tragedy

Since its inception, Theater of War has delivered more than three hundred dramatic readings of Greek tragedies to military and civilian audiences.

Yang's [TEXT NOT REPRODUCIBLE IN ASCII] (Prometheus Bound) was the first complete attempt to translate ancient Greek tragedies to Chinese.

If the region can hunker down (maybe behind China) and avoid the Greek tragedy in the Euro zone (let's face it how many people watch Greek tragedies?) then this optimism can become an inkling, that inkling can grow to a feeling, from a feeling we may lurch to profiting...

Individuals already familiar with this background material might be tempted to skip over this first chapter, but I would discourage them from doing so because it sets the stage for later consideration of the various plays by pointing out the way that the Greek tragedies problematize "important issues like war, feminism, and religion," and how the plays can serve as commentary on the contemporary world.

By contrast, Debra Caplan's essay emphasizes the very adaptability of the Greek tragedies themselves to particular--and, in this case, Jewish--literary expectations and sociocultural and religious values.

It's a fine introduction to The Iliad and the Greek tragedies. Readers who love horse stories will enjoy the closeness between the women warriors and their horses.

Through comparisons with the classical Greek tragedies, Brant sheds light on the unique Johannine presentation of Jesus.

By contrast, one doesn't run into this problem with, say, the ancient Greek tragedies. Even though the original audiences were as familiar with the mythic material as modern American moviegoers are with the Gospels, the tragedians took the time and trouble to first establish character and setting (even to the point of narratively reviewing the relevant preceding events from the larger storyline and genealogies) before launching into the main conflict.

The stars finally catch on to our geek-or-goddess slot and start dressing the goddess part - or else looking like Greek tragedies...

She said that "blood memories" of the stories told in Greek tragedies are in the inner fibers of people living now; she reached into her own body and drew them out--sometimes with great pain.

It is obvious that Miola doesn't have small Latin and less Greek, as Jonson insolently claimed for Shakespeare, which somewhat skews the argument, since it is hard for Miola even to imagine that Shakespeare was not really fluent in Seneca's Latin text and in the Greek tragedies that lie behind it, especially Euripides.