dithyramb


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Related to dithyramb: Dionysus, Thespis
  • noun

Words related to dithyramb

a wildly enthusiastic speech or piece of writing

(ancient Greece) a passionate hymn (usually in honor of Dionysus)

References in periodicals archive ?
Dionysian song was represented by dithyrambs, a large-scale song type performed by about fifty men and boys and accompanied by an aulos.
New ideas, anticipating the arrival of Romanticism, appeared only in the cycles for which Tomasek used terms borrowed from Ancient Greek poetry: eclogues, rhapsodies and dithyrambs.
9) Edward Stankiewicz, "The Dithyramb to the Verb in the Eighteenth and Nineteenth Century Linguistics," in Studies in the History of Linguistics, Traditions and Paradigms, ed.
We would like in this way to recall the rural and Dionysian origins of drama, the nativity of tragedy from the dithyramb, the creative impulse of earthly energies with the return of spring.
Early in the last century, they could be counted on to yield a fairly regular harvest of half a dithyramb of Pindar, a scene from Sophocles, a mime by Herodas.
And just how little Lacan's poetic "polyphony" has to do with what we usually think of as the "music" of verse is suggested by Lacan's own dithyramb on the anagrams "arbre" and "barre.
Graham selected the American composer Aaron Copland, who a decade earlier had provided her with a dissonant, modernist score for her solo Dithyramb.
The fact that Hypermestra, unlike the test of the Danaids, refrains from killing her husband may be compared to the individuation acquired by the leader of the dithyramb from the test of the chorus.
The last essay in this section (and in the book) is a dithyramb on the charms of Professor Derrida.
Kushner's modest memories and Sobchak's dithyramb define two extremes, toward one or the other of which almost all Petersburgian tributes over the summer tended: either the unwieldy magnitude of the marble, burdened further by its very Roman bas-relief of Brodsky's silhouette, or the memories of childhood friends; either what he has become, posthumously, or what he used to be.
In his play The Dithyramb of the Rose (1932), as well as in his other Messianic plays, including Sibyl (1940), Daedalus in Crete (1943), and Christ in Rome (1946), Sikelianos constructs an alternative reality with its own dynamics and ontological imperatives, while Kazantzakis pits his heroes against the fundamental realities of the human condition.
Not the kinds of dithyrambs we find in his Cahiers articles, where critics held forth mainly about films they loved.