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書目名稱Greek and Roman Drama: Translation and Performance影響因子(影響力)
書目名稱Greek and Roman Drama: Translation and Performance影響因子(影響力)學科排名
書目名稱Greek and Roman Drama: Translation and Performance網(wǎng)絡公開度
書目名稱Greek and Roman Drama: Translation and Performance網(wǎng)絡公開度學科排名
書目名稱Greek and Roman Drama: Translation and Performance被引頻次
書目名稱Greek and Roman Drama: Translation and Performance被引頻次學科排名
書目名稱Greek and Roman Drama: Translation and Performance年度引用
書目名稱Greek and Roman Drama: Translation and Performance年度引用學科排名
書目名稱Greek and Roman Drama: Translation and Performance讀者反饋
書目名稱Greek and Roman Drama: Translation and Performance讀者反饋學科排名
作者: POLYP 時間: 2025-3-22 00:13
https://doi.org/10.1007/978-3-8349-8561-3r (or politics). In the first case we have a museum piece, in the second a relevant examination of the issues made accessible through the total experience of theatre. One is a scholar’s theatre, the other a director’s.作者: 四目在模仿 時間: 2025-3-22 02:04 作者: cringe 時間: 2025-3-22 05:52 作者: 安裝 時間: 2025-3-22 10:32 作者: 燕麥 時間: 2025-3-22 16:57 作者: 燕麥 時間: 2025-3-22 17:05
Horst-Udo Niedenhoff,Peter OrthEveryman Classics series — where my editors have warmly encouraged me to blend what the journal editor had felt to be two separate approaches to staging issues. Obviously, I believe the Everyman editors were right, and the journal editor was wrong. If so, why?作者: EXULT 時間: 2025-3-22 23:51 作者: 輕彈 時間: 2025-3-23 02:19
https://doi.org/10.1007/978-3-322-96325-3hat are among the main visual sources for Greek comic acting style, to conduct practice-based research with reconstructions of the ancient masks, and hence to explore how the extant texts of Menander are written to maximise the expressive resources of mask theatre..作者: 細查 時間: 2025-3-23 07:49 作者: kidney 時間: 2025-3-23 10:16
Performance and dramatic discourse in New Comedyhat are among the main visual sources for Greek comic acting style, to conduct practice-based research with reconstructions of the ancient masks, and hence to explore how the extant texts of Menander are written to maximise the expressive resources of mask theatre..作者: PALL 時間: 2025-3-23 15:02 作者: 很是迷惑 時間: 2025-3-23 21:15 作者: 犬儒主義者 時間: 2025-3-24 01:14 作者: 多產(chǎn)魚 時間: 2025-3-24 05:59 作者: AWRY 時間: 2025-3-24 10:25 作者: 礦石 時間: 2025-3-24 11:22 作者: 協(xié)奏曲 時間: 2025-3-24 15:47 作者: 異端邪說2 時間: 2025-3-24 21:36
Horst-Udo Niedenhoff,Peter Orthn University; encouraged by the chairman, Steven Scully, I submitted it for consideration to a well-known journal of classical literature. The editor’s response was that the paper would need complete rewriting; he felt that it was essential to distinguish between ‘objective’ insights gained from my 作者: 冰河期 時間: 2025-3-25 01:23
Unternehmen und deren Museen in Deutschlandence, is setting out to trick another character, Harpax.. Upon meeting the disguised Pseudolus, Harpax says in an aside to the audience, ‘This man is bad news!’ Pseudolus responds, also in an aside to the audience, ‘The gods are on my side! This guy’s a regular anvil on which I’ll hammer out a heap 作者: 規(guī)范要多 時間: 2025-3-25 05:42 作者: 營養(yǎng) 時間: 2025-3-25 11:06 作者: 過時 時間: 2025-3-25 13:30
H. Korb,A. Borowski,E. R. Vivieenian dramatic festivals in the late fifth century. I wonder how often we teachers of courses in ancient drama have repeated as gospel the conclusion of, for example, Pickard-Cambridge (p.83) that during the Peloponnesian War the number of competitors was reduced from five to three: 作者: 過度 時間: 2025-3-25 19:01
Neue Wege in der Integrationstheoriettle bit like a combination between doing a crossword puzzle and being involved in a séance, if you can imagine such a thing. I mainly translate Plautus and one’s constantly trying to find the right word for the right situation, but also trying to put oneself in a state of mind — for me it’s a deepl作者: linguistics 時間: 2025-3-25 23:51 作者: legacy 時間: 2025-3-26 02:03 作者: Microgram 時間: 2025-3-26 05:16 作者: Juvenile 時間: 2025-3-26 11:00
Translation and performance4 to 7 July 2000. The conference theme, ‘Greek and Roman Drama: Translation and Performance’, was chosen to bring together three related areas of current scholarly interest, performance in the ancient world, translation for the stage, and performance for modern audiences. Speakers included theatre p作者: Pageant 時間: 2025-3-26 14:10
An academic in the rehearsal roomhave a strong interplay with performance. When I started on this kind of study back in the seventies, it was primarily concerned with what one might call the recovery of ‘the’ historical performance. The most that respectable scholarship attempted was to relate the original performance — or rather w作者: NATAL 時間: 2025-3-26 19:58
Oedipus at this point in time: divine will on a secular stage an arcane exercise, comprehensible only to those who have been initiated into the mysteries of a classical education, with a relevance, if it has any at all, beyond ordinary understanding. Or it will be an opportunity to bring the classics up to date, to show how these timeless tales, with a little作者: 懲罰 時間: 2025-3-26 22:19
(Re)inventing Euripides’ Bacchae as hybristic as Pentheus’ own tragic rejection of Dionysus and as fraught with as much danger and as many pitfalls. However, it is a given of people actively involved in the business of translation and direction that each succeeding generation — at the very least — requires a new and contextually a作者: 移動 時間: 2025-3-27 01:15
Performance-based research into Greek draman University; encouraged by the chairman, Steven Scully, I submitted it for consideration to a well-known journal of classical literature. The editor’s response was that the paper would need complete rewriting; he felt that it was essential to distinguish between ‘objective’ insights gained from my 作者: 和平主義 時間: 2025-3-27 08:06 作者: 大笑 時間: 2025-3-27 11:38 作者: overweight 時間: 2025-3-27 17:03
Performance and dramatic discourse in New Comedygraphic evidence is so much more prolific. The project which has recently started at the University of Glasgow will hopefully work to redress this balance, and promote interest in Menander’s plays, as well as their performance. Its aims are to apply 3D imaging technologies to the ancient artefacts t作者: accrete 時間: 2025-3-27 20:07 作者: hermetic 時間: 2025-3-27 22:32
Translation Forumttle bit like a combination between doing a crossword puzzle and being involved in a séance, if you can imagine such a thing. I mainly translate Plautus and one’s constantly trying to find the right word for the right situation, but also trying to put oneself in a state of mind — for me it’s a deepl作者: 爭吵 時間: 2025-3-28 02:40
From Athens to Magna Graecia: Dramatic Visionic, comic and possibly satyric, were exported to Magna Graecia for perform,ance there, in what was a very different dramatic environment.. How those plays were performed in Athens and the impact they had, we can only deduce from the very limited stories that survive and from reconstruction of the pl作者: osteocytes 時間: 2025-3-28 07:49
Greek drama in Rhodesia/Zimbabwen passing, to adaptations of Greek tragedy by the Nigerian Wole Solinka and by the South African Athol Fugard;. Macintosh, in discussing performance in the twentieth century, concentrates (understandably) on Britain, Europe and the USA, mentions Japan and Australia, but makes no reference at all to 作者: Spirometry 時間: 2025-3-28 13:34
Ancient drama in Russia in the 1910s and 1920stion, (ii) ‘fresh glance’, and (iii) mass performance. There were not in fact many productions, and among them, as always, were ones about which not much can be said. This paper highlights some of the important and interesting performances which, taken together, illustrate the three general tendenci作者: Eeg332 時間: 2025-3-28 15:22
An academic in the rehearsal roomtter of realising that all the performances that have happened between the ‘original’ and the present have intrinsic interest, and have significant things to tell us: these many pasts, and not just the one originating past, are worth recording and thinking about. But I do also strongly believe in th作者: 我不死扛 時間: 2025-3-28 19:45 作者: 厭煩 時間: 2025-3-28 23:26
Greek drama in Rhodesia/Zimbabwehowever seem to be any previous study of the performance of Greek plays in Zimbabwe, formerly Rhodesia. This paper is a tentative attempt to correct that omission; it must be stressed that this study is not complete, and its findings not yet definitive.作者: 老人病學 時間: 2025-3-29 05:21
2.0 Das Lerngesetz der Produktion,tter of realising that all the performances that have happened between the ‘original’ and the present have intrinsic interest, and have significant things to tell us: these many pasts, and not just the one originating past, are worth recording and thinking about. But I do also strongly believe in th作者: AVERT 時間: 2025-3-29 10:50
Neue Wege in der Integrationstheoriening and slowing of pace and intensity. And then, once I get that sense of a kind of organic shape, I try to come up with what are equivalent jokes and equivalent levels of diction, trying to be as accurate as I can but bearing in mind that, if I try and follow what seems to work for us in English a作者: 神圣在玷污 時間: 2025-3-29 13:35
Vertriebskonzepte im Firmenkundengesch?fthowever seem to be any previous study of the performance of Greek plays in Zimbabwe, formerly Rhodesia. This paper is a tentative attempt to correct that omission; it must be stressed that this study is not complete, and its findings not yet definitive.作者: Proclaim 時間: 2025-3-29 17:51
Greek and Roman Drama: Translation and Performance作者: Mindfulness 時間: 2025-3-29 22:57 作者: 的闡明 時間: 2025-3-30 03:53 作者: ATRIA 時間: 2025-3-30 07:13 作者: ENACT 時間: 2025-3-30 08:33
https://doi.org/10.1007/978-3-662-54294-1tion, (ii) ‘fresh glance’, and (iii) mass performance. There were not in fact many productions, and among them, as always, were ones about which not much can be said. This paper highlights some of the important and interesting performances which, taken together, illustrate the three general tendencies of the period.作者: fatty-streak 時間: 2025-3-30 13:58 作者: 高射炮 時間: 2025-3-30 18:16 作者: Merited 時間: 2025-3-30 23:36
Ancient drama in Russia in the 1910s and 1920stion, (ii) ‘fresh glance’, and (iii) mass performance. There were not in fact many productions, and among them, as always, were ones about which not much can be said. This paper highlights some of the important and interesting performances which, taken together, illustrate the three general tendencies of the period.
