satyric


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Related to satyric: satyr play, Illegal copying
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This is not an unusual scene in a satyric context (32).
To put it in another way: Papposilenus is a Satyr who tries to soothe a demigod and, what is more, in a satyric context.
Jensson continues by arguing for "satiric or satyric content" (209) as central to the Satyrica.
But the issue of "mythological travesty" needs clarification since it is the first step in the identification of the satyric nature of Goodnight Desdemona.
In certain ways the satyr play is subversive to tragedy insofar as an essential aspect of satyric humor consists in travestying tragedy and inviting the audience to laugh at what tragedy takes seriously.
In his commentary on Euripides' Cyclops, Richard Seaford highlights the anomalies of the satyric context by clarifying the nastier details of Polyphemus's culinary habits and by keeping track of how Euripides' text responds to the Cyclops scene in Odyssey 9.
First were bits and pieces and examples of very early Graham, including such solos from the thirties as Frontier (1935); Deep Song (1937); and Satyric Festival Song (1932); Graham's first classic ensemble, the great ritualistic Primitive Mysteries (1931), in a somewhat listless performance; and the agitprop, poster-art choreography of Chronicle (1936) and Panorama (1935), both of which nowadays strikingly suggest the rarely considered influence on Graham of the German Mary Wigman and even Kurt Jooss.
18) It is found in satyric drama (Autolycus is satyric) at A.
Because of the general acceptance of Isaac Casaubon's classic treatise, De Satyrica Graecorum Poesi & Romanorum Satira (Paris 1605), which argued for the necessity of a radical differentiation between Roman satire and Greek satyric poetry, this meant that any attempt to relate the Saturae of Petronius to Greek texts would provoke accusations of category confusion.
The Radical Graham repertoire will include Heretic (1929), Graham's earliest surviving work; Satyric Festival Song (1932), a solo long out of repertoire but captured vividly in several Barbara Morgan photographs; Celebration (1934); and three excerpts from the large-scale 1936 work Chronicle.
Duncan's posture is not that of an avuncular Socrates to a naive ephebe, but rather of an aroused Pan whose satyric character is as erotic as it is violent.