Classics 143A Final ID studyguide.docx

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Mario Telo

CLASSICS 143A FINAL STUDYGUIDE IDS WEEK 4 EPHEBEIA – The military service that young Athenian men needed to perform in order to attain male citizenship. In Sophocles’ Philoctetes, Neoptolemus’ character is used to dramatize and reflect on an ephebe entering manhood. WEEK 5 STICOMYTHIA – Refers to play structure where dialogue is delivered between two characters in alternating lines. Commonly used during an agon and demonstrated in Sophocles’ Antigone. The exchange shows a peak of dramatic conflict and heightened tension. WEEK 6 CHARIS – An act of charity; grace, kindness, or a favor. It can be used to reference the gods’ graces toward men and reciprocal trust or generosity between men (Segal). Friendship depends on charis. In Sophocles’ Oedipus at Colonus the daughters are the only characters who demonstrate charis towards their father. NEW DITHYRAMB – Introduced in the late 5th century due to the increase in number of strings on a lyre. Ushered in an era of lyric solos and musical flourishes. In particular, it influenced Euripides and his use of monody. WEEK 7 LECTURE 1 HIPPOLYTUS KALYPTOMENOS – Original version of Euripides’ Hippolytus play that was debut in the late 430s- ―Hippolytus Veiled.‖ Kalypto refers to ―reveal‖ which alludes to the fact that in the play Phaedra directly propositions Hippolytus to having sex, making her love more shameless and lie more tragic. POTIPHAR MOTIF – A Judeo-Christian tradition where the wife becomes sexually obsessed with a younger man and responds to rejection with persecutory behavior. Example would be Hippolytus and the biblical story of Potiphar and her love for Joseph. WEEK 7 LECTURE 2 ALEXANDER – The first part of Euripides’ Trojan Trilogy where Hecuba dreamed about giving birth to a torch that set fire to the entire world while pregnant with Paris. Once grown, Paris takes part in competitions and defeats all other royal sons. Hecuba is asked in Trojan Women why she did not kill her baby, a reference to Alexander. PALAMEDES – The second part of Euripides’ Trojan Trilogy depicting the internal strife of the Greek camp. Odysseus was pretending to acting possessed to avoid entering Troy, so the clever Palamedes put a baby in front of his ply to expose the fake acting. Odysseus never forgives him and Palamedes is executed WEEK 8 LECTURE 1 AUTOCHTHONY – Acts as a justification to rule over the land and suggests unity between citizens due to having a common origin. Used in Ion to show the peaceful origins of Athens and that the men were not foreign but came from the local area. WEEK 9 LECTURE 1 VERTERE – Translates to ―turn‖ but in English means ―version.‖ Refers to the Roman art of translating and adapting Greek drama into a Latin form. Does not simply mean translating. It is an intertextual appropriation that involves substantial reframing, reworking, and reworking of the Greek original. IMITATIO – One of the three techniques used by Roman tragedy in adapting Greek works. Translates to ―imitation‖. Of the three techniques, this one bears the closest resemblance to direct translation. AEMULATIO – One of three techniques used by Roman tragedy in adapting Greek works. Translates to ―emulation or rivalry‖, where the translated version has been modified in an attempt to outdo the original model COTAMINATIO – One of the three techniques used by Roman tragedy in adapting Greek works. Translates to combination, and refers to the mixing of elements of two more source plays. Plautus is known for using this technique. LIVIUS ADRONICUS – A Greek slave from Tarentum who translated the Odyssey into Latin (Odusia) and produced the first Latin translations of Greek plays on
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