Stavros Tsitsiridis | University of Patras (original) (raw)

Papers by Stavros Tsitsiridis

ΚΤΕΡΙΣΜΑΤΑ. Φιλολογικά μελετήματα αφιερωμένα στον Ιω. Σ. Καμπίτση (1938-1990), 2000

This article examines two passages from the Clouds in which Aristophanes parodies contemporary sc... more This article examines two passages from the Clouds in which Aristophanes parodies contemporary science.
(A) v. 143-152. The student who opens the door of Socrates' school to Strepsiades explains the reason for his anger, saying that Strepsiades has caused a thought to miscarry: Socrates, who was inside, had just asked Chairephon what the distance was, in fleas' feet, of the flea's jump from Chairephon's eyebrow to Socrates' head. Chairephon solved the problem by putting the two legs of a flea inmelted wax and then using the shoes thus formed as a unit of measure. Τhe underlying parody in the passage has been interpreted either as a reference to Protagoras' well- known sentence «man is the measure of all things» ( earlier commentators), or as a parody of a scientific experiment (Dover). Here another interpretation is proposed: the flea's jump was chosen because, as it also appears from one of Aesop's fables, it was considered a proverbially insignificant matter (in modern Greek there exists an expression with precisely that meaning). Aristophanes presents the philosophers, who usually occupied themselves with the measurement of heavenly bodies, calculating the jump of a flea, thus emphasizing their exaggerated hair-splitting and their subtlety. This interpretation is corroborated by the way in which Lucian appears to understand the passage.
(B) v. 1277-1295. When the second creditor comes to demand the money he has loaned to Pheidippides, Strepsiades asks him two questions. The first is whether Zeus sends down new rain each time, or whether the sun «pulls» - the phenomenon of evaporation is understood - the same water from the earth and sends it down again as rain. As the discussion continues, and after the creditor has replied that interest is something that <<rolls on unobserved» and increases with time, Strepsiades, drawing a parallel between interest and a river, asks him why, whereas the sea doesn't grow larger even though so many rivers flow into it, he is asking for more money for the capital he has loaned. As regards the question whether the sun «pulls» the same water from the earth, Aristophanes appears to be alluding to views of Diogenes of Apollonia. Strepsiades' second question must be connected with a scientific problem, which Aristotle mentions as «old» and which had been discussed in antiquity. The reference to the same subject in the Ecclesiastes shows the way in which the two questions Aristophanes has Strepsiades ask are connected: both constitute successive stages of the cycle of water.

Logeion, 2019

As regards the methodological matters pertaining to the stage of the Theatre of Dionysus in the a... more As regards the methodological matters pertaining to the stage of the Theatre of Dionysus in the age of Euripides, it is argued that dramatic texts should be studied on the basis of a synchronic approach, in conjunction with the whole dramatic production and the visual arts of that era. There follows a detailed survey of the evidence coming from the eighteen surviving Euripidean plays. The interpretation of the extant corpus suggests that the stage building in the last quarter of the fifth century seems to have a tripartite structure with paraskenia at each of the two sides and may be reminiscentof the Propylaea at the Acropolis. It probably had three doors (including two side doors at the paraskenia), a f lat roof and windows at the paraskenia, and involved the use of stage machinery (mechane, ekkyklema). The existence of a slightly raised stage, a crepidoma and a portico is highly likely. What remains unclear so far is the exact form of the central door (did it comprise a permanent porch?), the question of the overall height of the skene building, as well as the form of the levels on which stage action evolved in each case.

Logeion, 2017

George Cram Cook, a multi-faceted personality and from its inception in 1915 the brain behind the... more George Cram Cook, a multi-faceted personality and from its inception in 1915 the brain behind the famous Provincetown Players (a theatre in which Eugene O’Neill, among others, started his career), came to Greece in 1922 and settled in Delphi with his wife and renowned author Susan Glaspell. There Cook met Angelos and Eva Sikelianos; before the beginning of their Delphi Festivals he ventured to stage a type of Passion play at the ancient theatre at Delphi, but he passed away in 1924. This article examines Cook’s acquaintance with the Sikelianos couple and other intellectuals as well. It also examines the kind of theatre that he had attempted to create in Greece and the influence he had possibly exerted on Eva Palmer-Sikelianos. Concerning the latter, it is suggested that the impact of Cook’s views generally was rather limited, even though his effort in Delphi prompted Angelos Sikelianos to accelerate the creation of the Delphi Festivals. It is also suggested that Palmer-Sikelianos’ very interesting views concerning various issues were mainly owed to the Duncans as well as to the more widely popular ideas of the avant-garde movement of her times.

Die Schrift Περί βίων des Klearchos von Soloi

Philologus, 2008

Die Schrift Über Den Schlaf Des Klearchos Von Solop

Rheinisches Museum Fur Philologie, 2010

Beiträge zu den Fragmenten des Klearchos von Soloi

Literatur- und Abkürzungsverzeichnis

Platons Menexenos, 1998

Platons Menexenos

* Prices subject to change. Shipping costs will be added. Current pricing is based on the exchang... more * Prices subject to change. Shipping costs will be added. Current pricing is based on the exchange rate 1 Euro:1.50 US$. Some titles are exempt from this price policy. ... *Prices subject to change. Shipping costs will be added. Current pricing is based on the exchange rate 1 ...

Die Schrift ΠΕΡΙ ΒΙΩΝ des Klearchos von Soloi

Philologus, 2000

Die fragmentarisch erhaltene Schrift des Klearchos von Soloi Über die Lebens-formen vermittelt de... more Die fragmentarisch erhaltene Schrift des Klearchos von Soloi Über die Lebens-formen vermittelt den Eindruck, dass es sich dabei um das Hauptwerk oder zumin-dest um ein wichtiges Werk des Peripatetikers aus Zypern handelt. Dazu trägt sicher-lich die Tatsache bei, dass von ...

Platons Menexenos: Einleitung, Text, und Kommentar

The Classical World, 2000

The Classical Quarterly, 2005

The structure of the first chapters of the Poetics, before Aristotle embarks on the dis-cussion o... more The structure of the first chapters of the Poetics, before Aristotle embarks on the dis-cussion of tragedy proper, is clear enough: chapters 13 set forth a triple classification of the kinds of mimesis, based on the Platonic method of diaíresiv (in this case according to the means, ...

This article aims to examine both the mimic specialisation of kinaidoi and the correlated literar... more This article aims to examine both the mimic specialisation of kinaidoi and the correlated literary productions of the kinaidologoi and ionikologoi. Within this framework relative sub-genres, such as hilarōdia, magōdia, simōdia and lysiōdia, some of which date at least back to the 4th century B.C., will be discussed. In the present, first part of the article, an important mould-made relief bowl (a so-called “Megarian bowl”) is examined, which possibly belongs to the 1st century B.C. and is extant in two copies (Νat. Arch. Μus., Athens, 11797, and Louvre, CA 936). The interpretation proposed suggests that the bowl’s relief depicts a man being punished for having committed adultery with the mill owner’s wife; the punishment, assisted by the kinaidoi, consists of the rape of the adulterer by a donkey. The relief was probably not directly inspired by a kinaidoi performance, but rather by a literary text written by kinaidologoi. Should the view claiming that the relief bowl’s theme was linked particularly to Macedonia be correct, then the relationship of certain poets such as Alexander Aitolos and Timon of Phlius with the king Antigonus Gonatas perhaps explains the interest in the kinaidoi that we detect in this type of pottery. Whatever the case, the specific bowl provides interesting information about the mimic sub-genre of kinaidoi.

On a papyrus from Oxyrhynchus, published for the first time in 1903 (P.Oxy. III 413), we have two... more On a papyrus from Oxyrhynchus, published for the first time in 1903 (P.Oxy. III 413), we have two texts, "Charition" and "Moicheutria, which are without doubt the most important surviving testimonies for the genre of theatrical mime in antiquity. This article argues that those two texts are neither complete scripts of mimic dramas, nor, on the other hand, texts which served (as H. Wiemken has claimed) as a base for improvisation (similar to the scenari of the Commedia dell’arte). Both texts are technical texts which were copied from fuller dramatic scripts: Charition was probably the text of the “director”/archimime or the prompter, while "Moicheutria" is a “role-text”. This means that the plays can be assigned to the category of rather elaborate mimes that Plutarch calls "hypotheseis" (ὑποθέσεις). Furthermore,
a number of editorial suggestions are offered (regarding, among other, the allocation of the last lines of the "Moicheutria"), while the article also deals with the poetics of mimic drama, its integral place within the popular culture of the imperial period and its comparability to theatrical genres of the modern era.

Aristophanes, Thesmophoriazusae, Euripides, cosmogony, parody

Stavros Tsitsiridis DIE SCHRIFT PERI BIWN DES KLEARCHOS VON SOLOI Die fragmentarisch erhaltene Sc... more Stavros Tsitsiridis DIE SCHRIFT PERI BIWN DES KLEARCHOS VON SOLOI Die fragmentarisch erhaltene Schrift des Klearchos von Soloi Über die Lebensformen vermittelt den Eindruck, dass es sich dabei um das Hauptwerk oder zumindest um ein wichtiges Werk des Peripatetikers aus Zypern handelt. Dazu trägt sicherlich die Tatsache bei, dass von der Schrift, die ursprünglich mindestens acht Bücher umfasste 1 , mehr Fragmente erhalten sind als von jeder anderen Schrift des Klearchos. Von diesen Fragmenten findet sich die überwältigende Mehrzahl bei Athenaios, und von ihnen wiederum stammen -kaum zufällig -die meisten aus dem 12. Buch, wo die Lust und die Schwelgerei (trufä) behandelt werden. Ein Blick in die Gesamtheit der Fragmente nach der Wehrli-Ausgabe (fr. 37-62) vermittelt folgendes Bild über den Inhalt des Werkes 2 : Philologus 152 2008 1 65-76 Der Text wurde im Rahmen der internationalen Konferenz "Hellenism in Cyprus from Stasinos to Demonax" im September 2005 vorgetragen. Für die Einladung danke ich I. Taifakos; für Anregungen danke ich auch Th. K. Stephanopoulos und M. Vöhler. 1 Vgl. fr. 62: perì ou© (sc. Gorgíou) fhsin o™ au¬ tòv Kléarcov e¬ n tøı o ¬ g d ó wı tøn bíwn. 2 Mit einem Sternchen (*) werden die Fragmente markiert, in denen keine Buchzahl angegeben wird, und mit zwei Sternchen (**) die Fragmente, in denen keine Angabe des Werkes vorhanden ist. 52: Die Völlerei des Perserkönigs Kantibaris.

tu vrbhsi~: hJ libato; n aj ev ra Unverständlicherweise hat Schmidt hJ libato; n aj ev ra im text... more tu vrbhsi~: hJ libato; n aj ev ra Unverständlicherweise hat Schmidt hJ libato; n aj ev ra im text stehen gelassen, obwohl der Ausdruck keinen sinn gibt (davon abgesehen, dass hJ libatov n falsch betont wird). er hat nur in der zweiten Auflage seiner editio minor (Jena 1867) eine Crux vor hJ libatov n gesetzt. nicht zufriedenstellend sind auch die Konjekturen, die muSuruS (t u v r b h s i n : ∆Hlei' oi to; n aj ev ra) und (allerdings zweifelnd) m. Schmidt in seinem kritischen Apparat (h] liv ba to; n a[ nemon) vorgeschlagen haben. Unter anderem erscheint wenig überzeugend, dass man neben dem existierenden tuv rbh ein verbalabstraktum mit -si~ bildete, um einen Wind zu bezeichnen. das Problem beschränkt sich demnach nicht auf die erklärung des Wortes, wie Schmidt annahm, sondern umfasst das zu erklärende Hapax tuv rbhsi~ selbst.