Search results for 'R. P. Ingram-Winnington' (try it on Scholar)

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  1. M. C. R. (1909). Bref de Sa Sainteté Pie X au R. P. Montagne, directeur de la Revue thomiste. Revue Thomiste 17 (1/6):1.
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    G. G. R. (1931). Psychopathology. By J. S. Nicole, M.R.C.P. & S. (London: Bailliere Tindall & Cox. 1930. Pp. Xii + 203. Price 10s. 6d.). Philosophy 6 (22):271-.
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    D. W. Lucas (1962). Euripidean Problems H. Diller, J. C. Kamerbeek, A. Lesky, V. Martin, A. Rivier, R. P. Winnington-Ingram, G. Zuntz: Euripide. (Entretiens Hardt, Tome Vi.) Pp. 290. Cambridge: Heffer, 1960. Cloth, £2. 10s. Net. [REVIEW] The Classical Review 12 (02):126-129.
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  4.  17
    J. S. Morrison (1949). The Bacchae R. P. Winnington-Ingram: Euripides and Dionysus: An Interpretation of the Bacchae. Pp. Viii+190. Cambridge: University Press, 1948. Cloth, 15s. [REVIEW] The Classical Review 63 (3-4):96-98.
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    B. M. W. Knox (1982). Sophocles R. P. Winnington-Ingram: Sophocles: An Interpretation. Pp. Xii + 346. Cambridge University Press. 1980. £25 (Paper, £8.50). [REVIEW] The Classical Review 32 (01):8-12.
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    E. K. Borthwick (1956). The Oslo Musical Fragment S. Eitrem Leiv Amundsen, and R. P. Winnington-Ingram: Fragments of Unknown Greek Tragic Texts with Musical Notation. Pp. 87; 2 Plates. Oslo: Brøgger, 1955. Paper. [REVIEW] The Classical Review 6 (3-4):211-213.
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  7.  9
    H. D. F. Kitto (1936). Mode in Ancient Greek Music R. P. Winnington-Ingram : Mode in Ancient Greek Music. Pp. Viii+90. (Cambridge Classical Studies, II.) Cambridge: University Press, 1936. Cloth, 7s. 6d. [REVIEW] The Classical Review 50 (05):184-186.
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  8.  6
    A. F. Garvie (1985). Studies in Aeschylus R. P. Winnington-Ingram: Studies in Aeschylus. Pp. Xiv + 225. Cambridge University Press, 1983. £25 (Paper, £9.95). [REVIEW] The Classical Review 35 (01):7-8.
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  9.  6
    Brian R. Clack, A. B. P. & R. C. B. (1996). Robert Audi, Ed. The Cambridge Dictionary of Philosophy. Pp. Xxviii+882. (Cambridge: Cambridge University Press, 1995.) £55.00 Hbk, £17.95 Pbk.Stephen R.L. Clark. How to Live Forever: Science Fiction and Philosophy. Pp. Vii+223. (London: Routledge, 1995.) £40.00.D. Z. Phillips. Introducing Philosophy. Pp. Xii+206. (Oxford: Blackwell Publishers, 1996.) £40.00 Hbk, £11.99 Pbk.Paul Ricoeur. Figuring the Sacred: Religion, Narrative and Imagination. Pp. Viii+340. (Minneapolis: Fortress Press, 1995.)Frederick Sontag. Wittgenstein and the Mystical: Philosophy as an Ascetic Practice. Pp. Xii+167. (Atlanta, Georgia: Scholars Press, 1995.) $34.95 Hbk, $22.95 Pbk. [REVIEW] Religious Studies 32 (4):529-531.
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  10.  6
    Brian R. Clack, C. B. & H. P. (1996). Eberhard Herrmann. Scientific Theory and Religious Belief: An Essay on the Rationality of Views of Life. Pp. 128. Dfl. 69.90.Peter Van Inwagen. God, Knowledge and Mystery: Essays in Philosophical Theology, Pp. 284. Morton Klass. Ordered Universes: Approaches to the Anthropology of Religion. Pp. Xiv + 177. £37.00 Hb, £11.50 Pb.Ian S. Markham. Plurality and Christian Ethics. Pp. Xiv + 225. £32.50.M. A. Stewart & John P. Wright, Ed. Hume and Hume's Connexions. Pp. Xvi + 266. £39.50. [REVIEW] Religious Studies 32 (2):293.
  11.  2
    L. A. R. (1951). Book Review:The Nature of Physical Theory P. W. Bridgman. [REVIEW] Philosophy of Science 18 (3):271-.
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    L. A. R. (1954). Book Review:Readings in the Philosophy of Science Philip P. Wiener. [REVIEW] Philosophy of Science 21 (3):271-.
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  13.  10
    R. P. Winnington-Ingram (1949). The Style of Aeschylus F. R. Earp: The Style of Aeschylus. Pp. Vii+175. Cambridge: University Press, 1948. Cloth, 12s. 6d. Net. [REVIEW] The Classical Review 63 (3-4):95-96.
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  14.  6
    R. P. Winnington-Ingram (1949). H. R. Butts: The Glorification of Athens in Greek Drama. (Iowa Studies in Classical Philology, No. XL) Pp. 247. Privately Lithoprinted From 4598-28 Typescript (Copies Obtainable From the Author at 305 East Park St., Vandalia, Missouri), 1947. Paper, $4. [REVIEW] The Classical Review 63 (01):33-.
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  15.  21
    R. P. Winnington-Ingram (1959). The Agamemnon (1) J. D. Denniston and Denys Page: Aeschylus, Agamemnon. Pp. Xxxix + 240. Oxford: Clarendon Press, 1957. Cloth, 21s. Net. (2) Eduard Fraenkel: Der Agamemnon des Aeschylus. Pp. 38. Zürich: Artemis-Verlag, 1957. Paper, 3.80 Sw. Fr. [REVIEW] The Classical Review 9 (01):23-26.
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  16.  4
    R. P. Ingram-Winnington (1946). Choephori 691–9 (687–95). The Classical Review 60 (02):58-60.
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    R. P. Winnington-Ingram (1935). Aeschylus. Eumenides, 674–680. The Classical Review 49 (01):7-8.
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  18.  4
    R. P. Winnington-Ingram (1955). Music and Metre Émile Martin: (I) Trois documents de musique grecque. Pp. 78; 2 plates. (2) Essai sur les rythmes de la chanson grecque antique. Pp. viii+365. Paris: Klincksieck, 1953. Paper, 800 fr., 1, 600 fr. [REVIEW] The Classical Review 5 (01):83-86.
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  19.  4
    R. P. Winnington-Ingram (1955). Two Latin Idioms. The Classical Review 5 (02):139-141.
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  20.  4
    R. P. Winnington-Ingram (1933). The Rôle of Apollo in the Oresteia. The Classical Review 47 (03):97-104.
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  21.  23
    R. P. Winnington-Ingram (1951). Fraenkel's Agamemnon Aeschylus: Agamemnon. Edited With A Commentary By Eduard Fraenkel. 3 Vols. Vol. I, Pp. Xvi + 195; Vols. II and III, Pp. Viii + 850. Oxford: Clarendon Press, 1950. Cloth, £4. 4s. Net. [REVIEW] The Classical Review 1 (3-4):147-151.
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  22.  5
    R. P. Winnington-Ingram & Alister Cameron (1970). The Identity of Oedipus the King: Five Essays on the Oedipus Tyrannus. Journal of Hellenic Studies 90:204.
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  23.  7
    R. P. Winnington-Ingram (1949). Characterization in Euripides Walter Zürcher: Die Darstellung des Menschen Im Drama des Euripides. (Schweizerische Beiträge Zur Altertumswissenschaft, Heft 2.) Pp. Xii+197. Basel: Reinhardt, 1947 Paper. [REVIEW] The Classical Review 63 (01):15-16.
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  24.  14
    R. P. Winnington-Ingram (1932). Aulos und Kithara in der griechischen Musik bis zum Ausgang der klassischen Zeit. Von Helmut Huchzermeyer. Pp. 76. Emsdetten (Westf.): H. und J. Lechte, 1931. Paper. [REVIEW] The Classical Review 46 (05):233-.
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  25.  15
    R. P. Winnington-Ingram (1962). Aeschylus' Persae H. D. Broadhead: The Persae of Aeschylus. Edited with Introduction, Critical Notes and Commentary. Pp. Lxxiii+350. Cambridge: University Press, 1960. Cloth, 45s. Net. [REVIEW] The Classical Review 12 (02):122-125.
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  26.  5
    R. P. Winnington-Ingram (1957). Dieter Kaufmann Bühler: Begriff und Funktion der Dike in den Tragödien des Aischylos. Pp. 116. Bonn: Ludwig Röhrscheid, 1955. Paper. [REVIEW] The Classical Review 7 (02):158-159.
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  27.  15
    R. P. Winnington-Ingram (1952). Greek Tragedy D. W. Lucas: The Greek Tragic Poets. Pp. Ix+253. London: Cohen & West, 1950. Cloth, 15s. Net. The Classical Review 2 (01):21-22.
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  28.  7
    R. P. Winnington-Ingram (1949). Emil Staiger: Euripides, Ion. Deutsch mit einer Einleitung. Pp. 66. Bern: Francke, 1947. Boards, 5.50 Sw. fr. The Classical Review 63 (02):71-.
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  29.  11
    R. P. Winnington-Ingram (1939). The Greek Modes K. Schlesinger: The Greek Aulos. Pp. 1+577; 18 Plates. London: Methuen, 1939. Cloth, 42s. The Classical Review 53 (5-6):185-186.
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  30.  5
    R. P. Winnington-Ingram (1959). The Loeb Aeschylus. The Classical Review 9 (03):239-.
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    R. P. Winnington-Ingram (1959). The Loeb Aeschylus Aeschylus. With an English Translation by Herbert Weir Smyth. Vol. Ii. Reprinted with an Appendix Edited by Hugh Lloyd-Jones. (Loeb Classical Library.) Pp. 611. London: Heinemann, 1957. Cloth, 15s. Net. [REVIEW] The Classical Review 9 (03):239-241.
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    R. P. Winnington-Ingram (1935). Two Passages of Horace. The Classical Review 49 (04):127-128.
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  33.  5
    J. A. Davison, R. P. Winnington-Ingram, Euripides & Dionysus (1947). Euripides and Dionysus: An Interpretation of the Bacchae. Journal of Hellenic Studies 67:139.
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  34.  2
    R. P. Winnington-Ingram (1954). Aeschylus, Agamemnon 1343–71. Classical Quarterly 4 (1-2):23-.
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  35.  3
    R. P. Winnington-Ingram (1948). Clytemnestra and the Vote of Athena. Journal of Hellenic Studies 68:130.
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  36.  4
    R. P. Winnington-Ingram (1961). The Danaid Trilogy of Aeschylus. Journal of Hellenic Studies 81:141.
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    R. P. Winnington-Ingram & Kathleen Schlesinger (1939). The Greek Aulos. Journal of Hellenic Studies 59:305.
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  38.  8
    R. P. Winnington-Ingram (1948). Euripides André Rivier: Essai sur le Tragique d'Euripide. Pp. 240. Lausanne, Rouge, 1944. Paper, 6 Sw. fr. The Classical Review 62 (01):17-18.
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  39.  9
    R. P. Winnington-Ingram (1951). Augustine's De Musica W. F. Jackson Knight: St. Augustine's De Musica. A Synopsis. Pp. 125. London: Orthological Institute, [1949]. Cloth and Boards, I2J. 6d. Net. [REVIEW] The Classical Review 1 (3-4):200-201.
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  40.  10
    R. P. Winnington-Ingram (1965). Greek Music and Poetry Hermann Koller: Musik und Dichtung im alten Griechenland. Pp. 212; 20 plates. Bern: Francke, 1963. Cloth, 24.50 Sw. fr. [REVIEW] The Classical Review 15 (02):193-195.
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  41.  4
    J. F. M. & R. P. Winnington-Ingram (1937). Mode in Ancient Greek Music. Journal of Hellenic Studies 57:105.
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  42.  10
    R. P. Winnington-Ingram (1932). Aristoxenus and the Intervals of Greek Music. Classical Quarterly 26 (3-4):195-.
    Ancient Greek music was purely or predominantly melodic; and in such music subtleties of intonation count for much. If our sources of information about the intervals used in Greek music are not always easy to interpret, they are at any rate fairly voluminous. On the one hand we have Aristoxenus, by whom musical intervals were regarded spatially and combined and subdivided by the processes of addition and subtraction; for him the octave consisted of six tones, and the tone was exactly (...)
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  43.  2
    R. P. Winnington-Ingram (1954). A Religious Function of Greek Tragedy: A Study in the Oedipus Coloneus and the Oresteia. Journal of Hellenic Studies 74:16.
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  44.  9
    R. P. Winnington-Ingram (1956). The Pentatonic Tuning of the Greek Lyre: A Theory Examined. Classical Quarterly 6 (3-4):169-.
    It has commonly been assumed that, on ancient Greek instruments of the lyre-type , when a string had been tuned to a certain note, that note and that note only could be played, until the string was retuned; thus, that a separate string was required for each note of a given scale. This view involves certain difficulties. The canonical number of strings was seven, and seven-stringed lyres and citharas continue to be represented in art throughout the classical period. But, with (...)
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  45.  3
    R. P. Winnington-Ingram, K. Ziegler & Francois Lasserre (1956). Plutarch, de musicaPlutarque de la Musique. Journal of Hellenic Studies 76:118.
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  46.  3
    R. P. Winnington-Ingram & T. Georgiades (1950). Der griechische Rhythmus: Musik, Reigen, Vers und Sprache. Journal of Hellenic Studies 70:82.
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  47.  2
    R. A. Higgins & R. P. Winnington-Ingram (1965). Lute-Players in Greek Art. Journal of Hellenic Studies 85:62.
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  48.  8
    R. P. Winnington-Ingram (1952). Greek Music Otto Johannes Gombosi: Tonarten Und Stimmungen der Antiken Musik. Pp. Xiii+148; 1 Plate. Copenhagen: Munksgaard, 1939 [1950]. Paper, Kr. 25. [REVIEW] The Classical Review 2 (01):34-36.
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  49.  6
    R. P. Winnington-Ingram (1937). Euripides, Electra 1292–1307. The Classical Review 51 (02):51-52.
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    R. P. Winnington-Ingram (1973). Zeus in the "Persae". Journal of Hellenic Studies 93:210-219.
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