Antonis K. Petrides, List of publications & citations (last update: 28.11.2017)

AntonisK.Petrides

LISTOFPUBLICATIONSANDCITATIONS

OPEN UNIVERSITY OF CYPRUS

January 2021

LIST OF PUBLICATIONS AND CITATIONS

Antonis K. Petrides

2

Antonis K. Petrides

List of publications and citations

For copies or samples of my publications, please consult my Academia.edu page:

(https://ouc.academia.edu/AntonisPetrides).

MONOGRAPHS:

1. New Comedy, Brill Research Perspectives in Classical Poetry, Leiden: Brill (under contract; deadline for submission 2022)

2. Μενάνδρου «Δύσκολος»: Εισαγωγή-µετάφραση-σχόλια, Σειρά Αρχαία Ελληνική Γραµµατεία, Αθήνα: Κίχλη (to be submitted by 2021)

3. Menander’s Dyskolos: A Commentary (under contract by Oxford University Press; deadline for submission: June 2021)

4. Κύπρονδε: Παρεµβάσεις στη σύγχρονη κυπριακή (και ελλαδική) λογοτεχνία και το θέατρο, Λευκωσία: Εκδόσεις Άνευ 2019, ISBN 978-9963-2131-5-3

Reviewed by: (1) Γ. Φράγκος, «Το κοπιώδες άθληµα της κριτικής», Φιλελεύθερος (6 Ιουλίου 2020), 18

Cited by:

2020 (1) M. Zira, “Iphigenia in the Buffer Zone: A Site-Specific Performance of Euripides’ Iphigenia in Aulis in Nicosia, Cyprus”, in A. Potter et al. (ed.) New Voices in Classical Reception Studies. Conference Proceedings Vol. II: 21st-Century Popular Classics (London: 2020), 54–68, at 63, 64, 68 nn. 15, 18, 24, 25, 28.

2021 (2) «Π. Ταµπακάκη, «Μουσική ποιητική», ακουστική εικονοποιία και εντοπιότητα: ο ήχος του Κόσµου της Κύπρου στο έργο του Κυριάκου Χαραλαµπίδη. Μια συγκριτική προσέγγιση», στο Α. Κ. Πετρίδης & Δ. Δηµητρίου (επιµ.), Γλώσσης Ίµερος: Η ποίηση του Κυριάκου Χαραλαµπίδη (Αθήνα: Ηρόδοτος 2021).

5. Menander, New Comedy, and the Visual, Cambridge Classical Studies, Cambridge: Cambridge University Press, 2014, ISBN: 9781107068438. Paperback edition: 2018, ISBN: 9781107645813

Reviewed by: (1) D. Christenson, BMCR 25.12.10; (2) G. F. Franko, Exemplaria Classica 19 (2015); (3) A. Traill, CW 109.2 (2016) 267-8; (4) K. Gutzwiller, Mnemosyne (2016), DOI: 10.1163/1568525X-12342164; (5) S. Kiritsi, JHS 136 (2016); (6) B. Cartlidge, CR 67 (2017), https://doi.org/10.1017/S0009840X16002808;

Cited by:

2014 (1) M. Fantuzzi, “Tragic smiles: when tragedy gets too comic for Aristotle and later Hellenistic readers”, in R. Hunter, A. Rengakos & E. Sistakou (eds.), Hellenistic Studies at a Crossroads: Exploring Texts, Contexts and


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Metatexts, Trends in Classics Supplementary Volumes 25, Berlin: De Gruyter 2014, 215–33, at 232 n. 40, 359; (2) V. Cinaglia, Aristotle and Menander on the Ethics of Understanding (Leiden & Boston: Brill 2014), xi, 214.

2015 (3) A. Skouroumouni-Stavrinou, “The opsis of Helen: performative intertextuality in Euripides”, GRBS 55 (2015), 104–32, at 106 n.7, 109 n. 14; (4) I. M. Konstantakos, “On the early history of the braggart soldier: Part One: Archilochus and Epicharmus”, Logeion 5 (2015), 41–84, at 42 n.1, 43 n.4, 50 n. 23, 82.

2016 (5) I. M. Konstantakos, “On the early history of the braggart soldier: Part Two: Aristophanes’ Lamachus and the politicization of the comic type”, Logeion 6 (2016), 112–163, at 115 n. 7, 121 n. 19, 143 n. 59, 162; (6) J. Porter, “Devil in the details: the young man of Plautus Asinaria 127-248 once again”, Logeion 6 (2016), 308–358, at 333; (7) D. Konstan, “Loyalty: The missing virtue in classical thought”, Alif: Journal of Comparative Poetics 36 (2016) 10–28; (8) Th. G. Pappas, Αριστοφάνης: Ο ποιητής και το έργο του (Αθήνα: Gutenberg 2016), at 473; (9) M. Brown, Menander Offstage (PhD Cincinnati 2016), at 24 n. 37, 48, 72–73 n. 94, 127 n. 146.

2017 (10) C. I. Hardiman, ‘Violence in Hellenistic sculpture’, in M. Champion & L. O’ Sullivan (eds.), Cultural Perceptions of Violence in the Hellenistic World (Oxford & New York: Routledge 2017), 137-156, at 152 n. 47, 155, 245; (11) T. K. Husby, Recognizing Freedom: Manumission in the Roman Republic (PhD CUNY 2017), at 154 n. 404, 155 n. 412, 307; (12) C. R. Wilke, Farewell to Shulamit: Spatial and Social Diversity in the Song of Songs (Berlin and Boston 2017), at 40 n. 139; (13) A. Fountoulakis, “When Dionysus goes to the East: On the dissemination of Greek drama beyond Athens”, in A. Fountoulakis, A. Markantonatos & G. Vasilaros (eds.), Theatre World: Critical Perspectives on Greek Tragedy and Comedy: Studies in Honour of Georgia Xanthakis-Karamanos, Trends in Classics Supplementary Vol. 45 (Berlin: de Gruyter 2017), 75–117, at 90 n. 85, 115; (14) S. Kiritsi, Menandrean Characters in Context: Menander’s Characters in the fourth century BC and their reception in Modern Greek Theatre (PhD Royal Holloway, London 2017), at 15, 17, 18, 67 n. 216, 129 n. 410, 134 n. 428, 248 n. 766, 254 n. 783, 282 n. 849, 325; (15) B. Cartlidge, “Menander, Epitrepontes 807 and the suffix of the feminine perfect active participle in fourth-century Athens”, ZPE 201 (2017) 32–39, at 33 n.16; (16) Tamara Brzostowska-Tereszkiewicz, “(Re)Writing the History of Polish Literary Studies Through Translation. The Case of Ireneusz Opacki’s Royal Genres”, Przegląd filozoficzno-literacki 2 (47) (2017) 85–100, at 93 n. 35.

2018 (17) Konstan, In the Orbit of Love: Affection in Greece and Rome (Oxford: OUP 2018), at 73, 75; (18) P. Brown, “Menander”, in K. de Temmerman & E. van Emde Boas (eds.), Characterization in Ancient Greek Literature (Leiden a& Boston: Brill 2018), at p. 391 n.2; (19) Μ. E. Pagkalos, Perceiving The Past in the Early Hellenistic Period: The Uses of the Past in Remodeling Reality (PhD Leicester 2018), at 62, 63, 64, 65, 252; (20) M. B. Cover, “The divine comedy at Corinth: Paul, Menander and the Rhetoric of resurrection”, New Testament Studies 64 (2018) 535–60, at 535 n.16; ((21) A. Duncan & V. Liapis, “Theatre performance after the fifth century”, in V. Liapis & A. K. Petrides (eds.), Greek Tragedy After the Fifth Century (Cambridge: CUP 2018), at n. 75; (22) T. J. Nelson, “The shadow of Aristophanes: Hellenistic poetry’s reception of comic poetics”, in M.A. Harder, R.F. Regtuit & G.C. Wakker (eds.), Drama and Performance in Hellenistic Poetry. Hellenistica Groningana 23 (Leuven: Peeters 2018) 225-271, at n. 158; (23) G. Kazantzidis, “Doctors in a comic costume: medical language and mass audience in the comedy of Menander”, ICS 43.1 (2018) 25–57, at 39 n.51; (24) D. Konstan, In the Orbit of Love: Affection in Ancient Greece and Rome (Oxford: Oxford University Press 2018), 73, 75; (25) J. Connolly, “The space between subjects”, in M. Formisano & Chr. Shuttleworth Kraus (eds.) Marginality, Canonicity, Passion (Oxford: OUP 2018); (26) Th. Baier, “Il Dyskolos: tragico o comico?”, in M. M. Bianco & A. Casamento (eds.), Novum aliquid inventum: Scritti sul teatro antico per Gianna Petrone (Palermo: Palermo University Press 2018), at 53 n. 5, 75; (27) C. Nobili, “Elementi intervisuali nei ditirambi 17 e 18 di Bacchilide”, Acme 2 (2018) 21–40, at 21, 21 nn. 1, 2, 35; (28) F. Favi, “L’identità del Σικυώνιος in Men. Sic. 13”, ZPE 208 (2018), 75-82, at 78 n. 24; (29) L. Floridi, “Αὐδὴ τεχνήεσσα λίθου: Intermedialità e intervisualità nell’epigramma greco”, Segno e Testo 16 (2018), 25–54, at 27 n.6; (30) Ath. Markopoulos, “Remarques sur les descriptions des empereurs byzantins dans l’historiographie, de Malalas à Léon de Diacre”, in C. Morisson & J.-P. Sodini (eds.), Constantinople réelle et imaginaire : autour de l’œuvre de Gilbert Dagron (Paris: Collège de France 2018), 299–312, at 300 n.3; (31) Ε. Κεραµάρη, Η ενδυµασία στην αρχαία κωµωδία: εξέλιξη, κωµική χρήση και σκηνική λειτουργία. Μία χαρακτηρολογική προσέγγιση (Διδ. Διατρ. ΕΚΠΑ 2018), at


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8–9, 119, 120, 121, 138 n.494, 139, 140 n.503, 142–3, 144 n.522, 146–7, 336; (32) Χ. Φάκας, «Το λογοτεχνικό υπόβαθρο του θέµατος της φιλίας στο µυθιστόρηµα του Χαρίτωνα», Παρουσία 21 (2017-18), 165-189, at 180 n. 59.

2019 (33) K. Philippides, “Secrets and lies in Menander’s Samia: A reading of the play focused on light and darkness”, WS 132 (2019) 7–28, at 7 n.1, 16 n. 23, 17 n. 28, 17–18 n. 32, 18 n. 36, 20 n. 43, 27; (34) D. M. Ruprecht, Staging Shame: Constructing Aischynê in Menander’s Samia and Dyskolos (MA Thesis: University of Arizona 2019), 22 n. 28; (35) M. Revermann, “Business, stage”, in A. H. Sommerstein (ed.), The Encyclopaedia of Greek Comedy (London: Wiley Blackwell 2019), 147–8; (36) L. Bruzzese, “New Comedy:, in A.H. Sommerstein (ed.), The Encyclopaedia of Greek Comedy (London: Wiley Blackwell 2019), 603–7; (37) R. Carlesimo, «Il potere del miles e la debolezza dell’amator. Riflessioni intorno alla figura del miles amatorius nella Perikeiromene di Menandro», in A. Araneo (ed.), I luoghi e le forme del potere dall’antichità all’età contemporanea (Potenza: Basilicata University Press 2019), 73-90, at 87 n. 37; (38) A. M. Heap, Behind the Mask: Character and Society in Menander (London: Bloomsbury 2019), 67, 134 nn.75 and 77, 140 nn. 168 and 169, 141 n.182, 174; (39) M. Brown, “Simultaneity in the plays of Menander”, Etudes 5.1 (December 2019), http://www.etudesonline.com/uploads/2/9/7/7/29773929/ etudesdec2019brown.pdf, at 2 n.4; (40) I. Karamanou, Refiguring Tragedy: Studies in Plays Preserved in Fragments and Their Reception (Berlin: de Gruyter 2019), 35 n. 91, 53 n. 155, 57 n. 173; (41) K. Philippides, “Remarks On The Performance Of Menander’s Comedies In The Athenian Theater Of Dionysus”, Logeion 9 (2019), 301–34, at 304 n.12; (42) N. Tsoumpra, “The shifting gender identity of Dionysus in Aristophanes’ Frogs”, in D. Kanellakis and A. Fries (eds.), With Mirth and Laughter: Essays on Greek Comedy in Honour of Angus M. Bowie (Berlin: De Gruyter 2019), 199–215.

2020 (43) S. Kiritsi, Menander’s Characters in Context: From the 4th c. BC to the Modern Stage (Newcastle upon Tyne: Cambridge Scholars Publishing 2020), 5–6; (44) C. Ruiz-Montero, “Introduction”, in C. Ruiz-Montero, (ed.), Aspects of Orality and Greek Literature in the Roman Empire (Newcastle upon Tyne: Cambridge Scholars Publishing 2020), at 3 n. 3, 6 n. 28, 24 n. 116; (45) W. E. Major, “The Pre-History of the Miles Gloriosus in Greek Drama”, in H. Marshall & C. W. Marshall (eds.), Greek Drama V: Studies in the Theatre of the Fifth and Fourth Centuries BCS (London: Bloomsbury 2020), 215–24, at 222 n. 2, 223 n. 6, 223 n. 26; (46) N. W. Slater, “Stratophanes the ephebe? The hero’s journeys in Menander’s Sikyonioi”, in Marshall & Marshall (2020), 205–14, at 211, 212 n. 9, 214 n.29; (47) S. Miles, “Euripidean stagecraft”, in A. Markantonatos (ed.), Brill’s Companion to Euripides (Leiden and Boston: Brill 2020), 726–48, at 731 n. 20, 736 n. 34, 747; (48) M. Wright, Menander: Samia (London: Bloomsbury 2020), 134 n. 10, 134 n. 14, 138 n. 10, 139 n. 34, 145 n. 20, 145 n. 35, 149, 158; (49) Ε. Κεραµάρη, Η ενδυµασία στην αρχαία κωµωδία: Εξέλιξη, κωµική χρήση και σκηνική λειτουργία. Μια χαρακτηρολογική προσέγγιση (Αθήνα: Γρηγόρης 2020), 14, 15, 146 n. 166, 146 n. 168, 147 n. 169, 148 n. 175, 169 n. 236, 170, 171 n. 243, 172 n. 245, 175 n. 258, 177 n. 264, 180, 410, 526; (50) A. M. Belardinelli, “Iconografia e papiri in Euripide e Menandro”, SemRom 8 (2019), 331–354, at 341 n. 43, 342 n. 45, 346 n. 62, 349 n. 70, 353; (51) M. L. Lech, «Laughter», in M. Ewans (ed.), The Cultural History of Comedy in Antiquity (London: Bloomsbury Academic 2020), 137–155, at 144;

EDITED VOLUMES:

6. A. K. Πετρίδης & Δ. Δηµητρίου (επιµ.), Γλώσσης Ίµερος: Η ποίηση του Κυριάκου Χαραλαµπίδη, Αθήνα: Ηρόδοτος (forthcoming 2021).

7. V. Liapis & A. K. Petrides (eds.), Greek Tragedy after the Fifth Century: A Survey from the Fourth Century BC to the Fourth Century AD, Cambridge: Cambridge University Press 2018.


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Reviewed by: (1) C. Leach, Classics for All (11 January 2019); (2) S. F. Brolin, Rosetta 24 (2019), 60–4; (3) B. Zimmermann, Sehepunkte 19.9. (2019); (4) M. Cropp, BMCR 2019.09.57; (5) C. W. Marshall, CW 113 (2020), 360–1;

Cited by:

2014 (1) E. Csapo et al., “Introduction: Old and New Perspectives on Fourth-Century Theatre”, in E. Csapo, H. R. Goette, J. R. Green & P. Wilson, Greek Theatre in the Fourth Century B.C. (Berlin: de Gruyter 2014), at 7; (2) A. Marinis, “Recent work on satyr play”, Logeion 4 (2014), 365–86, at 366 n. 4 (cites Liapis & Stephanopoulos);

2015 (3) M. Griffith, Greek Satyr Play: Five Studies (Berkeley: California Classical Studies 2015), at 191.

2016 (4) E. Sistakou, Tragic Failures: Alexandrian Approaches to Tragedy and the Tragic (Berlin: de Gruyter 2016), at 27, 28, 234 (cites Hanink).

2019 (5) I. Karamanou, Refiguring Tragedy: Studies in Plays preserved in Fragments and their Reception (Berlin: de Gruyter 2019); (6) A. Abritta, “El teatro de Licofrón : construcción de contexto de performance en la Alejandra”, QUCC 117.3 (2019), 79–104, at 86 n. 2 (cites Hornblower); (7) Α. Μπιλιάνη, Συµβολή στην µελέτη της µετακλασικής τραγωδίας: τα αποσπάσµατα TrGF ad. 667a ΜΗΔΕΙΑ ΣΑΤΥΡΙΚΗ ? (P.Lit.Lond.77) και TrGF ad. 649 ΕΚΤΩΡ? (Διδ. διατρ. Πανεπιστήµιο Πατρών 2019), 121 n. 404, 141 n. 470, 149 n. 498, 156 n. 528, 236 n. 828, 245, 249 (cites LeGuen, Duncan-Liapis, Liapis-Stephanopoulos, Hornblower, Fries)

2020 (8) M. Chiara Martinelli, “Documenting Music”, in T. Lynch & E. Rocconi (eds.), A Companion to Ancient Green and Roman Music (London: Blackwell 2020), 103–16 (cites Griffith); (9) M. Telò, “Laughter, or Aristophanes’ joy in the face of death”, in P. Swallow & E. Hall, Aristophanic Humor: Theory and Practice (London: Bloomsbury Academic 2020), 53–68, 220–4, at 221 n. 31 (cites Webb); (10) F. Dunn, “Affective Attachments in Some Late Tragedies of Euripides”, in A. Markantonatos (ed.), Brill’s Companion to Euripides (Leiden & Boston: Brill 2020), 947–65, at 964 n. 28, 965 (cites Dunn); (11) S. Griffis, Early Christian Generic Hybridity: The Martyrdom of Pionius and Tragedy (PhD: Harvard University 2020), at 47 n. 127, 48 n. 130, 49 n. 135, 52 n. 146, 53 n. 153, 54 n. 155, 57 n. 165, 58 n. 169 (cites Petrides, Hanink, Hornblower, Lanfranchi, Le Guen);

2021 (12) I. Worthington, Athens After Empire: A History from Alexander the Great to the Emperor Hadrian (Oxford: OUP 2021), 42 n. 73;

8. V. Liapis, M. Pavlou & A. K. Petrides (eds.), Debating with the Eumenides: Aspects of the Reception of Greek Tragedy in Modern Greece, Pierides 7, Newcastle upon Tyne: Cambridge Scholars Publishing 2017.

Reviewed by: (1) Ε. Fischer-Lichte, JHS 139 (2019).

Cited by:

2021 (1) Δ. Λαδικός, «Η ειρωνεία στην ποίηση του Κυριάκου Χαραλαµπίδη: Μια πρώτη προσέγγιση», στο Α. Κ. Πετρίδης & Δ. Δηµητρίου (επιµ.), Γλώσσης Ίµερος: Η ποίηση του Κυριάκου Χαραλαµπίδη, Αθήνα: Ηρόδοτος 2021 (cites Petrides); (2) Π. Στράτη, «Η µνήµη ως µεταµυθική συντεταγµένη στον χαραλαµπίδειο µύθο Οδυσσέα-Πηνελόπης», στο Πετρίδης & Δηµητρίου 2021 (cites Petrides); (3) Δ. Δηµητρίου, «“Η προτελευταία αλήθεια”: O µύθος του Χριστού στον Κυριάκο Χαραλαµπίδη», στο Πετρίδης & Δηµητρίου 2021 (cites Petrides); (4) Μ. Bzinkowski, «Ο ποιητικός διάλογος του Κυριάκου Χαραλαµπίδη µε τον Γιώργο Σεφέρη», στο Πετρίδης & Δηµητρίου 2021 (cites Petrides);

9. S. Efthymiadis & Α. Κ. Petrides (eds.), Μυθοπλασίες: Χρήση και πρόσληψη των αρχαίων µύθων από την αρχαιότητα µέχρι σήµερα [Doing Things with/to Myths: Use and Reception of Ancient Myth from Antiquity to the Present], Athens: Ion Publications 2015, ΙSBN: 978-960-697-092-4.


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10. G. Kazamias, A. K. Petrides & E. Koumas (eds.), Introduction to the History of Cyprus, Nicosia: Open University of Cyprus, 2013, ISBN: 978-9963-695-28-7.

Cited by:

2015 (1) Α. Κάρυος, «Το ύστερο ενωτικό κίνηµα, η Βρετανία και η «επιτάχυνση της Ιστορίας», 1945 – 1959» Εθνική Φρουρά και Ιστορία 35 (2015) 18-29, at 21 n. 7; (2) A. M. P. Satraki, The development of children’s attitudes towards linguistic variation: a study on a dialect/register continuum (PhD University of Cyprus 2015), at 188.

2017 (3) Α. Κάρυος, «Ο θάνατος του Στυλιανού Λένα (28 Μαρτίου 1957) και οι βρετανικές αρχειακές πηγές», Εθνική Φρουρά και Ιστορία 39 (2017) 15–27, at 15 n. 3.

11. Α. Κ. Petrides & S. Papaioannou (eds.), New Perspectives on Postclassical Comedy, Pierides 2, Newcastle upon Tyne: Cambridge Scholars Publishing 2010, ISBN: 1-4438-2411-9.

Reviewed by: (1) R. Hardin in BMCR 2011.07.37; (2) V. Cinaglia in JHS 132 (2012)

Cited by:

2011 (1) A. Fountoulakis, “Playing with dramatic conventions: Demeas’ invocations in Menander, Samia, 325–6”, C&M 62 (2011), 81-98, at 82 n. 2, 85 n. 9, 89 n. 27, 91 n. 34, 92 n. 39, 93 n.4 0, 97, 98 (cites Lape, Omitowoju).

2012 (2) K. Gutzwiller & O. Çelik, “New Menander mosaics from Antioch”, AJA 116.4 (2012), 573-623, at 614 n. 213, 622; (3) H. H. Gardner, «Ventriloquizing rape in Menander’s Epitrepontes», Helios 39.2 (2012), 121–43 (cites Konstan, Lape); (4) G. Sorrentino, Comunicazione e relazioni interpersonali nelle commedie di Menandro: un’indagine sul Dyskolos e sulla Samia, PhD Freiburg 2012, 442, 443, 445 (cites Petrides, Lape, Omitowoju, Konstan); (5) R. Maltby, Terence Phormio (Oxford: Aris & Phillips 2012), p. 1 n.3, 215 (cites Papaioannou, Petrides); (6) S. Xenophontos, “Comedy in Plutarch’s Lives”, GRBS 52.4 (2012) 603-31, at 608 n. 14 (cites Papaioannou); (7) P. Voelke, “Les failles de la κοσµιότης dans la Samienne de Ménandre”, Revue de Philologie 86.1 (2012) 123–41, at 124 n. 6 (cites Omitowoju).

2013 (8) D. Konstan & M. Fantuzzi, “From Achilles’ horses to a cheese seller’s shop: On the history of the guessing game in Greek drama”, in E. Bakola, L. Prauscello & M. Telò, Greek Comedy and the Discourse of Genres (Cambridge: CUP 2013), 274 n. 36 (cites Petrides); (9) J. Henderson, “Comedy in the fourth century, II: politics and domesticity”, in M. Fontaine & A. Scafuro, Oxford Handbook of Greek and Roman Comedy (Oxford: OUP 2013), 198; (10) A. Scafuro, in Fontaine & Scafuro (2013), 202 n. 6, 206 n. 8, 217 (cites Petrides, Omitowoju); (11) A. Scafuro, in Fontaine & Scafuro (2013), 235, 236, 237 (cites Petrides, Blume); (12) J. Hanink, “Crossing genres: Comedy, tragedy and satyr play”, in Fontaine & Scafuro (2013), 271, 275; (13) S. Kiritsi, “Menander’s Samia: Translating and Staging for a Modern Greek Audience”, in A. Constantinou & I. Hadjicosti (eds.), Το Αρχαίο Θέατρο στην Κύπρο: Πρακτικά Συµποσίου (Nicosia: Cultural Foundation of the Bank of Cyprus 2013), 95–120, at 101, 118 (cites Petrides); (14) K. Diamantakou-Agathou, “Η συµβολή του Θεατρικού Οργανισµού Κύπρου και του Εύη Γαβριηλίδη στον θεατρικό επαναπατρισµό του Μενάνδρου”, in Constantinou & Hadjicosti (2013), 93 (cites Petrides, Papaioannou); (15) A. C. Scafuro, “Menander: personal address and addressing the audience”, Tokyo Classical Studies 8 (2013), 103–33, at 131; (16) A. Papachrysostomou, “Continuity and change in the comic genre or how it all ended up with Menander: the case of ‘sub-trends’”, Ordia Prima 11-12 (2012–13), 165–189, at 166 n.3 (cites Blume).

2014 (17) H. D. Blume, “Money and love in Menandrian Comedy”, in A. H. Sommerstein, Menander in Contexts (London: Routledge 2014), 3–10, at 10 n. 5 (cites Lape); (18) S. Miles, “Staging and constructing the divine in Menander”, in Sommerstein (2014), 75–89, at 86 n. 4 (cites Omitowoju); (19) S. Witzke, “An ideal reception: Oscar Wilde, Menander’s Comedy and the context of Victorian Classical Studies”, in Sommerstein (2014), 215–32, at 230 n. 40 (cites Blume); (20) W. D. Furley, “Aspects of recognition in Perikeiromene and other plays”, in Sommerstein (2014), 106–15, at 114 n. 18 (cites Petrides); (21) A. H. Sommerstein, Menander: Samia (Cambridge: CUP 2014), 332, 334 (cites Konstan and Omitowoju); (22) M. Revermann (ed.), The Cambridge Companion to Greek Comedy


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(Cambridge: CUP 2014), at 454, 472, 480 (cites Blume, Lape); (23) D. Kamen, “Sale for the purpose of freedom: slave prostitutes and manumission in ancient Greece”, CJ 109.3 (2014), 281–317, at 282 n. 4, 306 (cites Lape); (24) R. R. Caston, “Reinvention in Terence’s Eunuchus”, TAPhA 144.1 (2014), 41–70, at nn. 64, 67, 72, 74, 80 (cites Petrides, Konstan, Papaioannou); (25) A. Sommerstein, “Menander’s Samia and the Phaedra theme”, in S. Douglas Olson (ed.), Ancient Comedy and Reception: Essays in honor of Jeffrey Henderson (Berlin & Boston: De Gruyter 2014), 167–79, at 167 n. 1; (26) V. Cinaglia, Aristotle and Menander on the Ethics of Understanding (Leiden & Boston: Brill 2014), 58 n. 137, 213, 214 (cites Petrides Lape, Omitowoju); (27) S. Papaioannou, “Terence’s literary self-consciousness and the anxiety of Menander’s influence”, in S. Papaioannou (ed.), Terence and Interpretation (Newcastle upon Tyne: CSP 2014), 95–117, at 106 n. 27 (cites Konstan, Lape, Papaioannou, Petrides); (28) C. Sardino & G. Sorrentino, “Die neue Komödie”, in B. Zimmermann & A. Rengakos (eds.), Handbuch der griechischen Literatur der Antike. 2. Band. (München: Verlag H.G. Beck 2014), 1051–99, at 1075 n. 528 (cite Petrides, Omitowoju), 1077 nn. 535 and 537, 966 (cite Lape), 1098 (cite Blume); (29) L. Nunes da Costa, Géneros poéticos na comedia de Plauto: Traços de uma poetica plautina imanente (PhD Universidade Estadual de Campinas 2014), at 162 n. 408, 262 (cites Petrides); (30) B. Cartlidge, The Language of Menander Comicus and its Relation to the Koiné (PhD: University of Oxford 2014), at 8. n. 13, 12 n. 32 (cites Blume, Omitowoju);

2015 (31) W. Furley, Menander Perikeiromene or The Shorn Head, BICS Supplement 127 (London: Institute of Classical Studies 2015), 17 n. 71, 88, 190 (cites Petrides). (32) C. Sardino & G. Sorrentino, “Menander und die Komödie seiner Zeit: einige Überlegungen”, in S. Chronopoulos & C. Orth (eds.), Fragmente einer Geschichte der griechischen Komödie – Fragmentary History of Greek Comedy (Freiburg: Verlag Antike 2015), at 210 n. 36, 299 (cite Petrides); (33) T. Hawkins & C. W. Marshall, “Ignorance and the reception of comedy in antiquity”, in C. W. Marshall & T. Hawkins (eds.), Athenian Comedy in the Roman Empire (London: Bloomsbury 2015), at 21–22 n. 25, 23 n. 56, 262, 280, 281 (cite Blume, Omitowoju, Petrides); (34) M. Mikedaki, Τα σκηνικά του θεάτρου της ελληνιστικής εποχής (Athens: Fildisi Publications 2015), 53 n. 98, 278 (cites Petrides); (35) C. N. Fernández, “¿Unidad o multiplicidad? La narrativa cómica griega y el paradigma poético aristotélico”, in C. Werner, A. Dourado-Lopes & E. Werner (eds.), Tecendo narrativas: unidade e episodio na literatura grega antiga, (São Paulo: Humanitas 2015), 245–68, at 267 (cites Petrides); (36) S. Papaioannou, “New Comedy and Roman Comedy: With and without Menander”, in C. Walde (ed.), Stereotyped Thinking in Classics. Literary Ages and Genres Re-Considered = Thersites 2 (2015), 52–80, at 63 n. 19 and 20, 64 n. 26, 65 n. 29 (cites Blume, Konstan, Lape).

2016 (37) A. da Silva Lazaro Bragion, A Fuga da Sogra: Mulheres, Poesia e Humor em Hecyra (PhD Campinas 2016), at 245 (cites Lape); (38) Brown, M., Menander Offstage (PhD Cincinnati 2016), at 80 n. 101, 213, 214; (cites Konstan, Lape); (39) J. Hanink and A. S. Uhlig, “Aeschylus and his afterlife in the classical period: ‘My poetry did not die with me’, in S. E. Constantinidis (ed.), The Reception of Aeschylus’ Plays Through Shifting Models and Frontiers (Leiden and Boston 2016), 51–79, at 72, 383 (cites Petrides); (40) S. S. Witzke, “Gendered Differences in the Recognition Plot: Menander’s Sikyonioi”, EuGeStA 6 (2016) 41–65, at 44 n. 16, 62 n. 55 (cites Lape); (41) M. A. Skotheim, The Greek Dramatic Festivals Under the Roman Empire (PhD Princeton University, 2016), 8.

2017 (42) V. Wohl, Euripides and the Politics of Form (Princeton, NJ: PUP 2017), 169 n. 17 (cites Petrides); (43) T. K. Husby, Recognizing Freedom: Manumission in the Roman Republic (PhD CUNY 2017), 312 (cites Lape); (44) S. Kiritsi, Menandrean Characters in Context: Menander’s Characters in the fourth century BC and their reception in Modern Greek Theatre (PhD Royal Holloway, London 2017), 156 n. 513, 157 n. 519 (cites Blume, Papaioannou, Omitowoju); (45) A. Lagioia, “Il pascolo abusivo nei vv. 139-151 de Truculentus: Elementi comici plautini e ‘transumanza’ di spunti greci”, Classica et Christiana 12 (2017), 177–95, at 189 n. 37 (cites Papaioannou).

2018 (46) K. Schlapbach, The Anatomy of Dance Discourse: Literary and Philosophical Approaches to Dance in the Later Graeco-Roman World (Oxford: OUP 2018), 96 n. 53, 315 (cites Petrides); (47) A. Duncan & V. Liapis, “Theatre performance after the fifth century”, in V. Liapis & A. K. Petrides (eds.), Tragedy After the Fifth Century (Cambridge: CUP, 2018), XXX, nn. 52, 62 (cites Petrides); (48) Ε. Κεραµάρη, Η ενδυµασία στην αρχαία κωµωδία: εξέλιξη, κωµική χρήση και σκηνική λειτουργία. Μία χαρακτηρολογική προσέγγιση (Διδ. Διατρ. ΕΚΠΑ 2018), at


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184 n. 672, 355, n. 1350 (cites Konstan, Lape); (49) Χ. Φάκας, «Το λογοτεχνικό υπόβαθρο του θέµατος της φιλίας στο µυθιστόρηµα του Χαρίτωνα», Παρουσία 21 (2017-18), 165-189, at 180 n. 59 (cites Petrides).

2019 (50) A. Heap, Behind the Mask: Character and Society in Menander (London: Bloomsbury 2019), 129 n. 47, 135, 170, 173, 175 (cites Konstan, Omitowoju); (51) D. M. Ruprecht, Staging Shame: Constructing Aischyne in Menander’s Samia and Dyskolos (Master Thesis: University of Arizona 2019), 59; (52) H.-D. Blume, “Menander: loss and recovery”, in A.H. Sommerstein (ed.), The Encyclopaedia of Greek Comedy (London: Wiley Blackwell 2019), 544–6; (53) N. A. E. Calospyros, “Textual criticism, medieval”, in A.H. Sommerstein (ed.), The Encyclopaedia of Greek Comedy (London: Wiley Blackwell 2019), 932–3 (cites Blume); (54) P. Ingrosso, “Il Fenice di Euripide e la Samia di Menandro”, Lexis 37 (2019), 84–104, at 84 n. 2, 88 n.20, 97 n.46, 100 n.54, 103 (cites Omitowoju); (55) I. Karamanou, Refiguring Tragedy: Studies in Plays Preserved in Fragments and Their Reception (Berlin: de Gruyter 2019), 35 n. 91, 53 n. 155, 57 n. 173 (cites Omitowoju); (56) M. Sunčič, “ Ko tragedija postane komedija: motiv posilstva pri Menandru” [When Tragedy Becomes Comedy: The Rape Motif in Menander]”, Monitor ISH 21 (2019), 55–90, at 88 (cites Lape); (57) N. Tsoumpra, “The shifting gender identity of Dionysus in Aristophanes’ Frogs”, in D. Kanellakis and A. Fries (eds.), With Mirth and Laughter: Essays on Greek Comedy in Honour of Angus M. Bowie (Berlin: De Gruyter 2019), 199–215 (cites Lape).

2020 (58) S. Papaioannou, “Plautus and the topography of his world”, in A Companion to Plautus (London: Blackwell 2020), at 300 (cites Petrides); (59) N. W. Slater, “Stratophanes the ephebe? The hero’s journeys in Menander’s Sikyonioi”, in H. Marshall & C. W. Marshall (eds.), Greek Drama V: Studies in the Theatre of the Fifth and Fourth Centuries BCS (London: Bloomsbury 2020), 205–14, at 212 nn.1 and 4, 214 n. 18 (cites Blume, Lape); (60) M. Fantuzzi, “Rhesus”, in A. Markantonatos (ed.), Brill’s Companion to Euripides (Leiden & Boston: Brill 2020), 415–39, at 432 n. 57, 58, 439 (cites Petrides); (61) S. Miles, “Euripidean stagecraft”, in A. Markantonatos (ed.), Brill’s Companion to Euripides (Leiden and Boston: Brill 2020), 726–48, at 731 n. 20, 747 (cites Omitowoju); (62) Ε. Κεραµάρη, Η ενδυµασία στην αρχαία κωµωδία: Εξέλιξη, κωµική χρήση και σκηνική λειτουργία. Μια χαρακτηρολογική προσέγγιση (Αθήνα: Γρηγόρης 2020), 224 n. 416, 434, 519, 520 (cites Konstan, Lape); (63) Γ. Μπάρλου, Η Μορφή της Εταίρας στην Αρχαία Κωµωδία: Μια Συγχρονική και Διαχρονική Επισκόπηση, (Μεταπτυχιακή Διπλ. Διατρ., Πανεπιστήµιο Πατρών 2020), 17 n. 66, 70 n. 246, 83 (cites Petrides).

CHAPTERS IN COLLECTIVE VOLUMES:

12. «Kyriakos Charalambides”, in A. Benoit et al. (eds.), Lettres Européennes: Histoire de la Littérature Européenne (Paris: CNRS Éditions 2021)

13. «Η Σφίγγα ξέρει: Ποιήµατα-αινίγµατα στον όψιµο Χαραλαµπίδη», στο Α. Κ. Πετρίδης & Δήµητρα Δηµητρίου (επιµ.), Γλώσσης Ίµερος: Η ποίηση του Κυριάκου Χαραλαµπίδη, Αθήνα: Ηρόδοτος (αναµ. δηµ. 2021).

14. «Introduction», in V. Liapis & A. K. Petrides (eds.), Greek Tragedy After the Fifth Century: A Survey from the Fourth Century BC to the Fourth Century AD, Cambridge: Cambridge University Press 2018, 1–21.

Cited by:

2020 (1) S. Griffis, Early Christian Generic Hybridity: The Martyrdom of Pionius and Tragedy (PhD: Harvard University 2020), at 47 n. 127, 49 n. 135;


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15. «Introduction», in V. Liapis, M. Pavlou & A. K. Petrides (eds.), Debating with the Eumenides: Aspects of the Reception of Greek tragedy in Modern Greece, Pierides 7, Newcastle upon Tyne: Cambridge Scholars Publishing, 2017.

16. «Dialogising Aeschylus in the poetry of Kyriakos Charalambides», in V. Liapis, M. Pavlou & A. K. Petrides (eds.), Debating with the Eumenides: Aspects of the Reception of Greek tragedy in Modern Greece”, Pierides 7, Newcastle upon Tyne: Cambridge Scholars Publishing 2017.

Cited by:

2021 (1) Δ. Λαδικός, «Η ειρωνεία στην ποίηση του Κυριάκου Χαραλαµπίδη: Μια πρώτη προσέγγιση», στο Α. Κ. Πετρίδης & Δ. Δηµητρίου (επιµ.), Γλώσσης Ίµερος: Η ποίηση του Κυριάκου Χαραλαµπίδη, Αθήνα: Ηρόδοτος 2021; (2) Π. Στράτη, «Η µνήµη ως µεταµυθική συντεταγµένη στον χαραλαµπίδειο µύθο Οδυσσέα-Πηνελόπης», στο Πετρίδης & Δηµητρίου 2021; (3) Δ. Δηµητρίου, «“Η προτελευταία αλήθεια”: O µύθος του Χριστού στον Κυριάκο Χαραλαµπίδη», στο Πετρίδης & Δηµητρίου 2021; (4) Μ. Bzinkowski, «Ο ποιητικός διάλογος του Κυριάκου Χαραλαµπίδη µε τον Γιώργο Σεφέρη», στο Πετρίδης & Δηµητρίου 2021.

17. «τὸν πάντα χρόνον δουλεύσω: Barbarians in Menander reconsidered», in A. N. Michalopoulos, S. Papaioannou & A. Zissos (eds.), Dicite Pierides: Classical Studies in Honour of Professor Stratis Kyriakidis, Newcastle upon Tyne: Cambridge Scholars Publishing 2017, 68–90.

Cited by:

2018 (1) Ε. Κεραµάρη, Η ενδυµασία στην αρχαία κωµωδία: εξέλιξη, κωµική χρήση και σκηνική λειτουργία. Μία χαρακτηρολογική προσέγγιση (PhD University of Athens 2018), at 182, 191–2.

2019 (2) C. Roscino, “Il gesto di Egisto e l’eisangelia: ancora sul vaso apulo dei Choregoi”, Ostraka 28 (2019), 191–210, at 204 n. 142.

2020 (3) Ε. Κεραµάρη, Η ενδυµασία στην αρχαία κωµωδία: Εξέλιξη, κωµική χρήση και σκηνική λειτουργία. Μια χαρακτηρολογική προσέγγιση (Αθήνα: Γρηγόρης 2020), 222, 233, 526.

18. «Θεατρικά υβρίδια: ο τραγικός µύθος στη Νέα Κωµωδία». In: Antonis K. Petrides & S. Efthymiadis (eds.), Μυθοπλασίες: Χρήση και πρόσληψη των αρχαίων µύθων από την αρχαιότητα µέχρι σήµερα, Athens: Ion Publications 2015, 45–70.

19. «Ὄψις και διακειµενικότητα στην κωµωδία του Μενάνδρου», in Μ. Tamiolaki (ed), Κωµικός Στέφανος: Νέες τάσεις στην έρευνα της αρχαίας ελληνικής κωµωδίας, Herakleion: University of Crete–School of Philosophy Publications 2014, 125–35.

20. «Plautus between Greek comedy and Atellan farce: assessments and reassessments», in Μ. Fontaine & A. Scafuro (eds.), The Oxford Handbook of Greek and Roman Comedy, Oxford: OUP 2013, 424-43.

Cited by:

2013 (1) A. Scafuro, “Comedy in the late fourth and early third centuries BCE”, in M. Fontaine & A. Scafuro (eds.), Oxford Handbook of Greek and Roman Comedy (Oxford: OUP 2013), at 206 n. 8; (2) M. Fontaine, “Between two paradigms: Plautus”, in M. Fontaine & A. Scafuro (2013), at 534;

2015 (3) E. Bexley, “Ludic lessons: Roman comedy on stage and in class”, in M. E. Safran (ed.), Roman Comedy: Performance, Pedagogy and Research, special issue of The Classical Journal, 111.1 (2015), at 123, 140; (4) T.


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Hawkins & C.W. Marshall, “Ignorance and the reception of comedy in antiquity”, in C. W. Marshall & T. Hawkins (eds.), Athenian Comedy in the Roman Empire (London: Bloomsbury 2015), at 21, n. 36; (5) A. Tzanetou, “Introduction”, in Illinois Classical Studies 40.2 (2015), 209–17, at 212, 217; (6) A. Wessels, “Shaping the (Hi)story of Innovation: Livius Andronicus as the first poet of Latin Literature”, in Proceedings of the Conference ‘Anchoring Innovation in Antiquity, 17–20 December 2015, National Research School in Classical Studies, Netherlands <http://www.ru.nl/oikos/anchoring-innovation/proceedings-international-conference-anchoring/>;

2016 (7) D. Feeney, Beyond Greek: The Beginnings of Latin Literature (Boston: HUP 2016), at 287, 356; (8) L. Unceta Gómez, “Congratulations in Latin Comedy: types and functions”, Journal of Politeness Research 12.2 (2016), 267–90, at 276, 289; (9) J. Porter, “Devil in the details: the young man of Plautus Asinaria 127–248 once again”, Logeion 6 (2016), 308–58, at 340, 350 n. 107, 357;

2017 (10) A. Richlin, Slave Theatre in the Roman Republic (Oxford: OUP 2017), at 9, 521; (11) R. López Gregoris, “Máscaras y personajes en la palliata: las máscaras de la atellana y su influencia en la palliata”, Perífrasis 8.16 (2017): 134-49, at 135 n. 2, 148; (12) J. Hanink, “Knowledge transmission: Ancient archives and repertoires”, in M. Revermann (ed.), A Cultural History of Theatre in Antiquity (London: Routledge 2017), 181–96, at 226 n. 73; (13) S. Monda, “Maschera e comicità nel teatro popolare antico”, Aevum Antiquum 176 (2017), 25–48, at 37 n. 42;

2018 (14) S. Monda, “Ne mox erretis: la convenzione della maschera nel teatro romano dal III secolo a.C.”, in M. M. Bianco & A. Casamento (eds.), Novum aliquid inventum: Scritti sul teatro antico per Gianna Petrone (Palermo: Palermo University Press 2018), at 183 n. 13, 197; (15) H. S. Bork, A Rough Guide to Insult in Plautus (PhD UCLA 2018), at 11 n. 29, 28 n. 3, 30 n. 8, 78 n. 8 and 9, 138 n. 22; (16) E. M. Ferrandiz, Explaining the commerce of Roman Mediterranean Ports: the evidence from scripta commercii and law (PhD University of Southampton 2018), 272;

2019 (17) D. Christenson, Plautus: Casina (London: Bloomsbury Academic 2019); (18) C. W. Marshall, “Stage action in Roman Comedy, in M. Dinter (ed.), The Cambridge Companion to Roman Comedy (Cambridge: CUP 2019), 87–100, at 89, 100; (19) K. L. Clark, Giton’s Performance of Status in the Satyrica of Petronius (PhD University of Washington 2019), at 100, 137; (20) R. López Gregoris, “La función de los versos de cierre en Terencio: Entre dramaturgia y pragmática”, Vita Latina 199 (2019), 196-215, at 199 n. 9, 214; (21) J. Pieczonka, “Stock Characters from Atellana in Plautus’ Palliata – The Connections between Dossennus-Manducus and the Plautine Parasites Reconsidered”, Graeco-Latina Brunensia 24.2 (2019), 193–210, at 203 n. 55, 207, 208; (22) S. Roesch, “Impoliteness in Plautus᾽ comedies”, in L. van Gils, C. Kroon & R. Risselada (eds.), Lemmata Linguistica Latina, Vol. II: Clause and Discourse (Berlin: de Gruyter 2019), 413–430;

2020 (23) S. Emanuel, Humor, Resistance and Jewish Cultural Persistence in the Book of Revelation: Roasting Rome (Cambridge: CUP 2020), 5 n. 13, 126 n. 2, 197 n. 119; (24) S. Papaioannou, “Plautus and the topography of his world”, in G. F. Franco & D. Dutch (eds.), A Companion to Plautus (London: Blackwell 2020), at 289; (25) A. Richlin, “Owners and slaves in and around Plautus”, in Franco & Dutch (2020), at 356; (26) S. O’Bryhim, “Stock characters and stereotypes”, in Franco & Dutch (2020), at 133; (27) A. H. Groton, “Stages and stagecraft”, in Franco & Dutch (2020), at 55; (28) D. R. Menon, Travels Through the Foreign Imaginary on the Plautine Stage (PhD UC Santa Barbara 2020), 4 nn. 7 and 8; (29) G. Torello-Hill & A. J. Turner, The Lyon Terence: Its Tradition and Legacy (Leiden: Brill 2020), 26 n. 10; (30) M. L. Lech, «Laughter», in M. Ewans (ed.), The Cultural History of Comedy in Antiquity (London: Bloomsbury Academic 2020), 137–155, at 148, 215; (31) J. van der Lugt, Loquar libere? Comic freedom and authority on the Plautine stage (MA thesis: Faculty of Arts, Radboud University Nijmegen 2020), at 18 n. 20, 24 n. 50, 53 n. 132, 55 n. 138; (32) A. Γ. Κυρκοπούλου, T. Macci Plauti Captivi: Ερµηνευτικό Υπόµνηµα (Διδ. Διατρ.: Πανεπιστήµιο Ιωαννίνων 2020), at 406;

21. «Lucian’s On Dance and the poetics of the pantomime mask», in V. Liapis & G. W. M. Harrison (eds.), Performance in Greek and Roman Theatre, Leiden: Brill 2013, 433–450.

Cited by:


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2013 (1) Árpád Szakolczai, Comedy and the Public Sphere: The Rebirth of Theatre as Comedy and the Genealogy of the Modern Public Arena (London: Routledge 2013), 113, 322, 335.

2014 (2) L. Hughes, “Sculpting theatrical performance at Pompei’s Casa degli amorini dorati”, Logeion 4 (2014), 227–48, at 247.

2015 (3) Ch. Demetriou, “Donatus’ commentary: the reception of Terence’s performance”, in A. J. Turner & G. Torello Hill (eds.), Terence Between Late Antiquity and the Age of Printing: Illustration, Commentary and Performance (Leiden: Brill 2015), at 195 n. 74, 267; (4) G. W. M. Harrison, “Seneca on the fall of Troy”, in G.W.M. Harrison (ed.), Brill’s Companion to Roman Tragedy (Leiden: Brill 2015), 118–50, at 134 n. 39; (5) Α. Bilir & M. Sahin, “Herakleia Pontika’dan Pantomim Sanatçısı Krispos’un Mezar Anıtı ve Antik Çağ’da Pantomim [The Monumental Tomb of the Pantomime Artist Crispus from Heraclea Pontica and Pantomime in the Ancient Age]”, in E. Okan & C. Atila (eds.), Studies in Honour of Ömer Özyiğit (Istanbul: Yayinlari 2015), 47–56, at 52 n. 20, 53; (6) R. Homar Pérez, El πάθος com a motiu tràgic en els escolis i en les manifestacions artístiques d’època imperial: dansa i novella, PhD Univ. Barcelona 2015 at 128 n. 384, 305; (7) M. Bois, Lucien, nouvel Ulysse ? Fonctions et enjeux d’un personnage homérique dans l’œuvre de Lucien de Samosate (PhD Université de Bourgogne 2015), at 394.

2016 (8) M. Marinelli, “Le discipline del corpo nel teatro antico: il caso di Luciano di Samosata”, Il Castello di Elsinore

29 (2016), 24–57, at 31–2 n. 15.

2017 (9) G. W. M. Harrison, “Aeschylus in the Roman Empire”, in R. F. Kennedy (ed.), Brill’s Companion to the Reception of Aeschylus (Leiden: Brill 2017), 129–78, at 159 n. 110; (10) L. Whittington, “Shakespeare and the Greeks: theatricality and performance from Plutarch’s Lives to Coriolanus’, Classical Receptions Journal 9.1 (2017), 120–43, at 124 n. 19, 125 nn. 20 and 22, 142; (11) R. Webb, “Reperformance and embodied knowledge in Roman pantomime”, in R. Hunter & A. S. Uhlig (eds.), Imagining Reperformance in Ancient Culture: Studies in the Traditions of Drama and Lyric (Cambridge: CUP 2017), 262–80, at 262 n. 4, 324; (12) E. Magnelli, “L’Ocypus pseudo-lucianeo, tra tragedia e commedia”, Polymnia: collana delle scienze dell’Antichità (special issue: Il calamo della memoria, VII) (Trieste 2017), 1–20, at p. 8 n. 31; (13) W. A. Johnson, “Imperial pantomime and Satoshi Miyagi’s Medea”, Didaskalia 13 (2016–17), 76–90, at 85 n. 14; (14) J. P. Ulrich, Platonic Reflections in Apuleius (PhD University of Pennsylvania 2017), at 73 n. 174, 91, 101 n. 225; (15) J. Hanink, ‘Knowledge transmission: Ancient archives and repertoires’, in M. Revermann (ed.), A Cultural History of Theatre in Antiquity (London: Routledge 2017), 181–196, at 228 n. 114.

2018 (16) C. Garcia Ehrenfeld, Lucian’s Hermotimus: Essays about Philosophy and Satire in Greek Literature of the Roman Empire (PhD King’s College London 2018), at 177 n. 49, 223; (17) M. Griffith, “Music and dance in tragedy after the fifth century”, in V. Liapis & A. K. Petrides (eds.), Greek Tragedy After the Fifth Century (Cambridge: CUP, 2018), p. XXX, n. 105; (18) R. Webb, “Attitudes towards tragedy from the Second Sophistic to Late Antiquity”, in Liapis & Petrides (2018), nn. 4 and 14.

2019 (19) G. Tedeschi, “Raccontar danzando: excursus sulla pantomime imperiale”, Camenae 23 (2019), 5 n. 24.

2020 (20) H. Slaney, Kinaesthesia and Classical Antiquity 1750–1820: Moved by Stone (London: Bloomsbury 2020); (21) N. Tsoumpra, “No Laughing Matter? The Comic Potential of Madness in Aristophanes”, in P. Swallow & E. Hall, Aristophanic Humor: Theory and Practice (London: Bloomsbury Academic 2020), 153–66, 241–44, at 243 n. 9; (22) Anna Maria Wasyl, “Sąd Parysa widowisko pantomimiczne (W relacji filozoficznego osła)” [The Judgment of Paris. A pantomimic spectacle [as related by the philosophizing ass)], Symbolae Philologorum Posnaniensium Graecae Et Latinae 30 (2020), 99–122, at 102 n. 15;

22. [co-authored with S. Papaioannou] «New Comedy under new light», in Α. Κ. Petrides & Sophia Papaioannou (eds.), New Perspectives on Postclassical Comedy, Newcastle upon Tyne: Cambridge Scholars Publishing 2010, 1–13.


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23. «New Performance», in Α. Κ. Petrides & S. Papaioannou (eds.), New Perspectives on postclassical Comedy, Newcastle upon Tyne: Cambridge Scholars Publishing 2010, 79–124.

Cited by:

2012 (1) K. Gutzwiller & O. Çelik, “New Menander mosaics from Antioch”, AJA 116.4 (2012), 573-623; (2) G. Sorrentino, Comunicazione e relazioni interpersonali nelle commedie di Menandro: un’ indagine sul Dyskolos e sulla Samia (PhD Freiburg 2012), at 445; (3) R. Maltby, Terence Phormio (Oxford: Aris & Phillips 2012), p. 1 n.3, 215.

2013 (4) A. Scafuro, “Comedy in the late fourth and early third centuries BCE”, in M. Fontaine & A. Scafuro (eds), Oxford Handbook of Greek and Roman Comedy (Oxford & New York: OUP 2013), 202 (n. 6), 206 (n. 8), 217; (5) A. Scafuro, “Comedy in the late fourth and early third centuries BCE”, in Fontaine & Scafuro (2013), 235, 237; (6) J. Hanink, “Crossing genres: Comedy, tragedy and satyr play” in Fontaine & Scafuro (2013), 271, 275; (7) J. Henderson, “Comedy in the fourth century, II: politics and domesticity”, in M. Fontaine & A. Scafuro (2013), 198; (8) S. Kiritsi, “Menander’s Samia: Translating and Staging for a Modern Greek Audience”, in A. Constantinou & I. Hadjicosti (eds), Το Αρχαίο Θέατρο στην Κύπρο: Πρακτικά Συµποσίου (Nicosia: Cultural Foundation of the Bank of Cyprus: 2013), 95-120 (p. 101, 118); (9) K. Diamantakou-Agathou, “Η συµβολή του Θεατρικού Οργανισµού Κύπρου και του Εύη Γαβριηλίδη στον θεατρικό επαναπατρισµό του Μενάνδρου”, in A. Constantinou & I. Hadjicosti (2013), 93; (10) D. Konstan & M. Fantuzzi, “From Achilles’ horses to a cheese seller’s shop: On the history of the guessing game in Greek drama”, in E. Bakola, L. Prauscello & M. Telò, Greek Comedy and the Discourse of Genres (Cambridge: CUP 2013), p. 274, n. 36.

2014 (11) W. D. Furley, «Aspects of recognition in Perikeiromene and other plays», in A. H. Sommerstein, Menander in Contexts (London: Routledge 2014), 114 n. 18; (12) J. Hanink, Lycurgan Athens and the Making of Classical Tragedy (Cambridge: CUP 2014), 266; (13) V. Cinaglia, Aristotle and Menander on the Ethics of Understanding (Leiden: Brill 2014), 214; (14) S. Papaioannou, “Terence’s literary self-consciousness and the anxiety of Menander’s influence”, in S. Papaioannou (ed.), Terence and Interpretation (Newcastle upon Tyne: CSP 2014), 95-117, at 106 n. 27; (15) C. Sardino & G. Sorrentino, “Die neue Komödie”, n B. Zimmermann & A. Rengakos (eds.), Handbuch der griechischen Literatur der Antike. 2. Band. (München: Verlag H.G. Beck 2014), 1051–1099, at 1075 n. 528; (16) R. R. Caston, «Reinvention in Terence’s Eunuchus», TAPhA 144.1 (2014), 41-70, at n.72; (17) L. Nunes da Costa, Géneros poéticos na comedia de Plauto: Traços de uma poetica plautina imanente (PhD Universidade Estadual de Campinas 2014), at 162 n. 408, 262.

2015 (18) V. Wohl, Euripides and the Politics of Form, Princeton, NJ: PUP 2015, at 169 n. 17, 203; (19) W. Furley, Menander Perikeiromene or The Shorn Head, BICS Supplement 127, London: Institute of Classical Studies 2015, at 17 n.71, 88; (20) C. Sardino & G. Sorrentino, “Menander und die Komödie seiner Zeit: einige Überlegungen”, in S. Chronopoulos & C. Orth (eds), Fragmente einer Geschichte der griechischen Komödie – Fragmentary History of Greek Comedy (Freiburg: Verlag Antike 2015), at 210 n. 36, 299; (21) C. W. Marshall & T. Hawkins (eds.), Athenian Comedy in the Roman Empire (London: Bloomsbury 2015), 281.

2016 (22) J. Hanink & A. S. Uhlig, “Aeschylus and his afterlife in the classical period: ‘My poetry did not die with me’”, in S. E. Constantinidis (ed.), The Reception of Aeschylus’ Plays Through Shifting Models and Frontiers (Leiden and Boston: Brill 2016), 51–79, at 72, 383.

2018 (23) K. Schlapbach, The Anatomy of Dance Discourse: Literary and Philosophical Approaches to Dance in the Later Graeco-Roman World (Oxford: OUP 2018), at 96 n. 53, 315; (24) Th. Baier, “Il Dyskolos: tragico o comico?”, in M. M. Bianco & A. Casamento (eds.), Novum aliquid inventum: Scritti sul teatro antico per Gianna Petrone (Palermo: Palermo University Press 2018), at 70 n. 47, 75; (25) Χ. Φάκας, «Το λογοτεχνικό υπόβαθρο του θέµατος της φιλίας στο µυθιστόρηµα του Χαρίτωνα», Παρουσία 21 (2017-18), 165-189, at 180 n. 59; (26) A. Duncan & V. Liapis, “Theatre performance after the fifth century”, in V. Liapis & A. K. Petrides (eds.), Tragedy After the Fifth Century (Cambridge: CUP 2018), at XXX, nn. 52, 62.


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2019 (27) P. Touyz, “The ancient reception of Aeschylus’ satyr play”, in L. Coo & A. Uhlig (eds.), Aeschylus at Play: Studies in Aeschylus’ Satyr drama, special issue of BICS 62.2 (2019), 97–117, at 105 n. 51.

2020 (28) S. Papaioannou, “Plautus and the topography of his world”, in G. F. Franco & D. Dutch (eds.), A Companion to Plautus (London: Blackwell 2020), at 300; (29) M. Fantuzzi, “Rhesus”, in A. Markantonatos (ed.), Brill’s Companion to Euripides (Leiden & Boston: Brill 2020), 415–39, at 432 n. 57, 58, 439; (30) Γ. Μπάρλου, Η Μορφή της Εταίρας στην Αρχαία Κωµωδία: Μια Συγχρονική και Διαχρονική Επισκόπηση, Διπλ. Διατρ. (Πανεπιστήµιο Πατρών 2020), 17 n. 66, 70 n. 246, 83;

24. «Ηρώδας, Μίµος, Μάχων, Παρωδοί, Σιλλογράφοι» [«Herodas, the mime, Machon, the parodists, and the sillographers»], in Κ. Spanoudakis & F. Manakidou (eds), Αλεξανδρινή Μούσα. Συνέχεια και νεωτερισµός στην ελληνιστική ποίηση [Alexandrian Muse: Continuities and Innovations in Hellenistic Poetry], Σήµατα: Σύγχρονες Προσεγγίσεις στην Αρχαία Ελληνική Γραµµατεία 2, Athens: Gutenberg 2008, pp. 441–99.

Cited by:

2008 (1) K. Spanoudakis, Αριάδνη 13 (2007) [2008], 13-28.

2009 (2) S. Perrone, Commentaria et lexica graeca in papyris reperta. Pars II: Commentaria in adespota. Vol. 4: Comoedia et mimus (Berlin: de Gruyter 2009), xxvii, 140 n. 5.

2010 (3) C. Giantsiou Watrinet, Le mime Grec antique (PhD Université d’Avignon et des pays de Vaucluse, 2010), 192–3.

2011 (4) S. Tsitsiridis, “Greek mime in the Roman Empire”, Logeion 1 (2011), 184–232, at 226.

2014 (5) X. A. Μαµατά, Ελληνιστικά επιγράµµατα για τα δράµα-θέατρο, (MA Thesis, Aristotelian University of Thessaloniki 2014), at 14 n. 2, 34 n. 61, 35 n. 63; 33 n. 146, 63 n. 289, 100 n. 469, 101 n. 470, 101 n. 471, 101 n. 476, 102 n. 477, 111 n. 521, 111 n. 525, 111 n. 528, 159 n. 775, 159 n. 776, 160 n. 777, 165 n. 807.

2015 (6) I. M. Konstantakos, «Machon’s Alexandrian comedy and earlier comic tradition», Aevum 89 (2015) 13–36.

2016 (7) Σ. Ψαρρά, Όψεις του θεού Διονύσου στην ελληνιστική ποίηση (MA Thesis, University of Athens 2016), 46 n. 215, 48 n. 227, 97.

2019 (8) Σ. Κίτσιου, Τα παρακλαυσίθυρα στη βουκολική ποίηση και η σχέση τους µε τον Μίµο: Θεόκριτος, Βιργίλιος, Καλπούρνιος, Νεµεσιανός και τα ανώνυµα αποσπάσµατα Μίµων (PhD University of Patras 2019), 15 n. 23, 62 n. 204, 86 n. 266, 87 n. 276, 150 n. 449, 153 n. 457, 157 n. 466, 201.

ARTICLES IN REFEREED JOURNALS:

25. «Χαραλαµπίδης σκώπτων: Νέες χρήσεις της µεθιστορικής µεθόδου προς σχολιασµό της άµεσης επικαιρότητας στις όψιµες συλλογές του Κυριάκου Χαραλαµπίδη», Θέµατα Λογοτεχνίας 59 (2019), 66–79.

Cited by:

2021 (1) Α. Ι. Βοσκός, «2+1 κυπρογενή ποιήµατα του Κυριάκου Χαραλαµπίδη για την Ελένη και τον Αχιλλέα», στο Α. Κ. Πετρίδης & Δ. Δηµητρίου (επιµ.), Γλώσσης Ίµερος: Η ποίηση του Κυριάκου Χαραλαµπίδη, Αθήνα: Ηρόδοτος 2021; Πετρίδης & Δηµητρίου (2021); (2) Π. Στράτη, «Η µνήµη ως µεταµυθική συντεταγµένη στον χαραλαµπίδειο


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µύθο Οδυσσέα-Πηνελόπης», στο Πετρίδης & Δηµητρίου (2021); (3) Μ. Θ. Αµοιρίδου, «Ιχνηλατώντας διακειµενικές σχέσεις ανάµεσα στον Κυριάκο Χαραλαµπίδη και τον Διονύσιο Σολωµό: Το σολωµικό ηρωικό φως της Μεθιστορίας», στο Πετρίδης & Δηµητρίου (2021); (4) Γ. Γεωργής, «Ο ελένειος µύθος στον Κυριάκο Χαραλαµπίδη», στο Πετρίδης & Δηµητρίου (2021);

26. « “Όµοια σχεδόν τα γυµνά σώµατά τους, ρωµαλέα”: Τέσσερα ποιήµατα του Γιάννη Ρίτσου για τον µύθο των Επτά επί Θήβας», Logeion 8 (2018), 195–210.

Cited by:

2021 (1) Σ. Ν. Φιλιππίδης, «Τα όρια του φάσµατος της ποιητικής φωνής του Κυριάκου Χαραλαµπίδη», Α. Κ. Πετρίδης & Δ. Δηµητρίου (επιµ.), Γλώσσης Ίµερος: Η ποίηση του Κυριάκου Χαραλαµπίδη, Αθήνα: Ηρόδοτος 2021;

27. «Aeschylus in the mix: The making of Nikos Kazantzakis’ Prometheus trilogy», Classical Receptions Journal 7.3. (2015), 355–99.

Cited by:

2015 (1) M. Pavlou, “Yannis Ritsos’ nauseated Agamemnon and Jean-Paul Sartre”, Modern Greek Studies Online 1 (2015) 23–53, at 48 n. 75;

2019 (2) I. Vasileva & M. Kisilier, «Where does Odysseus sail to? About a mythmaking project of Nikos Kazantzakis», in Indo-European Linguistics and Classical Philology XXIV: Proceedings of the 24th Conference in Memory of Professor Joseph M. Tronsky, 158–80, at 160 n.4;

28. «Kyriakos Charalambides and the House of Atreus: four poems», Logeion 4 (2014) 279–320.

Cited by:

2019 (1) Λ. Χριστοδουλίδου, Όψεις του αρχαιοελληνικού µύθου στην ποίηση του Κυριάκου Χαραλαµπίδη (Λευκωσία: Εκδόσεις Επιφανίου 2019), 39 n. 43, 46 n. 47, 46 n. 48; (2) Π. Στράτη, «Το Σαλιγκάρι και Φεγγάρι του Κυριάκου Χαραλαµπίδη στο ελληνικό σχολείο Σκανταρλιά Βελιγραδίου», Θέµατα 32-33 (2019), 36-55, at 55;

2021 (3) Π. Στράτη, «Η µνήµη ως µεταµυθική συντεταγµένη στον χαραλαµπίδειο µύθο Οδυσσέα-Πηνελόπης», στο Α. Κ. Πετρίδης & Δ. Δηµητρίου (επιµ.), Γλώσσης Ίµερος: Η ποίηση του Κυριάκου Χαραλαµπίδη, Αθήνα: Ηρόδοτος 2021; (4) Δ. Δηµητρίου, «“Η προτελευταία αλήθεια”: O µύθος του Χριστού στον Κυριάκο Χαραλαµπίδη», στο Πετρίδης & Δηµητρίου (2021); (5) Α. Ι. Βοσκός, «2+1 κυπρογενή ποιήµατα του Κυριάκου Χαραλαµπίδη για την Ελένη και τον Αχιλλέα», στο Πετρίδης & Δηµητρίου (2021); (6) Γ. Γεωργής, «Ο ελένειος µύθος στον Κυριάκο Χαραλαµπίδη», στο Πετρίδης & Δηµητρίου (2021); (7) Μ. Πασχάλης, «Ο “αριστοτελικός” Κυριάκος Χαραλαµπίδης», στο Πετρίδης & Δηµητρίου (2021).

29. «Οι ‘Κυπριακές Ιστορίες’ στο 10ο βιβλίο των Μεταµορφώσεων του Οβιδίου», Κυπριακαί Σπουδαί 75 (2011, publ. 2014) 101–14.

Cited by:

2015 (1) S. Alekou, "Ancient Echoes of Gendered Phobias in 19th Century Europe and the Cypriot Press", Mediterranean Chronicle 5 (2015) 213–44, at 230 n. 89, 231 n. 90.

2018 (2) S. Alekou, “Γυναικοφοβία ή Θηλυκοποίηση του Φόβου: Από την Αρχαία Μυθολογία στην Ευρωπαϊκή Αποµυθοποίηση του Κυπριακού Μισογυνισµού”, στο A. Alekou (επιµ.), Ο Χρήσιµος Εχθρός: κείµενα για την κατασκευή του «Άλλου» (Λευκωσία: Πανεπιστηµιακές Εκδόσεις Κύπρου 2018).

30. «Structural symmetry and proxemics in Euripides’ Medea», Logeion 2 (2012), 60–73.

Cited by:


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2014 (1) J. R. Green, “Two Phaedras: Euripides and Aristophanes?”, in S. D. Olson (ed), Ancient Comedy and Reception: Essays in Honor of Jeffrey Henderson (Berlin & Boston 2014), 123 n. 57; (2) E. Bakola, “Interiority, the ‘deep earth’, and the spatial symbolism of Darius’ apparition in the Persians of Aeschylus”, CCJ 60 (2014) 1–36, at 31 n. 92; (3) A. Skouroumouni-Stavrinou, “Inside and out: the dynamics of domestic space in Euripides’ Andromache”, Hermes 142.4 (2014) 385–403, at 387 n. 6.

2015 (4) A. Skouroumouni-Stavrinou, “The opsis of Helen: performative intertextuality in Euripides”, GRBS 55 (2015) 104–32, at 120 n. 45.

31. «Aegina, Thucydides son of Melesias, and Aristophanes’ Acharnians 709: an old crux revisited», GRBS 50.4 (2010), 490-498.

Cited by:

2014 (1) M. Luiz Torres, A impostura em Aristófanes (PhD thesis, São Paulo 2014), p. 22, 341.

2015 (2) R. di Cesare, La città di Cecrope: Ricerche sulla politica edilizia cimoniana ad Atene (Athens & Paestum 2015), 17 n. 1.

2016 (3) Th. G. Pappas, Αριστοφάνης: Ο ποιητής και το έργο του (Αθήνα: Gutenberg 2016), at 473.

2019 (4) A. Capra & M. Cavalli, “Aristofane e la Chimera? Acarnesi 703-712”, Acme 1 (2019), 35–44, at 35 n.7.

2020 (5) I. M. Konstantakos, «Aristofane, poeta di Atene», in The Artist and his / Her Homeland: The “genius loci” in the Ancient World. Nuova Secondaria Ricerca 7 - Dossier (2020), 286–311, at 301 n.50; (6) L. Pallaracci, Aristofane e la guerra del Peloponneso (PhD Università degli Studi di Perugia 2020).

32. «Verbalizing/Visualizing: theatrical masks and the Greek epigram», CQ 59.2 (2009), 494-504.

Cited by:

2013 (1) S. Nervegna, Menander in Antiquity, (Cambridge: CUP 2013), p. 118 n. 284, 298.

2014 (2) R. Lämmle, “Das Satyrspiel”, in B. Zimmermann & A. Rengakos (eds.), Handbuch der griechischen Literatur der Antike. 2. Band. (München: Verlag H.G. Beck 2014), 926–27, at 939 n. 81, 966; (3) X. A. Μαµατά, Ελληνιστικά επιγράµµατα για τo δράµα-θέατρο, Διπλωµατική µεταπτυχιακή εργασία, ΑΠΘ, Τµήµα Φιλολογίας (Θεσσαλονίκη 2014), at 44, , 71 n. 336, 72 n. 340, 73 n. 343, 73 n. 345, 80 n. 379, 81 n. 384, 82 n. 388, 84 n. 395, 84 n. 398, 85 n. 404, 86 n. 405, 87 n. 407, 87 n. 410, 95 n. 439, 141 n. 673, 141 n. 677, 142 n. 681, 148 n. 717.

2016 (4) E. Prioux, “Une histoire des styles en épigrammes: essai de confrontation entre Posidippe et Dioscoride”, in E. Santin & L. Fochsia (eds.), L’Épigramme dans tous ses états: épigraphiques, littéraires, historiques (Lyon: ENS 2016), at 100 n. 32; (5) Σ. Ψαρρά, Όψεις του θεού Διονύσου στην ελληνιστική ποίηση (Διπλωµατική µεταπτυχιακή εργασία, ΕΚΠΑ 2016), 37 n.163, 37 n.164.

2018 (6) A. Vaillancourt & A. G. Scott, “Othryadas: The development of a historical and literary exemplum”, in L. Fratantuono & M. English (eds.) Pushing the Boundaries of Historia: Essays on Greek and Roman History and Culture in Honor of Blaise Nagy (London: Routledge 2018), 147–65, at 162 n. 50.

2019 (7) E. G. Piros, Martial and the Poetics of Popular Consumption (PhD UCLA 2019), 169 n. 287.

33. "Georgios Pachymeres between ethnography and narrative: Συγγραφικαὶ ἱστορίαι, 3.3-5." GRBS 49 (2009), 141-164.

Cited by:

2012 (1) D. Thomas & A. Mallett (eds.), Christian-Muslim Relations. A Bibliographical History. Volume 4 (1200-1350) (Leiden & Boston: Brill 2012), 701; (2) V. Syros, “An early modern South Asian thinker on the rise and


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decline of empires: Shh Wal Allh of Delhi, the Mughals and the Byzantines”, Journal of World History 23.4 (2012), 793–840, at 822 n. 82.

2013 (3) A. Dan, “From Imagined Ethnographies to Invented Ethnicities: The Homeric Halizones”, Orbis Terrarum 11 (2012–13) 33–72, at 59 n. 134; (4) A. Kaldellis, Le discours ethnographique à Byzance. Continuité et rupture, Séminaires byzantins 2 (Paris: Les Belles Lettres 2013), at 115 n. 18; (5) A. Kaldellis, Ethnography After Antiquity: Foreign Lands and Peoples in Byzantine Literature (Philadelphia: UPenn Press 2013), 158–9, 212, 224, 259; (6) M. Hatzaki, «Experiencing physical beauty in Byzantium: The body and the ideal», in C. Nesbitt & M. Jackson (eds.), Experiencing Byzantium: Papers from the 44th Spring Symposium of Byzantine studies, Newcastle and Durham, April 2011 (London: Ashgate 2013), 233–50.

2016 (7) R. Shukurov, The Byzantine Turks: 1204-1461 (London: Brill 2016), at 24 n. 49, 463.

2017 (8) I. Telelis, “Tεχνικὸς διδάσκαλος: Georgios Pachymeres as paraphrast of Aristotelian meteorology”, in A. M. Cuomo & E. Trapp (eds.). Towards a Historical Sociolinguistic Poetics of Medieval Greek (Turnhout: Brepols 2017), 119–42, at 121 n. 10.

2018 (9) L. Neville, Guide Towards Byzantine Historical Writing (Cambridge: Cambridge University Press 2018), 241.

2019 (10) E. Panou, “Colour in Byzantine Historiography (13th–15th centuries)”, Βυζαντινά Σύµµεικτα 29 (2019), 195-230, at 216 n. 132, 216 n. 133, 223.

34. "‘You again’: a note on Menander's Dyskolos 500." Hermes 132 (2005): 121-125.

Cited by:

2012 (1) G. Sorrentino, Comunicazione e relazioni interpersonali nelle commedie di Menandro: un’indagine sul Dyskolos e sulla Samia (PhD Freiburg 2012), 245 n. 19, 445.

2014 (2) A. Clements, Aristophanes’ Thesmophoriazusae: Philosophizing Theatre and the Politics of Perception in Late Fifth-Century Athens (Cambridge: CUP 2014), 213.

35. "Machon, fr. 5, 44-45 Gow: a fish with a ψῆφος." CQ 55.1 (2005): 121-129.

Cited by:

2009 (1) D. Noy, «Neaera’s daughter: a case of Athenian identity theft?», Classical Quarterly 59.2 (2009), 398–410, at 400 n. 15.

2015 (2) I. M. Konstantakos, «Machon’s Alexandrian comedy and earlier comic tradition», Aevum 89 (2015) 13–36 (at 35 n. 62).

2017 (3) S. Müller, Perdikkas II, Retter Makedoniens (Berlin: Frank & Timme 2017), at 217 n. 1286, 287; (4) F. Favi, Fliaci: Testimonianze e frammenti (Berlin: Verlag Antike 2017), at 275, 501; (5) F. Favi, Epicarmo e pseudo-Epicarmo: commento a [Epich.] frr. 240-295 K.-A. (PhD: Scuola Normale Superiore di Pisa 2017), 182 n. 553, 325;

36. "Talking (from) baskets: the dramatic background of Epicharmus, fr.123 K.-A." Eikasmos 14 (2003), 75–86.

Cited by:

2006 (1) Ι. Μ. Konstantakos, Athenaeum 94 (2006) 563-600.


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2010 (2) A. Stramaglia, “Le Metamorfosi de Apuleio tra iconografia e papiri”, in G. Bastianini & A. Casanova (eds.), I papiri del romanzo antico: Atti del Convegno internazionale di studi, Firenze 11–12 giugno 2009 (Firenze: Istituto papirologico “G. Vitelli” 2010), at 165 n. 5.

2012 (3) A. Stramaglia, «Una novella perduta nella Roma di Augusto», in I. Colpo, F. Ghedini (eds.), Il gran poema delle passioni e delle meraviglie: Ovidio e il repertorio letterario e figurativo fra antico e riscoperta dell’antico, Atti del convegno (Padova, 15-17 settembre 2011) (Padova: Padova University Press 2012), 451–61, at 455 n. 30, 460.

2013 (4) F. Vasileiou, Ποιµένας ή Τύραννοςs (Athens: Armos 2013), at 357; (5) M. Andreassi, ‘Adultery mime: da pratica scenica a modello ermeneutico’, RhM 156 (2013) 293–13, passim.

2014 (6) G. Dimatteo, Giovenale: Satira 8 (Berlin: de Gruyter 2014).

2015 (7) A. Willi, “Epicharmus, the Pseudepicharmeia, and the origins of Attic drama”, in S. Chronopoulos & C. Orth (eds.), Fragmente einer Geschichte der griechischen Komödie – Fragmentary History of Greek Comedy (Heidelberg: Verlag Antike 2015), 109–45 at 138 n. 74, 299.

2017 (8) C. Orth, Fragmenta Comica 9.1: Alkaios-Apollophanes (Berlin: De Gruyter 2017), 27, 28 n. 48, 255 n. 424, 256, 421; (9) Bentley, G. G. Post-Classical Performance Culture and the Ancient Greek Novel (PhD King’s College London 2017), 197 n. 606.

2018 (10) S. Tosetti, Commento testuale ai frammenti di Epicarmo (PhD Università degli Studi di Trento 2018), at 621–3; (11) S. Tosetti, “Humor verbal nella commedia dorica e nel mimo”, Logeion 8 (2018), 10–29, at 17 n. 33.

2019 (12) I. M. Konstantakos, “Adultery”, in A.H. Sommerstein (ed.), The Encyclopedia of Greek Comedy (London: Wiley Blackwell 2019), 17–18.

2020 (13) E. Csapo & E. Wilson, A Social and Economic History of the Theatre to 300 B.C. Vol. II. Theatre Beyond Athens: Documents with Translation and Commentary (Cambridge: CUP 2020), 863.

CHAPTERS IN CONFERENCE PROCEEDINGS:

37. "Προσωπείο και Παράσταση στη Νέα Κωµωδία: ζητήµατα µεθοδολογίας", στο Κ. Κυριακός (επιµ.), Το Αρχαίο Θέατρο και η Πρόσληψή του: Πρακτικά Δ' Πανελληνίου Θεατρολογικού Συνεδρίου, Πάτρα 26-29 Μαΐου 2011, Πάτρα: Τµήµα Θεατρικών Σπουδών Πανεπιστηµίου Πατρών 2015, 21–32.

38. «Οι Φοίνισσες του Ευριπίδη και του Νίκου Χαραλάµπους», στο Α. Χ. Κωνσταντίνου & Ι. Χατζηκωστή (επιµ), Το Αρχαίο Θέατρο και η Κύπρος: Πρακτικά Συµποσίου, Λευκωσία: Πολιτιστικό Ίδρυµα Τραπέζης Κύπρου 2013, 141–54.

39. “Masks in dialogue: The First and Second Episeistos masks in New Comedy”, in R. Grisolia and G. M. Rispoli (eds.), Il personaggio e la maschera. Atti del Convegno Internazionale di Studi, Quaderni del Centro Studi Magna Grecia, 3 (Naples, 2005), 143–54.

Cited by:

2008 (1) J. R. Green, Lustrum 50 (2008), 7-302.


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2012 (2) K. Gutzwiller & O. Çelik, “New Menander mosaics from Antioch”, AJA 116.4 (2012), 573–623, at 589 n. 78.

REFERENCE WORKS (refereed):

40. "Masks in Greek Theatre". The Literary Encyclopedia. 28 December 2009.

Cited by:

2013 (1) A. Scafuro, “Comedy in the late fourth and early third centuries BCE”, in M. Fontaine & A. Scafuro (eds.), Oxford Handbook of Greek and Roman Comedy (Oxford: OUP 2013), 202 n. 6, 206 n. 9.

2019 (2) F. Gómez Seijo, “Desenmascarando a Helena”, Cuadernos de Filología Clásica – Estudios griegos e indoeuropeos 29 (2019) 89-112, at 91.

BOOK REVIEWS IN REFEREED JOURNALS:

41. Review of N. Manousakis, Prometheus Bound: a Separate Authorial Trace in the Aeschylean Corpus. (Trends in Classics Supplementary Volume 98.) Pp. xvi + 282, figs. Berlin and Boston: De Gruyter, 2020. CR (2020), published online 30 November 2020.

42. Review of E. Stewart, Greek Tragedy on the Move: The Birth of a Panhellenic Art Form c. 500¬–300 BC. Oxford and New York: Oxford University Press, 2017. Classical Journal Online 2018.09.07

43. Review of L. Poli Palladini, A Cloud of Dust: Mimesis and Mystification in Aeschylus’ Seven Against Thebes, Alessandria: Edizioni dell’Orso: 2016. Bryn Mawr Classical Review 2017.04.26.

44. Review of André Hurst, Dans les marges de Ménandre, Recherches et rencontres 33, Genève: Librairie Droz SA 2015. Bryn Mawr Classical Review 2016.02.50.

45. Review of A. Kotlińska-Tomà, Hellenistic Tragedy: Texts, Translations and a Critical Survey. London & New York: Bloomsbury 2015. ISBN: 978-1-47252-421-8. pp. xvi + 322. Eos 102 (2015), 198–201.

46. Review of S. Douglas Olson (ed.), Ancient Comedy and Reception: Essays in Honor of Jeffrey Henderson. Berlin & Boston: De Gruyter 2014. Journal of Hellenic Studies 135 (2015), doi: 10.1017/S0075426915000282

47. Review of T. J. Moore, Music in Roman Comedy, Cambridge: CUP 2012. Classical Journal Online 2014.11.05

48. Review of C. W. Marshall & G. Kovacs (eds), No Laughing Matter: Studies in Athenian Comedy, London 2012. Journal of Hellenic Studies 134 (2014) 166–7.


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49. Review of M. Wright, The Comedian as Critic: Greek Old Comedy and Poetics. Phoenix 67.1-2 (2013) 184–6.

50. Review of S. Ireland, Menander: the Shield and the Arbitration. Aris & Phillips Classical Texts. Oxford: Oxbow Books, 2010. 9780856688331. Journal of Hellenic Studies 133 (2013) 188-9.

51. Review of A. Poochigian (trans.) Aeschylus: Persians, Seven Against Thebes, and Suppliants. Pp. xxiv + 138. Baltimore: The Johns Hopkins University Press, 2011. ISBN: 978-1-4214- 00648-8 (978-1-4214-0063-1 hbk), The Classical Review 62.2 (2012), 368-370.

52. Review of L. Bruzzese, Studi su Filemone comico. Prosopa, 3. Lecce; Iseo: Pensa MultiMedia Editore, 2011, BMCR 2012.03.47

53. Review of J. S. Rusten (ed.). The birth of comedy: texts, documents, and art from Athenian comic competitions, 486-280. Baltimore: Johns Hopkins University Press, 2011, BMCR 2011.11.54.

54. Review of B. Gentili & G. Cerri, La letteratura di Roma arcaica e l'ellenismo. Biblioteca Aragno. Torino: Nino Aragno Editore, 2005, BMCR 2006-09-21.

55. Review of P. Cipolla, Poeti minori del dramma satiresco. Testo critico, traduzione e commento, Amsterdam 2003. The Classical Review 55 (2005), 39-41.

56. Review of O. Imperio, Parabasi di Aristofane. Acarnesi, Cavalieri, Vespe, Uccelli, Bari: Adriatica Editrice, 2004. BMCR 2005-05-23.

57. Review of V. Liapis, Μενάνδρου Γνῶµαι Μονόστιχοι. Εισαγωγή, Μετάφραση, Σχόλια, Athens: Stigmi 2002. BMCR 2003-04-11.

Cited by:

2007 (1) N. Lazaridis, Wisdom in Loose Form: The Language of Egyptian and Greek Proverbs in Collections of the Hellenistic and Roman Periods, (Leiden & Boston: Brill 2007), p. 28 n. 63; (2) D. M. Searby, The Corpus Parisinum (Lewiston, NY: Edwin Mellen Press, 2007), at 821, 918.

2008 (3) M. Rozen, Homelands and Diasporas: Greeks, Jews and Their Migrations (London: I.B. Tauris 2008), 346 n. 183.

2019 (4) D. Searby, Corpus Parisinum (PhD Uppsala University 2019), at 821–2, 918;

OTHER PUBLICATIONS:

(a) Reports:

58. A. Tsakmakis & Α. Κ. Petrides, Πρόγραµµα Σπουδών Αρχαίων Ελληνικών και Λατινικών για τα δηµόσια σχολεία της Κυπριακής Δηµοκρατίας [Curriculum for the Study of Ancient Greek and


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Latin in public schools of the Republic of Cyprus], Nicosia: Ministry of Education and Culture – Pedagogical Institute of Cyprus, Department of Curriculum Development, 2010 [104 pages].

(b) Student Textbooks and Teacher’s Guides for secondary education:

59. Οι Νεφέλες του Αριστοφάνη για την Γ᾽ Γυµνασίου [Aristophanes Clouds for Gymnasium, Grade III]. Nicosia: Ministry of Education and Culture – Pedagogical Institute of Cyprus, Department of Curriculum Development, 2013.

Cited by: (1) S. Kiritsi, “Aristophanes, education and performance in Modern Greece’, in P. Walsh (ed.), Brill’s Companion to the Reception of Aristophanes (Leiden: Brill, 2016);

60. Οµήρου Οδύσσεια για την Α᾽ Γυµνασίου (introduction-editing A. K. Petrides) [Homer’s Odyssey for Gymnasium, Grade I], Nicosia: Ministry of Education and Culture – Pedagogical Institute of Cyprus – Programme Development Service, 2013.

61. Οµήρου Ιλιάδα για τη Β᾽ Γυµνασίου (introduction-editing A. K. Petrides) [Homer’s Iliad for Gymnasium, Grade II], Nicosia: Ministry of Education and Culture – Pedagogical Institute of Cyprus – Programme Development Service, 2013.

62. A. K. Petrides (in collaboration with E. Rodosthenous, L. Hadjimichael, P. Pouyiourou & S. Stavrou), Οµήρου Οδύσσεια για την Α’ Γυµνασίου. Υποστηρικτικό υλικό για τον/την εκπαιδευτικό [Support Material for the Teaching of Homer’s Odyssey at Gymnasium, Grade I], Nicosia: Ministry of Education and Culture – Pedagogical Institute of Cyprus – Programme Development Service, 2011 [185 pages).

(c) Conference papers on Open and Long-Distance Learning:

63. Α. Πετρίδης, Γ. Δεληγιαννάκης, Σ. Σουβατζή, Μ. Επιφανίου, «Η ‘υβριδική’ λεγόµενη ΟΣΣ στο Πρόγραµµα ‘Σπουδές στον Ελληνικό Πολιτισµό’ του Ανοικτού Πανεπιστηµίου Κύπρου», 6th International Conference on Open and Distance Learning, Λουτράκι 4-6 Νοεµβρίου 2011, 197-204.

64. Σ. Ευθυµιάδης & Α. Πετρίδης, «Η διδασκαλία ακέραιων λογοτεχνικών κειµένων στο Ανοικτό Πανεπιστήµιο Κύπρου», 6th International Conference on Open and Distance Learning, Λουτράκι 4-6 Νοεµβρίου 2011, 179-188.

65. Γ. Παπαϊωάννου & Α. Πετρίδης, «Ελληνικός πολιτισµός, νέες τεχνολογίες και ΑεξΑΕ: η θεµατική ενότητα ΕΛΠ10 Εισαγωγή στη σπουδή του ελληνικού πολιτισµού στο Ανοικτό Πανεπιστήµιο Κύπρου και η εξέλιξή της (2007 – 2011)», 6th International Conference on Open and Distance Learning, Λουτράκι 4-6 Νοεµβρίου 2011, 702-713.


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66. Μ. Παύλου & Α. Πετρίδης, «Η διδασκαλία του γλωσσικού µαθήµατος στην ανοικτή και εξ αποστάσεως εκπαίδευση: το παράδειγµα της ΕΛΠ 32: ‘Εισαγωγή στα Αρχαία Ελληνικά’», 6th International Conference on Open and Distance Learning, Λουτράκι 4-6 Νοεµβρίου 2011, 77-84.

67. Gravani, M. N. et al. (Hatzinikita, V., Zarifis, G., Michaelides, M., Gough, M., Yütte, W., Efthymiadis, S., Petrides, A., Sarakinioti, A.), «Researching adult distance teaching and learning at the Open University of Cyprus and the Hellenic Open University». Proceedings of the IODL & ICEM Joint Conference and Media Days, Anadolu University, Eskisehir Turkey, 6-8 October 2010, ISBN: 978-975-06-0799-8, pp. 355-363.

Cited by: (1) M. N. Gravani, V. Hatzinikita, G. K. Zarifis, “Factors Influencing Adult Distance Teaching and Learning Processes: The Case of the Open University”, The International Journal of Learning 18.5 (2012) 307–20, at 318;

(d) Publications in literary journals (non-refereed):

68. «Άξιος; Άξιος! Αναφορά στον Κυριάκο Χαραλαµπίδη µε αφορµή τη βράβευσή του µε το βραβείο Γ. Φ. Πιερίδης 2019 της Ένωσης Λογοτεχνών Κύπρου», Νέα Εποχή 341 (2019).

69. «Για την καινούρια ανθολογία κυπριακής ποίησης των Γιώργου Χριστοδουλίδη και Παναγιώτη Νικολαΐδη», Διόραµα 24 (Μάιος – Ιούνιος 2019), 48.

70. «Λαιµαργία: ένα αµάρτηµα ως λογοτεχνική έµπνευση», Ηλεκτρονικό Περιοδικό Ο Αναγνώστης, 26.05.2019.

71. «The real thing: Για την ποιητική συλλογή Τα Κεράσια της Εύας της Βίκυς Κατσαρού», ηλεκτρονικό περιοδικό Fractal 16.01.19.

72. «Ένα µεταλογοτεχνικό, µετακινηµατογραφικό µυθιστόρηµα: για τον Αργό Σίδηρο του Σωφρόνη Σωφρονίου», Νέα Εποχή 339 (2019), 87–93.

73. «Η Γυναίκα στο Κείµενο: τέσσερις Κύπριες πεζογράφοι (συν)οµιλούν για τη λογοτεχνική γραφή: Μυρτώ Αζίνα, Νάσια Διονυσίου, Μαρία Α. Ιωάννου, Κωνσταντία Σωτηρίου», Ακτή 118 (άνοιξη 2019), 17–20.

74. «Καβάφης και Μπρεχτ: δύο στιγµές», Διόραµα 17 (Μάρτιος-Απρίλιος 2018), 44.

Cited by: (1) Π. Στράτη, «Η µνήµη ως µεταµυθική συντεταγµένη στον χαραλαµπίδειο µύθο Οδυσσέα-Πηνελόπης», στο Α. Κ. Πετρίδης & Δ. Δηµητρίου (επιµ.), Γλώσσης Ίµερος: Η ποίηση του Κυριάκου Χαραλαµπίδη, Αθήνα: Ηρόδοτος 2021;

75. «Η πολιτική ως µαταιωµένη φαντασίωση: για το µυθιστόρηµα του Γιώργου Στόγια Ο τελευταίος τροχός της αµάχης (Αθήνα: Μελάνι 2018)», ηλεκτρονικό περιοδικό Bookpress 24.10.18.

(e) Literary translations:


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76. «Nasia Dionysiou, “The Fence”: translated by Antonis K. Petrides in collaboration with the author», Modern Greek Studies Online 4 (2018), http://www.moderngreek.org.uk/journal/ content/dionysiou2018 .

77. «Kyriakos Charalambides, Poems translated by A. K. Petrides», Greek Letters: A Journal of Modern Greek Literature in Translation 26 (2014–15), publ. 2017, 103–112.

(f) Blog posts

Administrator and sole author of the blog “Λωτοφάγοι” (“Lotus-Eaters”), which publishes articles in Modern Greek, mostly on literature and theatre (ancient and modern). Specimens:

78. Λωτοφάγοι: Γενικό ευρετήριο (index entry)

79. Οι Λωτοφάγοι και η σύγχρονη λογοτεχνία (index entry)

80. Λωτοφάγοι και Αρχαίο Θέατρο: µια καταγραφή (index entry)

TALKS AND LECTURES (selection)

66. «Για το µυθιστόρηµα του Χρίστου Χατζήπαπα Το Χρώµα του Γαλάζιου Υάκινθου, που επανακυκλοφορεί», Λευκωσία, Αίθουσα Αρχείου ΡΙΚ, 16 Ιανουαρίου 2020.

67. «Ένα ποιητικό opus vitae: Νάσιας Παταπίου Μελουζίνης ενώτια ή Η ωραία που έρχεται», Λευκωσία, Αίθουσα Καστελιώτισσα, 14 Δεκεµβρίου 2019.

68. «Εκεί που ζούµε: συζήτηση για το µυθιστόρηµα του Χρίστου Κυθρεώτη µε την Κωνσταντία Σωτηρίου και τον συγγραφέα», Λευκωσία, Βιβλιοπωλείο Σολώνειον, 21 Νοεµβρίου 2019.

69. «Αναφορά στον Θεοκλή Κουγιάλη», Δευτερά, 14 Μαρτίου 2019.

70. «Για τα Λαίµαργα, το δεύτερο συλλογικό έργο της Wunderart Productions», Λευκωσία, Γκαράζ, 27 Φεβρουαρίου 2019.

71. «Η Σφίγγα ξέρει: ποιήµατα-αινίγµατα στον όψιµο Χαραλαµπίδη», Συνέδριο Κυριάκου Χαραλαµπίδη Επίσκεψις, Λευκωσία 31 Ιανουαρίου – 2 Φεβρουαρίου 2019 (διοργάνωση: Ανοικτό Πανεπιστήµιο Κύπρου).

72. «Για την καινούρια ανθολογία κυπριακής ποίησης των Γιώργου Χριστοδουλίδη και Παναγιώτη Νικολαΐδη», Λευκωσία, Πολιτιστικό Κέντρο Δήµου Στροβόλου, 21 Δεκεµβρίου 2018.

73. «Αργός Σίδηρος: Για το καινούριο µυθιστόρηµα του Σωφρόνη Σωφρονίου (Αθήνα: Εκδόσεις Αντίποδες 2017)», Λευκωσία, Ανοικτό Πανεπιστήµιο Κύπρου, 5 Δεκεµβρίου 2018.


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74. «Τα κεράσια της Εύας: για την ποιητική συλλογή της Βίκυς Κατσαρού (Αθήνα: Εκδόσεις Ιωλκός 2018)», Αθήνα, Polis Art Cafe, 2 Δεκεµβρίου 2018.

75. «Χαραλαµπίδης σκώπτων: Νέες χρήσεις της µεθιστορικής µεθόδου για τον σχολιασµό της σύγχρονης επικαιρότητας στις όψιµες συλλογές του ποιητή», Ηµερίδα Κυριάκος Χαραλαµπίδης: Θαρρώ τον λένε φως ή κάπως έτσι, Λεµεσός, Πολιτιστικό Κέντρο Πάνος Σολοµωνίδης, 17 Νοεµβρίου 2018 (διοργάνωση: Διεύθυνση Μέσης Εκπαίδευσης Κύπρου).

76. «“Όµοια σχεδόν τα γυµνά σώµατά τους, ρωµαλέα”: τέσσερα ποιήµατα του Γιάννη Ρίτσου για τον µύθο των Επτά επί Θήβας», 15ο Διεθνές Συµπόσιο Αρχαίου Δράµατος, Λευκωσία 3-4 Νοεµβρίου 2017 (διοργάνωση: Κυπριακό Κέντρο του Διεθνούς Ινστιτούτου Θεάτρου).

77. «Η πολιτική ως µαταιωµένη φαντασίωση: για το βιβλίο του Γιώργου Στόγια Ο τελευταίος τροχός της αµάξης», Λευκωσία, Βιβλιοπωλείο Public, 13 Οκτωβρίου 2018.

78. “It was always far away: Cyprus in ancient Greek comedy”, Συνέδριο Cyprus as a place and a ‘topos’ in ancient literature, Αθήνα 21-22 Σεπτεµβρίου 2018 (διοργάνωση: ΕΚΠΑ – Σπίτι της Κύπρου).

79. «Φωνές του τόπου: Κώστας Λυµπουρής, Κωνσταντία Σωτηρίου», Λευκωσία 17 Απριλίου 2018.

80. «Η γυναίκα στο κείµενο: τέσσερις Κύπριες πεζογράφοι (συν)οµιλούν για τη λογοτεχνική γραφή», Λευκωσία, Σκαλί Αγλαντζιάς – Αίθουσα Σπηλιές, 19 Δεκεµβρίου 2017.

81. «Another new edition and commentary on Menander’s Dyskolos?», Princeton University, Center of Hellenic Studies, October 13, 2017.

82. “λελάληκεν ἡδέως ἐν τῷ βίῳ οὐδενί: rhetoric in Menander’s Dyskolos”, Conference Addressing Matters in Context, University of Cyprus, August 2015.

83. “Curriculum reform and its discontents in Cyprus (2009–2014)”, Αθήνα, Φινλανδικό Ινστιτούτο, Φεβρουάριος 2015.

84. «The Open University of Cyprus as a strategic partner: the advantages of long-distance adult education”, Greek-German Scientific Cooperation Conference, Hamburg University, February 2015.

85. “Dialogising Aeschylus in the poetry of Kyriakos Charalambides”, Conference Our Heroic Debate with the Eumenides, Open University of Cyprus, December 2014.

86. “Space in Menander’s Dyskolos”, Conference Space in Theatre, Cyprus Branch of the International Theatre Institute, Nicosia, July 2014.

87. “The Relative’s apprenticeship in Aristophanes’ Thesmophoriazusae”, Costume in Aristophanes, University of Oxford, October 2014

88. «Στοιχεία πρόσληψης της αρχαίας ελληνικής τραγωδίας στην ποίηση του Κυριάκου Χαραλαµπίδη: το ποίηµα ‘Ορέστης’ (Στη Γλώσσα της Υφαντικής, Αθήνα 2013)», Larnaca Centre for the Letters and the Arts, April 2014.

89. «Ο Καβάφης του κόσµου [Cavafy of the World]», The English School, Nicosia, December 2013.


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90. «Νέα Κωµωδία σε νέο θέατρο: λίγα λόγια για τη Σαµία του Μενάνδρου µε αφορµή την παράσταση του Εύη Γαβριηλίδη [New Comedy in a new theatre building: a few words on Menander’s Samia on the occasion of Evis Gavrielides’ performance]», Cyprus Theatre Organisation post-performance event, Nicosia, November 2012 (part 1, part 2).

91. “ὦ Μένανδρε καὶ βίε, πότερος ἄρ᾽ ὑµῶν πότερον οὐκ ἐψεύσατο: Menander’s Comedy between reality and textuality”, Conference Commenting Fragments: the case of ancient Greek Comedy, Freiburg University, July 2012.

92. «O δόλιος Ευριπίδης της Μήδειας», 3ο Μικρό Φεστιβάλ Αρχαίου Δράµατος [Third Short Festival of Ancient Drama], Limassol, March 2012.

93. «Ελένη ἑλέναυς, ἔλανδρος, ἑλέπτολις», Keynote speech at the Second Secondary-Education Student Conference Aesop: an old yet modern story-teller, Ministry of Education and Culture, Nicosia, April 2011.

94. «Πώς κατασκευάζουµε έναν Αίσωπο [How does one construct an Aesop?]», Keynote speech at the First Secondary-Education Student Conference Aesop: an old yet modern story-teller, Ministry of Education and Culture, Nicosia, April 2010.


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CITATIONS COMPENDIUM

* numbers refer to individual papers citing my work one or more times.

Title Cited by (no.)

New Perspectives on Postclassical Comedy 65 (2 rev.)

Menander, New Comedy and the Visual 57 (6 rev.)

Plautus and ‘popular theatre’ 32

New Performance 31

Lucian’s On Dance 22

Greek Tragedy After the Fifth Century 17 (5 rev.)

Talking (from) baskets 13

Georgios Pachymeres 10

Ηρώδας, Μίµος, Μάχων, Παρωδοί, Σιλλογράφοι 8

Verbalizing/Visualizing 7

Kyriakos Charalambides and the House of Atreus 7

Acharnians 709 6

Debating with the Eumenides 5 (1 rev)

Machon 5

Structural symmetry 4

Review of Vayos Liapis 4

Dialogising Aeschylus 4

Χαραλαµπίδης σκώπτων 4

Introduction to the History of Cyprus 3


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Τὸν πάντα χρόνον δουλεύσω 3

Κύπρονδε 3

‘You again’ 2

Masks in dialogue 2

Researching adult distance learning 2

Κυπριακές Ιστορίες 2

Aeschylus in the mix 2

"Masks in Greek Theatre" 2

Introduction to Liapis-Petrides 1

Νεφέλες Γ᾽ Γυµνασίου 1

Όµοια σχεδόν τα σώµατά τους 1

Καβάφης και Μπρεχτ 1

TOTAL 323

Antonis K. Petrides, List of publications & citations (last update: 28.11.2017)

Documents

Transcript of Antonis K. Petrides, List of publications & citations (last update: 28.11.2017)