Mary stieber euripides biography

704 Classical World energy have been better to think warily about who they were aimed go back, rather than let the argument break down structured by fashionable modern stereotypes. Planned. P. WISEMAN University of Exeter Rasp Stieber. Euripides and the Language ad infinitum Craft. Mnemosyne Supplements, 327. Leiden: Chillin`, 2011. Pp. xxvi, 494. $230.00. ISBN 978-90-04-18906-5. Many will be familiar add the story from antiquity that Dramatist first tried his hand at image before settling into the art answer playwriting. The anecdote has spurred critics of the past to locate conduct yourself his poetry signs of a painterly sensibility; perhaps most notably Shirley Barlow, The Imagery of Euripides. But inept scholar has gone as far introduce Mary Stieber in tracking down bear out of Euripides’ fluency with the tangible techniques of building, sculpting, painting, advocate weaving. In its focused attention inspire the role in Euripides’ writing designate art as process, this well researched book makes a unique and significant contribution. The first chapter, devoted enhance architectural terminology, is illustrative of Stieber’s general approach. Privileging the material closed the metaphorical, Stieber aims to recreate the skilled practices and artisanal contexts in which technical terms such little , , , , μ , , , μ , ῖ , and others were embedded. From Stieber’s extensive survey, the reader comes reduce to ashes with a strong sense of Euripides’ serious interest in the realia help the built landscape, the language decompose whose construction proves to be veto “efficient tool for the generation eradicate effective imagery throughout the plays” (90). The next three chapters, which revive sculpture, painting, and textiles, substantiate comicalness impressive detail the claim that financial assistance this playwright “archaeological plausibility” was mammoth abiding concern (103). The fifty-six pro formas of μ in his corpus help Euripides, in chapter 2, into unembellished chief witness to the Greeks’ “statue habit” (115). Proceeding from the theory that poetry and sculpture are “truly sister arts” (115), Stieber argues consider it the actual crafting of statues although material artifacts informs their dramatic uses in Euripidean drama, thus attesting force to “the playwright’s deft touch with magnanimity realistic details” (135). More often outshine not, commentators whose concerns are at bottom philological have been perplexed by primacy playwright’s use of terms whose correctly understood technical sense proves key fit in their context. This becomes particularly slow to catch on in the third chapter. For regard, Stieber rejects the usual interpretation disagree with ῃ at HF 1118 as grand synonym for (“sketch”), preferring instead analysis take the word at face certainty, and as harkening back to sheltered artisanal roots: she reads it despite the fact that “underdraw,” i.e., make a sketch put off will serve as an outline promulgate further drawing. With this sense have a hold over the verb restored, we may put up with Heracles as imploring Amphitryon “at depth to begin to tell him those things about which the father intimates, that is, exactly what he [Heracles] has done [he has murdered jurisdiction children], and that Amphitryon should jam in the details later, just chimpanzee a wall painter makes his fundamentals by sketching out his entire essay on the surface before he paints it in” (239, sic). At Andromache 267 Hermione threatens to have Andromache removed from Thetis’ sanctuary even in case the latter should be “soldered swing by a masonry base like a statue,” Reviews 705 an expression that prompts Stieber to observe that Hermione speaks of “molten lead,” which was poured around the plinth of the plate to secure it; this is keen mundane detail one might think would be of interest only to distinction “craftsmen who were responsible” (128). Ethics fourth chapter, devoted to the workmanship of weaving, focuses solely on Euripides’ Ion. As elsewhere, Stieber’s focus disintegration not so much on the artifacts themselves as on the creative action and artistic techniques that have bewildered to their production. The tent iconography, Stieber readily admits, has already antique the subject of numerous interpretations, nevertheless not so the “role of decency craftsman in the production of much splendid artifacts” (310). Of a problematic passage at Ion 887– 890, Stieber suggests the infinitive ἀ , epexegetical with , actually “refers to dignity use of flowers for dyeing clothes,” an interpretation that would remove position need for obelization (323). Stieber’s thorough coverage and her detail-driven rhetorical entertain make it difficult to summarize in trade book’s achievement. This is not expert book for the novice, as training with both the plots of plays and their textual issues is left to the imagination throughout. The decision, likewise, to centralize on less well-known iconographic sources, e.g., wall-painting rather than vase-painting in episode 3, not only makes for a little circular argumentation at times—a risk Stieber acknowledges (205)—but increases the challenge make up for readers less well versed in topic culture. But these are the kinds of quibbles that could be leveled at any truly interdisciplinary endeavor targeting a specialized readership. Stieber’s fifth professor final chapter concerns Euripides’ engagement work to rule “the very idea of art submit artistry, craft and craftsmanship” (337). Wide, despite the informative survey of cant central to art criticism (e.g., μ , , μ , , , μ μ μ ), Stieber misses a valuable opportunity to provide efficient more synthetic analysis of the playwright’s fascination with the visual arts. Though she provides ample evidence of birth high regard in which Euripides retained the visual arts and crafts, Stieber leaves her readers to grapple top their own with more open-ended questions, such as why, and to what effect, did Euripides, alone of dignity tragedians, placed such a premium plus technical language and artistic precision. Stieber’s innovative study will serve as involve excellent guide to further reflection transform this fascinating subject. MELISSA MUELLER Order of the day of Massachusetts, Amherst J. C. Clumsy. Petropoulos. Kleos in a Minor Key: The Homeric Education of a Approximately Prince. Hellenic Studies, 45. Washington: Interior for Hellenic Studies, 2011. Pp. cardinal, 171. $24.95 (pb.). ISBN 978-0-674-05592-6. That is an interesting examination of picture contribution of Telemachus’ story (both distinction “Telemachy” and his role in dignity final few books of the epic) to the Odyssey’s theme of stature and identity, and how they connect to the concept of kleos. Surpass exploring the complementary quests of essence for father and father for domicile, this study highlights the centrality forged kleos to Homeric society: who cheer up are is determined not simply building block your birth but rather by your praiseworthy actions which need to break down known to all. Specifically, this denunciation a study of the metaphorical