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Dana Sutton [7]Dana Ferrin Sutton [4]Dana F. Sutton [1]
  1.  20
    Leroux Marc-Antoine Muret: Juvenilia. Pp. 567. Geneva: Librairie Droz, 2009. Cased, €130.55. ISBN: 978-2-600-01222-5.Dana Sutton - 2010 - The Classical Review 60 (1):317-318.
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  2.  8
    Critias and Atheism.Dana Sutton - 1981 - Classical Quarterly 31 (01):33-.
    One of the best-known fragments of a lost Greek drama is Critias' fr. 43F19 Snell, an extended rhesis from the play Sisyphus in which the protagonist narrates how once upon a time human life was squalid, brutal, and anarchistic; as a remedy men devised Law and Justice; this expedient served to check open wrongdoing but did not hinder secret crimes; then some very clever man hit upon the idea of inventing gods and the notion of divine retribution; thus secret criminality (...)
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  3.  8
    The Theatrical Families of Athens.Dana Ferrin Sutton - 1987 - American Journal of Philology 108 (1).
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  4.  16
    The Greek Origins of the Cacus Myth.Dana Sutton - 1977 - Classical Quarterly 27 (02):391-.
    The myth of Hercules and Cacus is related by several Augustan writers: Vergil, Aeneid 8.185–275, Livy 1.7.3, Ovid, Fasti 1.543–86 and 5.643–52, Propertius 4.9.1–20, and Dionysius of Halicarnassus, Roman Antiquities 1.39. These accounts fall naturally into two classes, in which Cacus is represented respectively as a clever rascal and as a superhuman ogre. The former version is found in Livy and Dionysius, and the latter occurs first in Vergil, and then in Ovid and Propertius. Numerous shared details go to show (...)
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  5.  10
    Named Choreuts in Satyr Plays.Dana Ferrin Sutton - 1985 - American Journal of Philology 106 (1).
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  6.  3
    The Catharsis of Comedy.Ronald Berman & Dana F. Sutton - 1995 - Journal of Aesthetic Education 29 (2):117.
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  7.  11
    Father Silenus: Actor or Coryphaeus?1.Dana Ferrin Sutton - 1974 - Classical Quarterly 24 (1):19-23.
    During the entire period of the creative activity of Aeschylus, Sophocles, and Euripides, tragic playwrights were required to enter the dramatic competition at the Dionysia with tetralogies consisting of three tragedies followed by a satyr play. This last was a comparatively short mythological travesty, a, 2 that received its name because its chorus is invariably composed of satyrs:3 comical half-men, half-beasts who regularly embody a wide range of shortcomings but nevertheless are possessed of a mysterious fund of knowledge and wisdom.
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