El texto escénico de "Las Bacantes" de Eurípides (Cuadernos del Centro de Estudios Clásicos) (Spanish Edition)

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9789683640543: El texto escénico de "Las Bacantes" de Eurípides (Cuadernos del Centro de Estudios Clásicos) (Spanish Edition)
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Text: Spanish (translation)
Original Language: Greek

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1.

CHUAQUI, Carmen,
ISBN 10: 9683640540 ISBN 13: 9789683640543
Used Quantity Available: 1
Seller:
Scrinium Classical Antiquity
(Aalten, Netherlands)
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Book Description Condition: Antiquarian. Universidad Nacional Autónoma de México, México, 1994. 253p. ills.(B&W photographs). Paperback. Upper corner front cover and first pages till p.37 slightly creased or dog's eared. Series: Cuadernos del Centro de Estudios Clásicos, 36. (Rare). This book 'will be of interest not only to professional classicists but also to those who are fond of classical tragedy and comedy, and, in particular, to theatre critics, theatre aficionados and music students. Although the text was written with the undergraduate in mind, they supply adept analyses for the scholar and the more advanced student. The author provides impressive and thorough cultural, literary, mythological, historical, musical and dramatic contexts (?.). [The book] consists of a prologue, five chapters, twelve vase illustrations, a translation of the ?Bacchae?, a chronology of the development of performances at different festivals (dating from 534 to 150 BC), a chronology of principal authors and musicians, a glossary divided into terms on the structure of tragedy, the architecture of the ancient theatre, actors and theatrical cues and directions, wardrobe, music and instruments, and dance and mime. The book concludes with a bibliography. In the prologue the objective of the book is made clear: a ?virtual? reconstruction of the play will be attempted in order to be able to produce it on stage (p.11). In the fist chapter, ?La dramaturgia griega?(pp.15-32), the methodology of Chuaqui?s objective is explicated when she notes that there is a great difference between the literary text and the ?text escénico?, which can be understood best as a semiotic interpretation of the paly. Chuaqui is very careful to stipulate that because the art of interpretation is subjective, the translator has to make some choices. Archaizing or modern? Verse or prose? Literal or free and paraphrased? The prose translation presented is one that has been adapted for the stage emphasizing the signifier and signified. (?) In her epilogue Chuaqui hopes that her translation, which is very good and closely adheres to the ancient Greek, will be considered a ?lecture activa? of the ?Bacchae? I think that her expectation has been fulfilled. The translation is inspiring and should be welcomed by more than just the Mexican reading audience for which this text was intended.? (EDMUND P. CUEVA in Scholia, 2000, 50). From the library of Professor Carl Deroux. Antiquarian. Seller Inventory # 47255

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2.

CHUAQUI, Carmen,
ISBN 10: 9683640540 ISBN 13: 9789683640543
Used Quantity Available: 1
Seller:
Scrinium Classical Antiquity
(Aalten, Netherlands)
Rating
[?]

Book Description Condition: Antiquarian. Universidad Nacional Autónoma de México, México, 1994. 253p. ills.(B&W photographs). Paperback. Series: Cuadernos del Centro de Estudios Clásicos, 36. (Rare). This book 'will be of interest not only to professional classicists but also to those who are fond of classical tragedy and comedy, and, in particular, to theatre critics, theatre aficionados and music students. Although the text was written with the undergraduate in mind, they supply adept analyses for the scholar and the more advanced student. The author provides impressive and thorough cultural, literary, mythological, historical, musical and dramatic contexts (?.). [The book] consists of a prologue, five chapters, twelve vase illustrations, a translation of the ?Bacchae?, a chronology of the development of performances at different festivals (dating from 534 to 150 BC), a chronology of principal authors and musicians, a glossary divided into terms on the structure of tragedy, the architecture of the ancient theatre, actors and theatrical cues and directions, wardrobe, music and instruments, and dance and mime. The book concludes with a bibliography. In the prologue the objective of the book is made clear: a ?virtual? reconstruction of the play will be attempted in order to be able to produce it on stage (p.11). In the fist chapter, ?La dramaturgia griega?(pp.15-32), the methodology of Chuaqui?s objective is explicated when she notes that there is a great difference between the literary text and the ?text escénico?, which can be understood best as a semiotic interpretation of the paly. Chuaqui is very careful to stipulate that because the art of interpretation is subjective, the translator has to make some choices. Archaizing or modern? Verse or prose? Literal or free and paraphrased? The prose translation presented is one that has been adapted for the stage emphasizing the signifier and signified. (?) In her epilogue Chuaqui hopes that her translation, which is very good and closely adheres to the ancient Greek, will be considered a ?lecture activa? of the ?Bacchae? I think that her expectation has been fulfilled. The translation is inspiring and should be welcomed by more than just the Mexican reading audience for which this text was intended.? (EDMUND P. CUEVA in Scholia, 2000, 50). From the library of Professor Carl Deroux. Antiquarian. Seller Inventory # 44147

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3.

CHUAQUI, Carmen,
ISBN 10: 9683640540 ISBN 13: 9789683640543
Used Quantity Available: 1
Seller:
Scrinium Classical Antiquity
(Aalten, Netherlands)
Rating
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Book Description Condition: Antiquarian. Universidad Nacional Autónoma de México, México, 1996. 283p. Paperback. Series: Cuadernos del Centro de Estudios Clásicos, 43. (Rare). In El text escénico de las Ranas de Aristófanes Chuaqui pretty much accomplishes the same for Aristophanes' Frogs as she did for Euripides' Bacchae. Since in this instance we are dealing with a comedy, she gives the reader a translation and contextual setting for the play that will afford 'not only a way of reading the Frogs as a dramatic text, but also of imagining and visualizing it as a libretto for a musical comedy' (p. 10). Kowzan's modified model is also used extensively in this book and the work of Mikhailovich Bakhtin is quoted and referred to in order to vary somewhat the semiotic approach taken in her first book.[[5]] The text comprises a prologue, three chapters, an epilogue, a translation of the play and a bibliography. In the first chapter, 'Las Ranas y el medio ambiente' (pp. 15-73), the author centers on the religious and literary components of comedy: Aristotle and the possible origins of comedy, Doric influence, the information supplied on choral dress by vase paintings (in particular choruses dressed as animals), the differences and similarities between CW=MOJ and W)|DH/ and the likelihood that comedy may have been a type of religious mimesis. Among many other things in a chapter overflowing with detail, there is also an analysis of the traditional structure of comedy (parodos, agon, parabasis, exodos), the variations that Aristophanes makes on this format (i.e. the parabasis before the agon), the life of Aristophanes (what little we know) and a critique of editions and translations of the Frogs. Chuaqui's digression on the troubles with translating a text full of obscenities is worthwhile and is probably the most original part of this chapter, which ends with the author placing the production of the play in historical, political and religious contexts. Chapter Two, 'La risa dionisíaca' (pp. 75-128), is a mélange of different topics ranging from the relationship between comedy and tragedy to paratragedy and paracomedy. The main two subjects, however, are generated from Bakhtin's observations on the carnival and its atmosphere as correlative to Greek comedy and the celebrations held at the dramatic festivals, and F. M. Cornford's ritual-structural approach to the development of Attic comedy.[[6]] The chapter winds up with Chuaqui grappling with the definitions of comedy and humor, which may or may not contain obscenity, sex, double entendres, verbal dexterity and grandiose words and thoughts. Chapter Three, 'Dramaturgia de las Ranas' (pp. 129-71), seeks to answer the question of how to stage a comedy. Depending greatly on the Oliver Taplin's research on tragedy and comedy,[[7]] Chuaqui produces a translation (pp. 187-278) that is meant to be a 'virtual' production -- a text that allows for staging; not that the play would or could be produced (p. 130). Once again employing Kowzan's modified model she analyzes the comedy and departs into a brief but interesting discussion on the sites that these comedies may have been staged.[[8]] The rest of the chapter speculates on the structure of the comedy, the architecture of the theatre, the actors and their numbers and entrances onto the stage and music.(.) Chuaqui has done an admirable and laudable job.' (EDMUND P. CUEVA in Scholia, 2000, no.50). From the library of Professor Carl Deroux. Antiquarian. Seller Inventory # 47301

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