Search results for "Euripide"
showing 10 items of 32 documents
Agamennone βουληφόρος? La sovranità alla prova del processo deliberativo
2022
Starting with the Iliad, Agamemnon is mostly depicted at the centre of dramatic deliberative situations. This feature is also present in fifth-century literature, particularly in some plays in which Agamemnon’s decision-making ability in uncertainty comes into tension with other characters in order to determine the ‘right’ decision and adequate leadership features. In this paper, I will focus on the Euripides’ play Iphigenia in Aulis (405 a.C.). In this tragedy the behaviour of the Achaean king draws our attention, as he is not equipped to handle his role and responsibilities. In the same years, also historiography is interested in the nature and risks of the deliberative process, as Thucyd…
Review of Ladies’ Greek: Victorian Translations of Tragedy
2019
Review of the book Ladies’ Greek: Victorian Translations of Tragedy, Princeton University Press, Princeton & Oxford,2017 by Yopie Prins that wonders about the ways in which classical languages, in the Anglo-American area, have been associated with an idea of cultured and distinct womanhood.The work is mainly based on archival research. The main object of examination is the reception between the Women of Greek letters of Agamemnon (458 BC) and Prometheus chained (about 460 BC) of Aeschylus, of Elettra (about 410-409 BC) of Sophocles, of Hippolytus (428 BC) and of the Bacchaeus (405 BC) of Euripides.
La cronología de ἵνα con subjuntivo en expresión de mandato: la lengua de Sófocles, Eurípides y Jenofonte
2008
En este artículo el autor trata de señalar que la construcción de ἵνα más subjuntivo con valor de imperativo es anterior a la koiné. Asimismo trata de explicar su origen y sus fases a partir de un proceso de gramaticalización constatable, por ejemplo, en la lengua de Sófocles, Eurípides y Jenofonte. In this paper the author tries to point out that ἵνα with subjunctive as imperative is previous to koiné. Likewise he tries to explain its origin and phases starting from a grammaticalization process that is noticeable in the language of Sophocles, Euripides and Xenophon.
La cronología de ιγα con subjuntivo en expresión de mandato : La lengua de Sófocles, Eurípides y Jenofonte
2008
Mikel.labiano@uv.es En este artículo el autor trata de señalar que la construcción de i{na más subjuntivo con valor de imperativo es anterior a la koiné. Asimismo trata de explicar su origen y sus fases a partir de un proceso de gramaticalización constatable, por ejemplo, en la lengua de Sófocles, Eurípides y Jenofonte. In this paper the author tries to point out that i{na with subjunctive as imperative is previous to koiné. Likewise he tries to explain its origin and phases starting from a grammaticalization process that is noticeable in the language of Sophocles, Euripides and Xenophon.
Madness and Bestialization in Euripides’ Heracles. Οὔποτ' ἄκραντα δόμοισι Λύσσα βακχεύσει.
2013
Against a background of anxious evocation of Dionysiac rites, Euripides’ Heracles stages the extreme degradation of the tragic hero, who as a consequence of the hatred of a divinity loses his heroic traits and above all his human ones in the exercise of brutal violence. By means of comparing Heracles to a furious bull assailing its prey, the tragedian clearly shows the inexorability of the divine will and its arbitrariness, and emphasizes madness itself through images traditionally associated with the bull. However, the reference to monstrosity and animals does not involve only Heracles, but also concerns the representation of Lyssa, the demon of madness sent by Hera to induce Heracles to s…
Un bambino buttato giù dalla torri. La morte di Astanatte nelle Troiane di Euripide
2012
This article analyses the death of Astyanax in Troades by Euripides, within the wider context of the representation of violence in Attic drama. In her lamentation Andromache presents the killing of the child as barbaric and savage, so much so that she attributes the Greeks with a cannibalistic desire to feed on the meat of Astyanax. While weeping over the body, Hecuba underlines the uselessness of funeral rites, and therefore also what she is doing for the child: in this way the Greeks remain attached to the bestiality of there action for ever without being able to enter into the horizon of civilization of the funeral rite, granted by them to the defeated. The funeral eases the emotional te…
Violenza sacrificale e disturbi della comunicazione nella Ifigenia in Aulide
2013
The article focuses on the verbal and visual communication disorders in Iphigeneia at Aulis by Euripides. The aim is to show that the alteration of looks and words is directly related to the impending sacrificial violence. And that, therefore, the violence is the cause of the interrupted communication between the characters of the tragedy.
Guerra, politica e funzione poetica tra Troiane e Ifigenia in Aulide
2017
This essay aims to highlight the inherent political significance that can be attributed to The Trojan Women through a comparison with Iphigenia at Aulis starting from the representation of the death of two innocent victims. The death of Astyanax, who seals the destruction of Troy and whose violence is explicitly displayed, shows a political meaning that is clear and unequivocal, whereas the representation of the sacrifice of Iphigenia, an early act of the expedition, is ambiguous and politically uncommitted. From the mythical paradigm of the Trojan War, a system of signs that can be remodelled and reutilized in different ways, we can find out about the critical attitude of Euripides towards…
L'ekkyklema nel teatro greco dell'età classica
2016
The aim of this paper is to demonstrate that the tragic poets of the fifth century BC used an engine called ekkyklema in order to reveal the scenes supposed to take place inside. I think I can indicate a passage, that clearly demonstrates the use of such an engine (Eur. Her. 1028 ff.), since the chorus' words are otherwise unintellegibile. Comic poets used this engine only for paratragic purpose, because the distinction inside/outside was not relevant for comedy.