Satyr Research Articles

Milton's Epic and Pope's Satyr Play: Paradise Lost in The Dunciad in Four Books

Milton's Epic and Pope's Satyr Play: <i>Paradise Lost</i> in <i>The Dunciad in Four Books</i>

Edge-coupled membrane terahertz photonic transmitters based on metal–semiconductor–metal traveling-wave photodetectors

Ultra-high-speed photodetectors and printed-circuit antennas construct photonic transmitters. In this letter, we demonstrate a terahertz (THz) photonic transmitter: edge-coupled membrane photonic transmitters based on metal–semiconductor–metal traveling-wave photodetectors, which are fabricated with low-temperature-grown GaAs photoabsorption layers. With a membrane-based and edge-coupled structure, the demonstrated photonic transmitters can eliminate the requirement of Si lenses and attain an over 20 times higher optical-to-THz power conversion efficiency 2×10−4 than vertical illuminated photonic transmitters with Si lenses at the same operation frequency.

The Popish Kingdom As a Possible Source for the Satyrs' Reception of Una and her Ass (FQI. vi. 7-19)

Research Article| September 01 2002 The Popish Kingdom As a Possible Source for the Satyrs' Reception of Una and her Ass (FQI. vi. 7-19) Kathryn Walls Kathryn Walls Victoria University of Wellington Search for other works by this author on: This Site Google English Language Notes (2002) 40 (1): 22–29. https://doi.org/10.1215/00138282-40.1.22 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Kathryn Walls; The Popish Kingdom As a Possible Source for the Satyrs' Reception of Una and her Ass (FQI. vi. 7-19). English Language Notes 1 September 2002; 40 (1): 22–29. doi: https://doi.org/10.1215/00138282-40.1.22 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsEnglish Language Notes Search Advanced Search The text of this article is only available as a PDF. Copyright © 2002 Regents of the University of Colorado2002 Article PDF first page preview Close Modal You do not currently have access to this content.

D'Aubignac, Demonologist, II: St Anthony and the Satyr

D'Aubignac, Demonologist, II: St Anthony and the Satyr

Supplices , the Satyr Play: Charles Mee's Big Love

company in the San Francisco Bay area, opened its new Roda theater in style this spring with Aeschylus' Oresteia (trans. Fagles), followed (on the more intimate thrust stage) by Charles L. Mee's adaptation of Aeschylus' Danaid trilogy, entitled Big Love. Seeing these productions in tandem reminds one of the similarities between the two trilogies, as if Aeschylus in his Oresteia developed and expanded ideas introduced five years earlier in Danaides. These include the horrific consequences of male violence, not the least of which involves the tragic female response of killing husbands and turning households into bloodbaths. The primal compulsions that affect human beings—particularly eros and vengeance, immortally hypostasized as Aphrodite and the Furies—drive through both trilogies, countered somewhat by the religious and moral impera- tives to grant beleaguered foreigners asylum. Reflecting Athens's radical democracy, Aeschylus emphasizes the perils and responsibilities of a polity that must face the consequences of its own decisions. In dramatic terms, both trilogies tap the power of choral lyric to wash over plot and action, almost like a force of nature, moving the human drama into a wider spatial and temporal context. Aeschylus also exploits the apparent finality of a trial in both works to bring matters to a dramatic close. However, ultimate resolution depends on the fundamentally comedic faith in the curative powers of marriage, family, and time to restore the human community. Addressing these themes in Big Love, Mee uses them to construct an entertaining romp. One could say he converts Aeschylus' Danaides into a contemporary satyr play, the paratragic genre for which Aeschylus was famous in antiquity (none of his survive, but one called Amymone ended the Danaid tetralogy). Although only Supplices is extant, most scholars agree on the

Rudolph Kassner: Sulla and the Satyr

Rudolph Kassner: Sulla and the Satyr

Satyr and image in Aeschylus'Theoroi

The enduring fame of Aeschylus as the earliest of the ‘three great tragedians’ has made him in effect the first dramatist of the Western tradition, in chronological terms at least. At the same time it is worth noting that among the ancients he also enjoyed a reputation as a master of the satyr play, as Pausanias (2.13.6–7) and Diogenes Laertius (2.133) tell us. It is to this kind of drama, which comprised one-quarter of his output as tragedian, that I would like to turn, with particular focus on hisTheoroiorIsthmiastai, and its treatment of another visual medium, the plastic arts. Our fragments of this play begin with a figure presenting a chorus of satyrs with artfully wrought images made in their likenesses which bring them a startled delight. In the second discernible scene of the fragment the chorus receivesνεοχμᾰ… θρματα ([c] col. ii 50), usually understood as athletic equipment, which the satyrs find rather more unsettling. The following piece is primarily concerned with the first scene in which the coryphaeus urges his companions to dedicate the depictions as votives on Poseidon's temple, relishing the prospect of the comical, terrifying effect these images would have on his own mother and travellers, the latter probably on their way to the Isthmian games. At least this much is clear from the papyrus (esp. lines 1–22). This part of the fragment has attracted a good deal of attention for the evident ‘realism’ of the images that excites the satyrs so much in the first place.

Gifts of Humiliation: Charis and Tragic Experience in Alcestis

Charis is always what bears charis. (Soph. Aj. 522) Not for many does charis breed charis. (Anaxandrides fr. 69 PCG II) A gift that does nothing to enhance solidarity is a contradiction. --Mary Douglas on Marcel Mauss Whether or not in the spring of 438 B.C.E. Euripides anticipated that his festival audience would find his production of Alcestis to be a thought-provoking pro-satyr play, its twentieth-century "readerly audiences" most certainly have. The play has prompted a steady stream of critical studies on a broad range of themes and issues. The trends in the most recent century's approaches to Alcestis are not necessarily tidy, but one critic has summarized them as having three movements: interest prior to World War I in the play's lighter, comic elements; emphasis on Euripides' use of folktale elements, beginning in the 1920s; and exploration of the play's more sinister elements since World War II. 1 My analysis here references this scholarly tradition in the service of an ethical-sociological reading focused on the issue of "charis," a theme interwoven in the play's complex narrative levels of irony and fairy tale, tragedy and satyr drama, and dark and light characterization. I argue that it is possible to view Alcestis' offer to die for Admetus as a kind of gift, a gift that in turn effectively devalues the kinds of gifts Admetus [End Page 179] is able to give. In his attempts to restore the efficacy of his own level of traditional aristocratic gift giving, he is driven to extremes. He offers not to remarry; misleads Heracles about the death of his wife; and renounces his father. These acts, however, further lower his standing. Admetus' attendance at the funeral and homecoming then lead to an experience of tragic understanding, an anagnorisis that offers him perspective on the relative merits of his honor code and complicates the reconciliation scene at the play's end. Charis and Gift Giving Charis has a root meaning of "something which delights" (cf. khairo). In usage, charis more typically conveys two ideas: a "favor" that one does for another, and a feeling of "gratitude" that one has for receiving a favor. 2 The term thus lends itself to a sociological inquiry involving the cultural logic of "gift giving." For example, as part of a study of violent social relations in the context of honor/shame societies, William Miller has discussed the problem of "requiting the unwanted gift." Another member of the recipient's society may have chosen to give him such a gift not in the spirit of generosity but, on the contrary, as a way to shame him, providing him, as it were, with a "gift of humiliation." 3 The notion of gift giving as a sociological institution was pioneered by Marcel Mauss. Working within a framework formulated by Emile Durkheim, Mauss posited the idea that gift giving is not identified with "charity," for it typically implies the expectation by both giver and recipient of a return gift; more importantly, gifts belong to a larger dynamic that establishes social rank and assigns identity. 4 The sociologist [End Page 180] Pierre Bourdieu has argued that in gift-exchange cultures, individuals who offer gifts think simultaneously on two levels of engagement: they give in a fashion that serves to exploit and dominate the recipient, yet their words and posture can convey altruism and concern. Bourdieu has been criticized for universalizing observations made during fieldwork among the Kabyle in Africa; but his principle that primitive honor societies lack institutional means for economic relationships, and that individuals thus employ elaborate schemes of manipulating codes of honor to further their needs and ambitions, 5 speaks to the heart of the social logic which Euripides' Alcestis thematizes and renders theatrical. 6 [End Page 181] This reading of the play thus follows the work of other classical scholars who have analyzed the dynamics of gift exchange in Greek society...

Jonson’s Satiric-Comedy and the Unsnarling of the Satyr from the Satirist

Jonson’s Satiric-Comedy and the Unsnarling of the Satyr from the Satirist

Comic priamel and hyperbole in Euripides, Cyclops 1–10

Our only fully extant satyr play begins (Silenus προλογίζει) with the following address to Dionysus and his statue:

Investigation of NbN phonon-cooled HEB mixers at 2.5 THz

The development of superconducting hot electron bolometric (HEB) mixers has been a big step forward in the direction of quantum noise limited mixer performance at THz frequencies. Such mixers are crucial for the upcoming generation of airborne and spaceborne THz heterodyne receivers. In this paper we report on new results on a phonon-cooled NbN HEB mixer using e-beam lithography. The superconducting film is 3 nm thick. The mixer is 0.2 /spl mu/m long and 1.5 /spl mu/m wide and it is integrated in a spiral antenna on a Si substrate. The device is quasi-optically coupled through a Si lens and a dielectric beam combiner to the radiation of an optically pumped FIR ring gas laser cavity. The performance of the mixer at different THz frequencies from 0.69 to 2.55 THz with an emphasis on 2.52 THz is demonstrated. At 2.52 THz minimum DSB noise temperatures of 4200 K have been achieved at an IF of 1.5 GHz and a bandwidth of 40 MHz with the mixer mounted in a cryostat and a 0.8 m long signal path in air.

The Double Vision of Euripides' Cyclops: An Ethnographic Odyssey on the Satyr Stage

1 COMPAKATIVE i ama Volume 33Fall 1999Number 3 The Double Vision of Euripides' Cyclops: An Ethnographic Odyssey on the Satyr Stage Carol Dougherty Theater—the very word means to be a spectator—is all about looking, wondering, and watching the action on stage, and this visual experience transports the audience temporarily to new worlds and places.1 Euripides' satyr play, the Cyclops, for example , offers its fifth-century BCE Athenian viewers the slightly skewed vision of a hybrid world—part contemporary, part Homeric , part fantastic. The play blends the ribald conventions of satyr drama with a contemporary, late fifth-century setting; it combines the myth of Dionysus' capture by satyrs with the famous Odyssean episode ofPolyphemus, the man-eating Cyclops. In fact, as many scholars have noted, the plot of Euripides' satyr play is unexpectedly faithful to its Homeric model—the shipwreck , Maron's wine, the blinding of Polyphemus, and the "Nobody " pun all appear in Euripides' play just as in they do in Book 9 of the Odyssey? In other words, the play transports the audience to the long-ago and far-away world of Odysseus. While scholars have paid a great deal of attention to the relationship of Euripides' play to its Homeric predecessor, the question of why Euripides would invoke Homer so carefully has not been ad313 3 14 Comparative Drama dressed. Euripides, after all, is a poet known for his mythographic creativity. Why take such pains to present a clearly recognizable epic version of the story on a satyr stage? What is it that epic in general or the Odyssey specifically brings to the late fifth-century Athenian audience? The Odyssey, like theater, offers its audience a glimpse into brave new worlds and peoples. It is a rich and exciting tale of overseas travels and foreign encounters, and I will argue that it is this "ethnographic" quality of the Odyssey that Euripides draws upon here to set the stage for his updated presentation of the Odysseus and Polyphemus tale. Like many later, more explicitly ethnographic texts, the Odyssey combines a curiosity about the exotica of far-off lands with a more inwardly-focused examination ofhow the Greek world at home is changing and adapting to the new world emerging around it. At the same time, the genre of satyr drama holds contemporary Athenian life up to a "fun-house mirror"—satyrs distort the basic categories of life to interrogate (within the safe circle of the Dionysiac theater) the very essence of what it means to be human or Athenian. Thus, in the Cyclops, thanks to this melding of genres, the reflexivity ofthe Odyssey's ethnographic gaze combines with the comic self-scrutiny of satyr drama to provide the Athenian audience with a kind of double vision—a comic but critical view of their role as an imperial power toward the end ofthe fifth century, and perhaps a renewed insight into the complicated relationship between home and abroad . I An Ethnographic Odyssey. Let's start by exploring the ethnographic nature of the Odyssey in order to understand better what Euripides brings to the satyr stage when he invokes the famous story of Odysseus' encounter with the man-eating Polyphemus . Homer's Odyssey is a poem about travel, cross-cultural contact, and narrative, and in it new world accounts of trade and overseas exploration intersect with familiar tales from epic poetry to produce a rich and complex picture of a world in transition .3 Homer's fabulous tales of savage lands and magical palaces are more than folktale or fantasy; they are also steeped in the social, political, and cultural transformations taking place in the archaic Greek world. By this I do not mean that the Odyssey offers us an unproblematic reflection of the archaic period in Greece (or indeed of any one historical period)—the world ofthe Carol Dougherty315 Odyssey is a highly-constructed, poetic world and for this reason will not strictly conform to any one time period.4 Nevertheless, it is my contention that a poetic text like the Odyssey is very much a part of the world that produced it—it actively engages in the political and cultural negotiations of the archaic period rather...

Fabrication of multiple microcolumn array combined with field emission array

We made a multiple electron microcolumn array. The electron source was made of either a Si based field emission array or a nickel coated array to keep the distances among sources equal. Laser micromachining was used to obtain a self-aligned microcolumn with five lenses: an extractor, an accelerator, and an Einzel lens. The aberration of each column was greatly improved compared to anodically bonded Si lens microcolumns. The field emission electron beam pattern was obtained from a multiple microcolumn. Its I–V dependence and possible application to the electron beam lithography with high throughput is discussed.

Low noise in a diffusion-cooled hot-electron mixer at 2.5 THz

The noise performance of a Nb hot-electron bolometer mixer at 2.5 THz has been investigated. The devices are fabricated from a 12-nm-thick Nb film, and have a 0.30 μm×0.15 μm in-plane size, thus exploiting diffusion as the electron cooling mechanism. The rf coupling was provided by a twin-slot planar antenna on an elliptical Si lens. The experimentally measured double sideband noise temperature of the receiver was as low as 2750±250 K with an estimated mixer noise temperature of ≈900 K. The mixer bandwidth derived from both noise bandwidth and IF impedance measurements was ≈1.4 GHz. These results demonstrate the low-noise operation of the diffusion-cooled bolometer mixer above 2 THz.

Off-chip detection of radiation from a linear array oscillator with a spiral antenna

Radiation from a linear array oscillator with a spiral antenna has been measured using an off-chip coupled bolometer. The array oscillator has a distributed array structure with 300 resistively shunted junctions which are placed in the groups of 6 junctions. The array oscillator was fabricated on a Si wafer with a two-arm spiral antenna. The chip was attached to a Si lens with an anti-reflection coating. Rather large power (>100 nW) was detected at a number of array bias voltages V/sub bias/ from 115 mV to 196 mV, which correspond from 185 GHz to 315 GHz. The maximum measured power was 550 nW at V/sub bias/=125 mV (200 GHz).

A low-noise 2.5 THz superconductive Nb hot-electron mixer

We report on the development of a quasioptical Nb hot-electron bolometer mixer for a 2.5 THz heterodyne receiver. The devices are fabricated from a 12 nm thick Nb film, and have a 0.30 /spl mu/m/spl times/0.15 /spl mu/m in-plane size, thus exploiting diffusion as the electron cooling mechanism. The rf coupling was provided by a twin-slot planar antenna on an elliptical Si lens. A specially designed 2.5 THz system, using a CO/sub 2/-pumped FIR laser as local oscillator (LO), with rf hot/cold loads enclosed in vacuum to avoid atmospheric absorption, was used in the experiment. The experimentally measured double sideband (DSB) noise temperature of the receiver was as low as /spl les/3000 K, with an estimated mixer noise temperature of /spl ap/750 K. These results demonstrate the operation of the diffusion-cooled bolometer mixer above 2 THz.

Mak, Hermes and the Satyrs

Mak, Hermes and the Satyrs

Controlling sidewall smoothness for micromachined Si mirrors and lenses

Micromachined vertical mirrors and lenses in Si were fabricated as micro-optical components. A Cl2 plasma generated by an electron cyclotron resonance source was used to etch these mirrors and lenses in Si and the etched Si sidewalls were characterized by atomic force microscopy and scanning electron microscopy. A trilayer resist process has been developed to provide smooth Ni etch mask edges by postbaking the top imaging resist. The resultant Si etched sidewall showed a roughness of 18.69 nm, as compared to the sidewall roughness of 29.95 nm without postbaking. As the plating current density was varied from 5 to 400 mA/cm2, the etched Si sidewall roughness increased from 24.31 to 43.69 nm. Optimized etch conditions were investigated for smooth Si sidewalls. Sidewall was much rougher with a roughness of 98.99 nm when 50 W rf power was applied for dry etching, whereas the roughness was only 29.95 nm when 100 W rf power was used. Additionally, thermal oxidation followed by oxide removal was able to reduce etched Si sidewall roughness. After oxide removal, the sidewall roughness decreased to 5.93 nm after 135 min wet oxidation at 1100 °C. However, oxide grown at 900 °C was less efficient for reducing the sidewall roughness as compared to 1100 °C. The deep etch-shallow diffusion process was applied to fabricate micromirrors and microlenses. It was found that B diffusion at 1175 °C for 2 h decreased the Si sidewall roughness from 29.95 to 10.79 nm and selective wet etch lowered sidewall roughness further to 5.01 nm. Vertical micromirrors that were 40 μm tall and 2 μm wide were bonded onto the glass substrate and released. Microlenses that were 40 μm thick with radius of curvature of 50 μm have also been demonstrated.

Les autres Médées du théâtre grec

A better understanding of the meaning and significance of Euripides'Medea, which finally eclipsed all the other Medeas of the Greek theatre, entails that one should take into account the other figures of Medea created by tragedy, comedy and satyric drama. The present contribution surveys the fragments of the various genres and by several authors who wrote plays in which Medea played a decisive part.

A Terahertz Photomixing Spectrometer: Application to SO2Self Broadening

A new tunable cw far-infrared difference-frequency spectrometer has been developed by mixing two single-mode visible dye lasers separated by terahertz frequencies in an ultrahigh-speed photoconductor. The photomixer device is fabricated with submicrometer interdigital electrodes driving a broadband self-complementary spiral antenna on epitaxial low-temperature-grown (LTG) GaAs material. The LTG-GaAs material has subpicosecond recombination lifetimes, facilitating the ultrafast response of the mixer. The coherent far-infrared radiation is coupled out of the rear surface of the GaAs substrate using an aplanatic Si lens and is detected by a conventional Si-composite bolometer atT= 4.2 K. We have obtained usable signal-to-noise ratios for radiation from 0.1 to 1.0 THz using 584-nm dye laser pumps with the prospect of reaching 2 or 3 THz with pump wavelengths closer to the GaAs bandgap. The instrumental linewidth is currently about 2 MHz, limited by the jitter of the dye lasers. Baseline normalization is necessary to compensate for amplitude fluctuations of the lasers and for the strong fringes arising from standing waves between the source and detector and within the detector dewar. The instrument has been used to obtain SO2self-broadening coefficients for pure rotational transitions in severalQbranches.