Papers by Greice Drumond
Cadernos de Letras da UFF, Dec 30, 2023
Heródoto e a invenção do outro Confrontos e conflitos culturais, 2024
O riso no mundo antigo, 2012
Cadernos de Letras da UFF, 2023
Resumo: Glória Onelley relata em detalhe o desenvolvimento da docência e pesquisa em literatura g... more Resumo: Glória Onelley relata em detalhe o desenvolvimento da docência e pesquisa em literatura grega no Rio de Janeiro desde o final da década de 1970, quando o Brasil retomava a abertura política após a ditadura militar instaurada em 1964. A docente de grego esclarece que as suas duas mais recentes traduções, ambas em edição bilíngue autofinanciada, têm como público-alvo alunos e orientandos, com objetivo assumidamente pedagógico. Palavras-chave: Tradução. Literatura antiga. Ensino de grego. História da educação.
Pesquisadores da Antiguidade: a formação de um campo interdisciplinar no Brasil, 2023
A Produção Dramática no Período Helenístico e sua Influência na Literatura Greco‑Latina Posterior, 2023
Reperformance de peças de comédia grega na Antiguidade já era uma
prática existente no século V a... more Reperformance de peças de comédia grega na Antiguidade já era uma
prática existente no século V a. C, seja de forma póstuma, como um modo de honrar seus poetas, seja como experimentação, em que peças passavam por uma revisão para participarem, mais uma fez, das competições dramáticas. No século IV a. C., foi oficializada a reapresentação de peças de comédia a partir de 339 a. C., com
reencenações de produções da fase intermediária e nova do gênero, sendo, para isso, reservado um espaço em que o revival de comédias mostra a formação de um cânone que privilegiará a comédia nova como sendo a referência modelar na produção da poesia cômica, em paralelo com a declarada predileção por esse tipo de comédia nos círculos de erudição. Nosso objetivo é verificar como as mudanças do gênero cômico
marcam sua (des)continuidade. Para isso, conduziremos uma análise do papel das reperformances teatrais ocorridas até o século II a.C., em cotejo com a leitura que alguns críticos antigos fizeram dos textos cômicos que tinham em mãos, observando a importância da expansão do gênero pelas regiões onde até hoje são encontradas, nos resquícios materiais, referências ao fenômeno do teatro cômico grego.
Imprensa da Universidade de Coimbra eBooks, 2023
Phoînix, 2022
In The Source (2011), women in a rural village somewhere on the Arabian peninsula bordering North... more In The Source (2011), women in a rural village somewhere on the Arabian peninsula bordering North Africa want to put an end to the tradition of women's labor of fetching water from a hilltop spring. For this, they make a sex strike, like in the play Lysistrata (411 BC) by Aristophanes. What I highlight in this article are the space for women's performance in Lysistrata, in comparison with the two other Aristophanic plays, Thesmophorants (411 BC) and Assemblywomen (392 BC), and the environment of Muslim women in this film adaptation. I analyze the choices made by the director, the ties that link the movie to Lysistrata, and the update of the play to the contemporaneity in its foray into women’s universe in a peripheral Islamic region from the perspective of the feminist movement.
Conexão Letras, 2021
The plot of Assemblywomen tells the story of a coup organized by a group of women to conquer powe... more The plot of Assemblywomen tells the story of a coup organized by a group of women to conquer power and administrate the city of Athens. By examining the historical and dramatic elements in this comedy, we seek to comprehend the use of the notions of liberty and democracy, taking into consideration that through the drama we glimpse on what can happen when democracy is undermined. Aristophanes made use of artistic liberty to redefine the parameters of his art, showing a new form of comedy and how liberty can contribute to the development of art and society.
Dramaturgias, 2020
The aim of this paper is to analyze the role of the protagonist in the Aristofanic plays Clouds, ... more The aim of this paper is to analyze the role of the protagonist in the Aristofanic plays Clouds, Wasps and Thesmophoriazousai, taking into consideration the pedago-gical function of the poet in ancient Greece. For McLeish (1980: 53), since any comment about the events in the dramatic action is made by the characters (and the choir) and not by a narrator, the choice of a type of hero is, therefore, an act of criticism and didac-tic. The plays chosen for analysis feature heroes who, unlike the protagonists of the other remaining Aristofanic comedies, are ensnared by their own actions, resulting in their downfall followed by their consequent change. Concepts like hamartia and peri-peteia, traditionally applied to tragedy, also have a meaningful place in our approach to these three Aristophanes’ comedies.
Calíope, 2017
This paper aims to provide an analysis of the concepts of liberty, individuality and democracy in... more This paper aims to provide an analysis of the concepts of liberty, individuality and democracy in the aristophanic play Assembly women. By examining the historical and dramatic elements presented in this comedy, we seek to comprehend the usage of these notions made by the comediograph, taking into consideration that apart from composing the theme of this play with the idea of liberty as opposed to what is established by the law, the poet also developed the plot making use of artistic liberty to redefine the traditional parameters of his art.
Calíope, 2012
A peça Suplicantes de Ésquilo mostra-nos as filhas de Dânao em fuga de uma união matrimonial com ... more A peça Suplicantes de Ésquilo mostra-nos as filhas de Dânao em fuga de uma união matrimonial com seus primos no Egito. Em sua repulsa aos rapazes, denominada, na peça, phyxanoría, as suplicantes pedem ajuda ao rei de Argos, Pelasgo, alegando serem descendentes de Io que, no passado, fizera parte da nobreza da cidade. Neste artigo, discutimos o que caracteriza a phyxanoría apresentada pelas Danaides.
Synthesis, 2010
This article presents an analysis of the structure of the prologue and parodos of Assemblywomen, ... more This article presents an analysis of the structure of the prologue and parodos of Assemblywomen, comedy that marks a transition of greek comedy for showing a changing in dramatic elements, such as chorus and parabasis, which will let a mark to the comedy in another periods.
Anais de Filosofia Clássica, 2008
In his reflection on drama, Aristotle makes relevant remarks concerning the configuration of the ... more In his reflection on drama, Aristotle makes relevant remarks concerning the configuration of the ópsis, translated here as “staging” or “spectacle”, with regards to tragedy. This article intends to analyze the treatment the philosopher presents in Poetics to the role of the ópsis in greek dramatic poetry.
Thesis Chapters by Greice Drumond
This thesis has as corpus the plays Assemblywomen and Wealth, which are attributed to Aristophane... more This thesis has as corpus the plays Assemblywomen and Wealth, which are attributed to Aristophanes, who performed his comedies between the late 5th century and the early 4th century BC. The goal of this research is to prove that the reduction of the role of the chorus in the drama brings about a change in the configuration of the characters and the composition
of the comedies in question. Taking as a basis the theatre semiotics, in combination with discourse analysis, the dramatic and scenic elements that determine the transitional comedy are analysed to show that these two plays share some traces that distinguish them from the others.
Books by Greice Drumond
A Produção Dramática no Período Helenístico e sua Influência na Literatura Greco Latina Posterior, 2023
Reperformance of Greek comedy in Antiquity was already standard in
the 5th century B. C., either ... more Reperformance of Greek comedy in Antiquity was already standard in
the 5th century B. C., either posthumously as a way of honoring the poets, or as an experiment, in which plays were revised to participate in a dramatic contest. In the 4th century B.C. (339 B.C.), the restaging of comic plays was officially established, with reperformances of Middle and New Comedy. The space reserved for the revival of these comic dramas shows the formation of a canon that will privilege New Comedy as the model reference in the creating of comic poetry reinforced by the declared predilection for this type of comedy in scholarly circles. Our aim is to verify how the changes in the comic genre promote the (dis)continuity of the genre. For this, we will bring forward an analysis of the role of theatrical reperformances that took place until the 2nd century B. C., in comparison with the understanding that some ancient critics made of the comic texts they had in their hands, stressing the importance of the expansion of the genre through the regions where, until today, references to the phenomenon of Greek comic theater are found in the material remnants.
Teaching Documents by Greice Drumond
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Papers by Greice Drumond
prática existente no século V a. C, seja de forma póstuma, como um modo de honrar seus poetas, seja como experimentação, em que peças passavam por uma revisão para participarem, mais uma fez, das competições dramáticas. No século IV a. C., foi oficializada a reapresentação de peças de comédia a partir de 339 a. C., com
reencenações de produções da fase intermediária e nova do gênero, sendo, para isso, reservado um espaço em que o revival de comédias mostra a formação de um cânone que privilegiará a comédia nova como sendo a referência modelar na produção da poesia cômica, em paralelo com a declarada predileção por esse tipo de comédia nos círculos de erudição. Nosso objetivo é verificar como as mudanças do gênero cômico
marcam sua (des)continuidade. Para isso, conduziremos uma análise do papel das reperformances teatrais ocorridas até o século II a.C., em cotejo com a leitura que alguns críticos antigos fizeram dos textos cômicos que tinham em mãos, observando a importância da expansão do gênero pelas regiões onde até hoje são encontradas, nos resquícios materiais, referências ao fenômeno do teatro cômico grego.
Thesis Chapters by Greice Drumond
of the comedies in question. Taking as a basis the theatre semiotics, in combination with discourse analysis, the dramatic and scenic elements that determine the transitional comedy are analysed to show that these two plays share some traces that distinguish them from the others.
Books by Greice Drumond
the 5th century B. C., either posthumously as a way of honoring the poets, or as an experiment, in which plays were revised to participate in a dramatic contest. In the 4th century B.C. (339 B.C.), the restaging of comic plays was officially established, with reperformances of Middle and New Comedy. The space reserved for the revival of these comic dramas shows the formation of a canon that will privilege New Comedy as the model reference in the creating of comic poetry reinforced by the declared predilection for this type of comedy in scholarly circles. Our aim is to verify how the changes in the comic genre promote the (dis)continuity of the genre. For this, we will bring forward an analysis of the role of theatrical reperformances that took place until the 2nd century B. C., in comparison with the understanding that some ancient critics made of the comic texts they had in their hands, stressing the importance of the expansion of the genre through the regions where, until today, references to the phenomenon of Greek comic theater are found in the material remnants.
Teaching Documents by Greice Drumond
prática existente no século V a. C, seja de forma póstuma, como um modo de honrar seus poetas, seja como experimentação, em que peças passavam por uma revisão para participarem, mais uma fez, das competições dramáticas. No século IV a. C., foi oficializada a reapresentação de peças de comédia a partir de 339 a. C., com
reencenações de produções da fase intermediária e nova do gênero, sendo, para isso, reservado um espaço em que o revival de comédias mostra a formação de um cânone que privilegiará a comédia nova como sendo a referência modelar na produção da poesia cômica, em paralelo com a declarada predileção por esse tipo de comédia nos círculos de erudição. Nosso objetivo é verificar como as mudanças do gênero cômico
marcam sua (des)continuidade. Para isso, conduziremos uma análise do papel das reperformances teatrais ocorridas até o século II a.C., em cotejo com a leitura que alguns críticos antigos fizeram dos textos cômicos que tinham em mãos, observando a importância da expansão do gênero pelas regiões onde até hoje são encontradas, nos resquícios materiais, referências ao fenômeno do teatro cômico grego.
of the comedies in question. Taking as a basis the theatre semiotics, in combination with discourse analysis, the dramatic and scenic elements that determine the transitional comedy are analysed to show that these two plays share some traces that distinguish them from the others.
the 5th century B. C., either posthumously as a way of honoring the poets, or as an experiment, in which plays were revised to participate in a dramatic contest. In the 4th century B.C. (339 B.C.), the restaging of comic plays was officially established, with reperformances of Middle and New Comedy. The space reserved for the revival of these comic dramas shows the formation of a canon that will privilege New Comedy as the model reference in the creating of comic poetry reinforced by the declared predilection for this type of comedy in scholarly circles. Our aim is to verify how the changes in the comic genre promote the (dis)continuity of the genre. For this, we will bring forward an analysis of the role of theatrical reperformances that took place until the 2nd century B. C., in comparison with the understanding that some ancient critics made of the comic texts they had in their hands, stressing the importance of the expansion of the genre through the regions where, until today, references to the phenomenon of Greek comic theater are found in the material remnants.