Euripides

When shiny Hector reached out for his son, the wean Squirmed and buried his head between his nurse's breasts And howled, terrorised by his father, by flashing bronze And the nightmarish nodding of the horse-hair crest. His daddy laughed, his mammy laughed, and his daddy Took off the helmet and laid it on the ground to gleam, Then kissed the babbie and dandled him in his arms and Prayed that his son might grow up bloodier than him. Michael Longley 1 In Northern Ireland, a far right loyalist terrorist and drug dealer (active 1984-2003) was known as "Mad Dog Johnny Adair": he called his son "Mad Pup." Michael Longley wrote "The Helmet" with them in mind. 2 There are not many babies in the Iliad, so when we find two in close proximity, as in the case of Dionysus and Astyanax in book 6, it makes sense to see if they are connected in some way.

O objeto deste artigo e o fragm. 332 de Aristofanes, atribuido a comedia Tesmoforiantes II. O excerto e parte de um dialogo e contem uma longa enumeracao de objetos considerados tipicamente femininos. Apresentamos uma traducao do fragmento e dos comentarios de suas fontes, com consideracoes de cunho lexicologico, tendo em vista a problematizacao algumas acepcoes dos termos ali contidos.  Apresentamos ainda imagens de alguns dos objetos enumerados no fragmento, visando relacionar nossas consideracoes aos estudos de cultura material.

El personaje de Medea pervive en obras contemporáneas pues presenta aspectos polisémicos y un nexo crítico entre verdad y ficción. Nuestra investigación está centrada en los estudios de recepción que involucran al lector en la apropiación de la obra, reelaboración dialógica de un texto griego y su mito desde el presente. En Eurípides hallamos a una mujer herida que pierde su territorio, es decir, el lugar que

Odysseus’s encounter with the Cyclops Polyphemus is one of the best-known episodes of the Odyssey today and it was very popular in antiquity as well. This contribution will focus on the geographical setting of the episode from a diachronic perspective: while in the Odyssey the location of the Cyclopes’ land remains undetermined, from the 5th century onward it was consistently identified with Sicily. The geographical features of this Western setting will be explored through various literary texts, with the aim of emphasizing the relationship between these features and the portrayal of the Cyclops.

This paper analyses two exegetical strategies adopted by ancient scholars to explain Euripides’ mythological innovations and variations with respect to Homer through a selection of scholia. The first approach considers Euripides a (mis-) reader of Homer. The dramatist regards an epic passage as the reference text, but fails to understand its wording correctly: therefore, he uncritically reproduces the model, even though inspired by a genuine impulse to emulate; this circumstance de facto equates the tragedian with a sort of exegete and represents his deviation from the epic text as the locus of an implicit (erroneous) interpretation. The second approach evaluates the work of Euripides, comparing it with the Homeric poems, by means and in the light of concepts of literary criticism. The tragedian creates a good or bad product depending on whether his innovation achieves a certain poetic result: an implausible or unrealistic description of a character is contested, whereas a strategy to enhance the emotional impact of the dramatic moment is recognised and perceived as a careful and conscious artistic operation, hence possibly praised.

Ci pare interessante e rilevante quanto, in un denso e breve brano, afferma Novalis su lingua, matematica e gioco. Monologo (1) "Parlare e scrivere sono davvero una cosa da impazzire. Il vero conversare è un puro giocare di parola. Non è che da ammirare il risibile errore della gente che ritiene di parlare per amore delle cose. Il carattere proprio della lingua, che è di occuparsi unicamente di se stessa, invece nessuno lo conosce. Un mistero così mirabile e fecondo essa è perché, quando uno parla soltanto per parlare, allora egli enuncia le verità più magnifiche, le più originali. Mentre quando vuol parlare di qualcosa di determinato, la lingua capricciosa gli fa tirare fuori le banalità più ridicole e più assurde. Di qui deriva anche l'odio che parecchia gente seria nutre per la lingua. Essa recepisce la sua capricciosità, ma non si avvede che il detestato chiacchierare è il lato infinitamente serio della lingua. Se solo si potesse far capire alla gente che la lingua è come le formule matematiche : queste costituiscono un mondo per se stessegiocano soltanto con se stesse, non esprimono null'altro che la loro meravigliosa natura e proprio per questo sono così espressive, appunto per questo si rispecchia in loro lo strano gioco di relazioni delle cose. Solo per la loro libertà esse sono membra della natura e solo nei loro liberi movimenti si esterna l'anima del mondo rendendole un tenero metro e tracciato delle cose. Così è anche per la lingua : chi ha un senso fine della sua diteggiatura, della sua cadenza, del suo spirito musicale, chi percepisce in se' il tenero agire della sua intima natura, e muove in armonia la propria lingua o mano, questi sarà burlato dalla lingua stessa e deriso dagli uomini come Cassandra dai Troiani. Se io dunque credo di avere nel più chiaro dei modi indicato essenza e funzione della poesia, so tuttavia che nessun uomo può concepirle e che io ho detto qualcosa di interamente insulso perché ho voluto dirlo, e che in questo modo non nasce alcuna poesia. Che sarebbe, però, se io fossi costretto al dire e se un tale impulso linguistico al parlare fosse il segno dell'ispirazione della lingua , dell'efficacia della lingua in me ? Quand'anche la mia volontà volesse tutto ciò soltanto cui fossi costretto, potrebbe questo pur senza mia coscienza e credenza infine esser poesia e rendere manifesto un mistero della lingua ? e sarei io così uno scrittore di vocazione, dal momento che uno scrittore è solo un posseduto dalla lingua ?" Novalis (1) Novalis , poeta tedesco , pseudonimo di Friedrich von Hardenberg , nobile protestante, Oberwiederstedt , Mansfeld , 1772-Weissenfels , 1801. Amore , morte e misticismo alla radice degli "Inni alla notte" , contrassegnati dall'esaltazione della magica unità tra mondo naturale e mondo soprannaturale. Altre opere : "I discepoli di Sais" incompiuto, "Polline" , "Canti spirituali" , " La Cristianità ossia l'Europa" , "Enrico di Ofterdingen" incompiuto. L'opera letteraria di Novalis influenzò tutto il primo romanticismo tedesco .

This introduction revises our understanding of Jacob Burckhardt's  conception of the state as a work of art, reframing it in terms of Petrarch's "national" epic, "Africa"; of 20th-century theories of the nation as aesthetic artefact; and of the origins of aesthetic nationalism in Virgil's Roman "Aeneid." But I also point to a fatal weakness in Burckhardt's conception of the state as a work of art: the inability of "national" humanists to divert the political power of Christian sacramentalism. It's not that I question the value of Burckhardt's political intuition, but to realize it in ways that he could not.

Históricamente, se ha representado el mito de Medea a través de numerosas obras literarias que se encargan de ubicar el clímax de la historia en la narración de los asesinatos de sus propios hijos como forma de venganza hacia Jasón, su esposo. En la versión que nos presenta el dramaturgo Eurípides, luego de cometer el asesinato de Glauce, princesa de Corinto y nueva esposa de Jasón, Medea escapa llevando los cadáveres de sus hijos hacia Atenas, en búsqueda de la protección que Egeo le había prometido. Así, Medea encuentra refugio en la ciudad de los ríos sagrados, a la cual Afrodita había enviado “a los Amores como compañeros de la Sabiduría” (v. 842), según el mismo Eurípides en el tercer estásimo de la obra. Coincidimos con Medina, López Férez y Calvo (2008), en que puede interpretarse este breve pasaje desde la teoría platónica del Amor, presentada en El Banquete. Sin embargo, siguiendo esta versión del mito, cabe preguntarnos la misma duda que atormenta al coro de mujeres corintias en la obra: ¿cómo Atenas, la ciudad de “tierra sagrada y no devastada” (v. 825) acoge a Medea, “παιδολέτηρ” (v. 849)?

This  article  approaches  the  relation  between  Shakespeare  and  Greek  tragedy by looking at one of the main known sources for the Claudio-Hero plot of Much Ado about Nothing, Matteo Bandello’s novella of “Timbreo and Fenicia”,  and  its  French  rewriting  by  François  de  Belleforest.  It  considers  the generic implications of the transition from novella to histoire tragique, in light of the French rewritings’ key role in the reception of ‘Bandello’ in England.  After  exploring  certain  intersections  between  the  early  modern  reception  of  Greek  tragedy  and  the  project  of  the  histoires  tragiques,  it  looks closely at the notable presence of Euripides in “Timbrée et Fénicie”. It  concludes  by  arguing  that,  out  of  all  the  proposed  sources  of  Much Ado,  Belleforest’s  rewriting  of  this  tale  is  the  one  most  likely  to  have  led  Shakespeare to Euripides’ Alcestis, which it re-proposes as an intertext in the ending of Much Ado. This layering of texts seems to have resonated with the playwright for over a decade, since, in The Winter’s Tale, he is thought to have returned not only to the same moment from Alcestis, but also to the same story in ‘Bandello’.

The present study aims to conduct a cognitive stylistic analysis of the characterization in Nathaniel Hawthorne's novel The Scarlet Letter (1850), specifically the character of the protagonist, Hester Prynne. Combining the perspectives of cognitive psychology and literary analysis, the study explores the linguistic and stylistic devices that Hawthorne employs to create and develop the character of Hester Prynne by utilizing the theoretical framework of cognitive linguistics (Gavins & Steen, 2003). The study employs a qualitative research approach to analyze selected excerpts of the novel from the perspective of cognitive stylistics, resulting in the fact that the combination of linguistic and stylistic devices used by Hawthorne, such as metaphor, imagery, and irony, constructs a character in Hester Prynne that is multi-dimensional and complex. The study provides a greater insight and analysis of Hester Prynne's character construction as the novel's protagonist, as well as an enhanced grasp of the literary character development process in light of the cognitive progressions in the novel.

This essay reflects on the condition of Iphigenia as a Greek woman exiled in a barbarian land, compounded by her situation as a single woman without children, city, or homeland. In short, Euripides' Iphigenia seems to embody the condition of any woman under the status of a servant in a foreign land in Classical Antiquity.

Dans cet article, nous explorons la complexité de la figure mythologique de Médée à travers l'adaptation théâtrale contemporaine "Médée l'effroi" par Chantal Desrues. Médée, célèbre pour sa passion dévorante et sa vengeance impitoyable, est une figure emblématique de la littérature tragique antique, revisitée ici avec une nouvelle perspective dramatique.

Notre analyse se concentre sur la manière dont Desrues donne vie à Médée, une femme tourmentée par l'amour et la trahison, et par ses propres choix radicaux. Nous examinons comment l'adaptation théâtrale explore les motivations profondes de Médée, sa confrontation avec la trahison de Jason et son cheminement vers des actes tragiques et déchirants.

À travers une étude approfondie des techniques dramatiques et des choix de mise en scène de Desrues, nous dévoilons comment cette adaptation modernise et interprète le dilemme moral et émotionnel de Médée pour captiver et perturber l'audience contemporaine.

This is a review of Hecuba by Marina Carr directed by Lynne Parker for Rough Magic at Project Arts Centre, Dublin (25th September – 6th October 2019), Pale Sister by Colm Tóibín first produced by Audible at the Gate Theatre, Dublin on 31st October 2019 directed by Carey Perloff, and Medea by Kate Mulvany and Anne-Louise Sarks (original concept by Anne-Louise Sarks after Euripides) directed by Oonagh Murphy at the Gate Theatre, Dublin (30th January–22nd February 2020).

Rad u središte postavlja Paruničin dramski tekst Apsirt, brat Medejin. Ponuđena je interpretacija toga teksta koja kao glavne probleme ističe motiv bratoubojstva, odnos s  antičkim i mitskim prototekstovima o Medeji te figure tzv. retoričkoga ventrilokvizma – prozopopeju i sermocinaciju. U razradi glavnih ideja poslužile su psihoanalitičke teorije,
poglavito Kristevina razrada kršćanskoga arhetipa melankolične žene, zatim Mitchellina interpretacija posljedica laži histerika te naposljetku književnoteorijski i retorički pristup figurama koje daju glas u povijesti i književnosti prešućenom liku Apsirta. Interpretacija otkriva mogućnosti prozopopeje kao stilske figure koja donosi slične estetske učinke dramskom kao i lirskom diskursu. Ipak realizacija je u dramskom tekstu promiče u figuru koja ispunjava poetsku jezičnu funkciju naglašavajući nejasnost granice između fikcije i fakcije, ali i figuru koja bistri (ne)istinitost govornikova iskaza.
Ključne riječi: bratoubojstvo; melankolija; laž histerika; retorički ventrilokvizam; prozopopeja

Los sueños parecen indicar que los seres humanos viven dos vidas paralelas que sin duda les pertenecen pero entre las cuales no logran una concordancia perfecta. En una, la vida consciente, ellos se perciben –quizá ilusoriamente– del todo soberanos de sí mismos; pero en la otra, en la vida onírica, se sienten desvalidos y con frecuencia se preguntan: ¿soy yo quien sueña? Nuestro propósito es justamente detenernos en este tipo de interrogación que el individuo dirige a sus sueños; para ello hemos elegido un momento distante: la filosofía antigua. Esta vez en torno a Platón y los sueños. Platón, a diferencia de otros filósofos de la antigüedad, no ofrece una doctrina unificada de los sueños sino que dispersa su opinión en los terrenos epistemológico, psicológico, fisiológico y aun metafísico. Este es pues un fragmento de una investigación más amplia acerca de las preguntas que los seres humanos han dirigido a sus sueños, investigación de la que la revista Versión ha tenido la amabilidad de recoger otro fragmento dedicado a los filósofos estoicos. Nuevamente, invitamos al lector a marchar por la brecha de los sueños.

A morte e um tema que unifica as Troades de Seneca. A queda e o saque de Troia determinam a morte da grande cidade.  Em 1.179 versos, os personagens se apresentam: Hecuba, Taltibio, Pirro, Agamemnon, Calcante, Andromaca, um anciao, Astianax, Ulisses, Helena, Polixena, um mensageiro e o coro de troianas.  A peca teatral inicia-se com o lamento de Hecuba,rainha troiana sobre o seu destino e o de Troia (1-65). Um coro das troianas acompanha a destruicao da cidade e a morte de Priamo e de Heitor(67-162). No primeiro episodio (164-408), Taltibio, relata o aparecimento da sombra de Aquiles com o seu pedido: o sangue de Polixena pela mao de Pirro. Agamemnon e contra esse pedido e o filho de Aquiles, Pirro defende a honra de seu pai, discute a necessidade e a validade do assassinato da jovem troiana. O segundo episodio inicia-se com Andromaca, Astianax e um anciao. A cena se estende dos versos 409 a 522. No terceiro episodio (v.861-1008),com a ajuda de Helena, Polixena e preparada como noiv...

Eurípides (2024): Andrómaca traducida para representar. Versión española coordinada por Sandra Rodríguez Piedrabuena. Sevilla: Editorial Universidad de Sevilla. (Colección Cultura Viva, n.º 46). https://dx.doi.org/10.12795/9788447227396

Este libro es el resultado de la traducción al español de Andrómaca, de Eurípides, por parte del proyecto ACTUS (Acción Teatral de la Universidad de Sevilla). El lector que se adentre en sus páginas descubrirá que nada es igual después de la Guerra de Troya ¿Qué fue de Andrómaca, la esposa del troyano Héctor? Antes noble, ahora es esclava en la casa de Neoptólemo, el hijo de Aquiles, precisamente el que dio muerte a su esposo Héctor. Andrómaca, cautiva de guerra, tiene un hijo con su amo Neoptólemo, el gran ausente. Hermíone, la esposa legítima, es estéril, ¿por los venenos de la extranjera Andrómaca? Si la espartana Hermíone no tiene hijos, ¿qué futuro le aguarda al linaje de Aquiles? ¿Acabará el poder en manos de un hijo bastardo del bando enemigo? Andrómaca nos obliga a reflexionar sobre el cambio inesperado e incontrolable de la fortuna, sobre si pesan más los apellidos, la valía innata o la coyuntura; nos hace empatizar con el desamparado, nos pone cara a cara ante el poder de los bulos y la impiedad. Pronto nos damos cuenta de que el problema va mucho más allá de una pelea entre una adolescente histérica y una esclava cautiva de guerra.

Οι Τρωάδες του Ζαν Πωλ Σαρτρ είναι μια διασκευή του ομότιτλου έργου του Ευριπίδη. Ο Γάλλος φιλόσοφος γράφει το θεατρικό κύκνειο άσμα του αντλώντας έμπνευση από την ελληνική μυθολογία και ιστορία και έχοντας την πρόθεση, για ακόμα μια φορά, να μιλήσει για τα μεγάλα προβλήματα της ανθρωπότητας, εμβολίζει το κείμενο του Ευριπίδη με στοιχεία αντλημένα από τη σύγχρονη κοινωνία και εποχή. Ο Σαρτρ μελετά σε βάθος το πρωτότυπο έργο του Ευριπίδη και το μεταγράφει με την αιχμηρή του πένα, έχοντας μια κυνική, αλλά και καυστική διάθεση, το καλοκαίρι του 1964 στη Ρώμη προκειμένου να παρουσιαστεί στο TNP (Théâtre National Polulaire) των Παρισίων.
  Το θέμα που απασχολεί είναι εκείνο του πολέμου και της καταπίεσης, αλλά συνάμα και της καταδίκης τους, ένα μοτίβο ιδιαίτερα αγαπητό στον δημιουργό, εφόσον με αυτό καταπιάστηκε και στο πρωτόλειό του δράμα, το Μπαριονά ή Ο γιος της βροντής (Bariona ou le fils de tonnerre, 1940). Είναι άξιο παρατήρησης το γεγονός ότι ο Σαρτρ επιλέγει τόσο να εκκινήσει όσο και να λήξει τη δραματουργική του καριέρα με δύο, αντιπολεμικής θεματικής, κείμενα που στηλιτεύουν την άσκηση της εξουσίας και ό,τι δεινό απορρέει από αυτήν.

The purpose of this paper is to analyze the general reflections and Agon in Sophocles' Electra. The piece is analyzed based rhetoric-argumentative theory, the argument is defined as a statement that justifies a conclusion. Objects of research are ethical, pathetic and logical discussion of the characters in Electra and Chrysothemis (vv.871-1057). RESUMEN El proposito de este trabajo es analizar las reflexiones generales y agon en Electra de Sofocles. La pieza se analiza basada en la teoria retoricoargumentativa, cuyo argumento se define como una declaracion de que legitima a una conclusion. Objetos de investigacion son los argumentos ACTAS DEL VI COLOQUIO INTERNACIONAL ΑΓWΝ COMPETENCIA Y COOPERACION DE LA ANTIGUA GRECIA A LA ACTUALIDAD Homenaje a Ana Maŕia Gonzalez de Tobia La Plata, FAHCE-UNLP, 19 al 22 de junio de 2012 sitio web: http://coloquiointernacionalceh.fahce.unlp.edu.ar ISSN:2250-7388 100 eticos, pateticos y discusion logica de los personajes presentes en Electra y Cr...

Metinlerarasılık, her yazarın kendinden önce yazma işini üstlenmiş ustaların eserlerinden edindiklerine kendi metinlerinde açık ya da kapalı bir şekilde yer vermesi olarak tanımlanabilir. Aslında her yazar, yazmaya başlamadan önce etkilendiği, sevdiği yazarı okumakla başlamıştır yazarlık serüvenine. Okudukları onu şekillendirmiş, okuduklarından öğrendiklerini kendi süzgecinden geçirerek üslubunu, izleyeceği rotayı belirlemiştir. Yazın dünyası için yazılmış olan her metin bir başka metnin izlerini taşımaktadır. Metinlerarasılık kavramında sıkça başvurulan Yeniden Yazmak, bir yazarın başka bir yazara ait bir metni, altmetinleştirerek, yeni bir bağlamda, yeni bir okur kitlesi için, yeni işlevlerle, yeni amaçlarla dönüştürerek yeniden yazması işlemidir. Yeniden yazma eyleminin Antik Çağ’dan beri farklı biçimlerde karşımıza çıkan bir eylem olduğu ve bir yazarın bir ana-metni, bir başka yazara ait olan bir alt-metni yeni bir bağlamda, yeni işlevlerle ve yeni bir okur kitlesi iç...

Ήταν το μακρινό 1913 όταν ο Marcel Duchamp
παρουσίασε το πρώτο objet trouvé, θέτοντας το
ζήτημα ανάμεσα στο έργο τέχνης ως χειρωνακτικά
κατασκευασμένο αντικείμενο και το βιομηχανικό
αντικείμενο ως μηχανικά κατασκευασμένο.
Ξεκίνησε από τότε η ενασχόληση των καλλιτεχνών
με τα βιομηχανικά αντικείμενα, μια σχέση που
καθόρισε σε σημαντικό βαθμό την εξέλιξη της
σύγχρονης τέχνης.

A paper discussing Euripides, characterisation in Greek drama, metatheatrical humor, and Artificial Intelligence. More specifically, the paper examines how a passage from Euripides, often debated for its humorous qualities, tied to an Aeschylean scene, is analyzed using algorithmic methods of automated Authorship Analysis. This approach illuminates Euripides' master plan to present a consistently witty and moody maiden on stage in his  "Electra".

This course explores the three Theban plays (i.e. Oedipus Tyrannus, Oedipus at Colonus, and Antigone) by Sophocles (c. 497/496-406/405 BC), and the different interpretations that philosophers, psychoanalysts, and literary critics have offered of them. Students will develop adequate critical and analytical skills through the reading of literary works and philosophical and psychoanalytic texts on topics such as catharsis, death and undeadness, desire, ethics, family structures, feminism, funerary rites, kinship, incest, love, pathos, power, sexuality, taboo issues, the distinction between nature and culture, the distinction between written and unwritten laws, the essence of the human being, and violence. Furthermore, students will learn to navigate philosophical and psychoanalytic thinking by addressing the following questions: What can we learn from the three Theban plays? In what sense is the figure of Antigone still relevant? How can we bring philosophy, politics, and psychoanalysis into dialogue? And what can we learn from that dialogue? This course addresses these and other questions by focusing on the works of one of the foremost poets and tragedians of ancient Greece, Sophocles.

Sommario. Osservazioni su tre frammenti comici greci dell'archaia. Hermipp. fr. 58 K.-A.: un'altra testimonianza è in Et. M. 108.18-22 (dove si suggerisce di leggere "ἀνερίναστος εἶ" ἀντὶ τοῦ). Eup. fr. 115 K.-A.: difesa del testo tràdito (κάτωθεν ἤγαγες) e dell'interpretazione tradizionale, che comporta l'allusione alla testa deforme di Pericle. Eup. fr. 384.4 K.-A.: difesa del testo tràdito (ἡμῖν τῇ πόλει).