the fourth‐century ‘Exeter pelike’ (ARV2 1516.80) by the Jena Painter, situating it within the wider debate over the relationship between vase‐painting and tragic text and performance. The front side depicts the meeting of Orestes and Electra at Agamemnon's tomb, and is commonly interpreted as relating closely to Aeschylus’Choephori. However, a widely‐missed inscription ‘Ism[ene]’ must be an error on the part of the painter …
A Sophoclean Slip
This article examines the fourth‐century ‘Exeter pelike’ (ARV2 1516.80) by the Jena Painter, situating it within the wider debate over the relationship between vase‐painting and tragic text and performance. The front side depicts the meeting of Orestes and Electra at Agamemnon's tomb, and is commonly interpreted as relating closely to Aeschylus’Choephori. However, a widely‐missed inscription ‘Ism[ene]’ must be an error on the part of the painter …
A Sophoclean Slip
This article examines the fourth‐century ‘Exeter pelike’ (ARV2 1516.80) by the Jena Painter, situating it within the wider debate over the relationship between vase‐painting and tragic text and performance. The front side depicts the meeting of Orestes and Electra at Agamemnon's tomb, and is commonly interpreted as relating closely to Aeschylus’Choephori. However, a widely‐missed inscription ‘Ism[ene]’ must be an error on the part of the painter …
Introduction
For a fifth-century Athenian who regularly attended the tragic productions mounted at the City Dionysia each spring, there will have been few theatrical roles more familiar than that of the satyr chorus. Whatever identities the chorus may have assumed in the preceding three tragedies, the end of the day would find these citizen-performers transformed into satyrs—the mythical creatures, half-horse, half-man, who served and celebrated Dionysus and …
Satyric Nostalgia in the Aeschylean Tetralogy
This article examines the role of the satyr play in what appears to have been the distinctly Aeschylean form of the thematically connected tetralogy. In all known cases, Aeschylus’ satyr plays move backwards in time, dramatizing episodes that occur either before or within the time frame of their accompanying tragedies. I argue that this chronological dislocation means that the ‘happy endings’ of satyr play must be understood in the light of the e…
Greek Tragedy and the Theatre of Sisterhood
This chapter draws attention to a familial relationship that has been treated as all but invisible: that between sisters. Although we find examples of this bond in our surviving tragedies, it has long been overshadowed by a focus on male/female relations. This discussion, prompted by the recent productive debate between the fields of classics and political theory over the sisterhood of Antigone, employs close readings of Sophocles’ Tereus and Eur…
Female Characters in Fragmentary Greek Tragedy
How were women represented in Greek tragedy? This question lies at the heart of much modern scholarship on ancient drama, yet it has typically been approached using evidence drawn only from the thirty-two tragedies that survive complete - neglecting tragic fragments, especially those recently discovered and often very substantial fragmentary papyri from plays that had been thought lost. Drawing on the latest research on both gender in tragedy and…
Sappho in Fifth- and Fourth-Century Greek Literature
Chapter 19 of The Cambridge Companion to Sappho takes the narrative into the culture of fifth and fourth-centry Greece, showing Sappho’s immense and varied significance, made e.g. into a typical figure of fun on the comic stage, but also Plato’s praeceptor amoris in the Phaedrus.
A Judgment of Parodies? ‘Momus’ on a Black-Figure Hydria in Chicago
A Judgment of Paris scene on a black-figure hydria of ca. 510–500 bc includes a mysterious winged man among its characters. In 1980, Erika Simon identified the figure as Momus, which would make this the only plausible example of the god's depiction to survive in ancient art. This article re-examines Simon's argument through both a reconsideration of the ancient literary sources for Momus and a new visual analysis of the scene on the hydria. By dr…
Texts and Intertexts in Archaic and Classical Greece
Encompassing the period from the earliest archaic epics down through classical Athenian drama, this is the first concerted, step-by-step examination of the development of allusive poetics in the early Greek world. Recent decades have seen a marked rise in intertextual approaches to early Greek literature; as scholars increasingly agree on the need to read these texts in a comparative way, this only makes all the more urgent the question of how be…
Art (8 obras) · Classical Antiquity Studies (8 obras) · Literature (8 obras) · History (6 obras) · Historical, Religious, and Philosophical Studies (3 obras) · Aesthetics (2 obras) · Art history (2 obras) · Byzantine Studies and History (2 obras) · Classical philology (2 obras) · Painting (2 obras)