
	Where results make sense

Topic: Thesmophoriazousae

Related Topics

Peace (play)

Greek drama

Aristophanes

Euripides

History of Ancient Greece

Ancient Athens

History of theater

Greek theatre

In the News (Mon 21 Dec 09)

Northern Trust

Marvin Harrison

Peter Chernin

Gary Locke

Match Play

Penelope Cruz

Mickey Rourke

AR Rahman

Danny Boyle

Hugh Jackman

	Greek 202 Syllabus
		Special exercises for the Thesmophoriazousae are to be handed in as noted below.
		Write down every participle and identify its form by tense, voice, case, and number in lines 51-100 of the Thesmophoriazousae.
		Write down the demonstrative and interrogative pronouns or adjectives (mark the adjectives with an asterisk) in Thesmophoriazousae 181- 220.
	www.uvm.edu /~classics/ambrose/grk202.html (485 words)

	Bryn Mawr Classical Review 98.5.07
		These are paired as discussions of what prove to be crucial sites for the operation of opposing feminine and masculine constructions: the woman's body as her story; the boy's self-hood as his.
		The closing theoretical essays, "Playing the Other," and "Travesties of Gender and Genre in Aristophanes' Thesmophoriazousae," remind us of Plato's characterization of mimesis as unnatural and deceptive, and Zeitlin's association of tragedy and the feminine gives another clear model for why Plato would be so antagonistic to tragic drama (371).
		Zeitlin's final essay restates her arguments for equating the feminine with mimesis using the romances of Euripides as well as the Thesmophoriazousae.
	ccat.sas.upenn.edu /bmcr/1998/98.5.07.html (2200 words)

	zeitlin (Site not responding. Last check: 2007-10-15)
		Excerpt from "Travesties of Gender and Genre in Aristophanes' Thesmophoriazousae", by Froma I. Zeitlin
		The Thesmophoriazousae, however, resituates the battle of the sexes in another domainÑthat of aesthetics, and, more precisely, that of theatre itself.
		Archiving, redistribution, or reduplication of this text in other terms, in any medium, requires both the consent of the authors and the University of Chicago Press.
	www.uchicago.edu /research/jnl-crit-inq/issues/v8/v8n2.zeitlin.html (254 words)

	The hypocritical self: Actors, acting, and identity in Greek and Roman culture
		Actors were often viewed as capable of deliberately fabricating or falsifying their identities.
		Chapter 1 treats the fifth-century tragedian Agathon as a figure for the actor, reading his depictions in Plato's Symposium and Aristophanes' Thesmophoriazousae as evidence of the anxieties that the self-fashioning, gender-transgressing actor could arouse in Classical Athens.
		Chapter 2 looks at the construction of the rivalry between the orators Aeschines and Demosthenes as a contest between a dissembling former actor and a sincere patriot.
	repository.upenn.edu /dissertations/AAI9965471 (257 words)

	Euripides - Crystalinks
		He was a frequent target of Aristophanes' humor.
		He appears as a character in The Acharnians, Thesmophoriazousae, and most memorably in The Frogs, where Dionysus travels to Hades to bring Euripides back from the dead.
		After a competition of poetry, Dionysus opts to bring Aeschylus instead.
	www.crystalinks.com /euripides.html (553 words)

	History of the Umbrella (Site not responding. Last check: 2007-10-15)
		On the tomb was the figure of a woman, "and by her stood a female slave, bearing a parasol".
		Aristophanes seems to mention it among the common articles of female use (Thesmophoriazousae 821).
		For a man to carry one was considered a mark of effeminacy (Anacreon, Athenaeus, lib.
	www.juiceenewsdaily.com /0405/entertainment/history_umbrella.html (2352 words)

	The New York Review of Books: The Bad Boy of Athens
		Or at least they did in one playwright's fantasy.
		In that year, the comic dramatist Aristophanes staged his Thesmophoriazousae.
		Desperate to know what they're saying about him, and eager to have someone speak up on his behalf—something no real woman would do—Euripides persuades an aged kinsman, Mnesilochus, to attend the festival in drag, spy on the proceedings, and, if necessary, speak in the poet's defense.
	www.nybooks.com /articles/16057 (3658 words)

	Didaskalia (Site not responding. Last check: 2007-10-15)
		However the Thesmophoria was missing from its themes, as the chorus functioned more as a bringer of comic ideas and characters and not as the dominant element of ancient drama.
		Thymeli "Epidavria 2003 - Thesmophoriazousae with Theatrike Diadromi" Rizospastes 3 September 2003
		Tsianos as a translator, using as his model (sadly) Maria Pentayiotissa, turned [the play] into a comic idyll with badly done fifteen-syllable verses.
	www.didaskalia.net /reviews/2003/2003_07_11_01.html (953 words)

	Critical Inquiry.Volume8.Number2 (via CobWeb/3.1 planetlab2.isi.jhu.edu) (Site not responding. Last check: 2007-10-15)
		Nina Auerbach: "Magi and Maidens: The Romance of the Victorian Freud"
		Froma I. Zeitlin: "Travesties of Gender and Genre in Aristophanes' 'Thesmophoriazousae'"
		Anette Kolodny: "Turning the Lens on 'The Panther Captivity': A Feminist Exercise in Practical Criticism"
	www.uchicago.edu.cob-web.org:8888 /research/jnl-crit-inq/issues/v8/v8n2.html (105 words)

Try your search on: Qwika (all wikis)