8 found
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  1.  36
    Parting Words: Final Lines in Sophocles and Euripides.Deborah H. Roberts - 1987 - Classical Quarterly 37 (01):51-.
    This passage, which appears without variation at the end of four of Euripides' tragedies and with slight variation in a fifth,1 is perhaps the most notorious of the brief sequences of lines, usually anapaestic and usually assigned to the chorus, with which nearly all the extant plays of Sophocles and Euripides conclude.2 Unlike the more varied final speeches of extant Aeschylean tragedy, which are closely integrated with the play's concluding action, these passages often seem almost detachable from such action, a (...)
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  2. Reading Antigone in Translation: Text, Paratext, Intertext.Deborah H. Roberts - 2010 - In S. E. Wilmer & Audrone Zukauskaite (eds.), Interrogating Antigone in Postmodern Philosophy and Criticism. Oxford University Press. pp. 283.
     
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  3.  9
    Infusing Theory into the Undergraduate Classics Curriculum: Examples from Haverford College’s Senior Seminar, Translation and Transformation, and History of Literary Theory.Robert Germany, Bret Mulligan & Deborah H. Roberts - 2015 - Classical World: A Quarterly Journal on Antiquity 108 (2):221-242.
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  4.  17
    Blood or Fate: A note on Choephori 927.Deborah H. Roberts - 1984 - Classical Quarterly 34 (02):255-.
    The line in question occurs towards the end of Orestes' final exchange with Clytemnestra, after her attempts at self-defence have all met with rebuttal.
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  5. Horace I. 5: A Reversal.Deborah H. Roberts - forthcoming - Arion.
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  6.  29
    Musical Design in Sophoclean Theater (review).Deborah H. Roberts - 1998 - American Journal of Philology 119 (1):123-125.
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  7.  14
    Orestes as Fulfillment, Teraskopos, and Teras in the Oresteia.Deborah H. Roberts - 1985 - American Journal of Philology 106 (3):283.
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  8.  42
    Aristotle, Poetics I, with the Tractatus Coislinianus. [REVIEW]Deborah H. Roberts - 1992 - Ancient Philosophy 12 (2):458-461.