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The choruses of Sophokles' Antigone and Philoktetes : a dance of words /
"Dance of Words" argues for a fundamental difference in the modes of expression of actor and chorus. The chorus views the action from the perspective of dancers and singers, while the actors' understanding is shaped by the responsibility they have to make things happen. While this res...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Leiden ; Boston :
Brill,
2008.
|
| Colección: | Mnemosyne, bibliotheca classica Batava. Supplementum ;
v. 292. |
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Kitzinger, Rachel, |d 1948- |e author. |1 https://id.oclc.org/worldcat/entity/E39PBJtH6xDjFKKHXTQg6RKjmd | |
| 245 | 1 | 4 | |a The choruses of Sophokles' Antigone and Philoktetes : |b a dance of words / |c by Margaret Rachel Kitzinger. |
| 264 | 1 | |a Leiden ; |a Boston : |b Brill, |c 2008. | |
| 300 | |a 1 online resource (146 pages) | ||
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| 490 | 1 | |a Mnemosyne. Supplementa ; |v volume 292 | |
| 504 | |a Includes bibliographical references (pages 139-142) and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Chapter One Antigone; 1. The Parodos: From March to Dance; 2. The Ordering of Ambiguity; 3. The Consequence of Action and the Sequence of the Dance; 4. Hymn to Eros: The Appeal of the Divine; 5. A Lyric Dialogue: Challenge and Response; 6. Fractured Narrative and the Song of Fate; 7. Dionysos After All; Chapter Two Philoktetes; 1. The Parodos: A Divided World; 2. The Song of Lies; 3. The Solo Song; 4. A Hymn to Healing Sleep?; 5. The Kommos: (Dis)embodied Voices; Epilogue. | |
| 520 | |a "Dance of Words" argues for a fundamental difference in the modes of expression of actor and chorus. The chorus views the action from the perspective of dancers and singers, while the actors' understanding is shaped by the responsibility they have to make things happen. While this responsibility fashions the actors' considerations of cause and effect, linear movement through time and space, and a sense of history, the chorus' sensibilities arise out of the rhythms of its song and movements. Its mode of expression is a particular way of communicating and elaborating on man's place in. | ||
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| 600 | 0 | 0 | |a Sophocles. |t Antigone. |
| 600 | 0 | 0 | |a Sophocles. |t Philoctetes. |
| 630 | 0 | 7 | |a Antigone (Sophocles) |2 fast |
| 630 | 0 | 7 | |a Philoctetes (Sophocles) |2 fast |
| 630 | 0 | 7 | |a Antigone |2 gnd |
| 600 | 0 | 7 | |a Sophokles; Antigonē. |2 idszbz |
| 600 | 0 | 7 | |a Sophokles; Philoktētēs. |2 idszbz |
| 600 | 1 | 7 | |a Sophocles. |2 swd |
| 630 | 0 | 7 | |a Philoctetes. |2 swd |
| 650 | 0 | |a Drama |x Chorus (Greek drama) | |
| 650 | 6 | |a Théâtre (Genre littéraire) |x Chœur de théâtre grec. | |
| 650 | 7 | |a LITERARY CRITICISM |x Ancient & Classical. |2 bisacsh | |
| 650 | 7 | |a Drama |x Chorus (Greek drama) |2 fast | |
| 650 | 7 | |a Chor. |2 idszbz | |
| 650 | 0 | 7 | |a Chor. |2 swd |
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| 830 | 0 | |a Mnemosyne, bibliotheca classica Batava. |p Supplementum ; |v v. 292. | |
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