Ancient Greek Tragedy and its Reception

“Acting and the Remains of the Dead: Remembering Polus on Early Modern Stages,” Comparative Drama 59:2 (2025), 1-19.

Although scholars have explored early modern playwrights’ debts to classical literary models, few have examined the period’s similar fascination with classical actors. This essay argues that classical anecdotes about actors shaped early modern thinking about the theatrical craft, and especially about the boundary between real and feigned passions. In particular, a famous story from antiquity about the actor Polus and the ashes of his dead son prompted reflections on conjuring passion onstage through the remains of the dead. As later writers revisited this iconic scene, they experimented with other kinds of material remains in order to imagine unsettling acts of reanimation. This essay identifies the period’s preoccupation with onstage skulls and skeletons, and their fabled afterlives, with Polus’s ghost.

During the 2025 AIA/SCS Joint Annual Meeting in Philadelphia, PA, the SCS Classics in the Community Committee inaugurated a new initiative: the integration of an ancient Mediterranean-themed public event hosted within the context of the annual meeting and aimed at both conference attendees and the public community. This programming is spearheaded by James Ker, Professor of Classical Studies at the University of Pennsylvania and Chair of the Classics in the Community Committee, and Nina Papathanasopoulou, Professor of Classical Studies at College Year in Athens and Public Engagement Coordinator of the SCS. It aims to spread awareness of the ancient Mediterranean world's influence on a wide range of communities and individuals across time and to underline the contribution of non-academics to the preservation and enrichment of the fields of classical studies and archaeology.

For the 2026 SCS/AIA Annual Meeting We Players, San Francisco's premier site-specific theatre company will perform the Odyssea, an adaptation of select scenes from Homer's Odyssey.

T. S. Eliot’s The Family Reunion, a modern verse play, immersed in spiritual symbolism and psychological drama, stands among his most complex explorations of the human condition. Written in 1939, the drama is a meditation on guilt, redemption, religious alienation, and the struggle for spiritual meaning in a world increasingly fragmented by social, technological, and material change. The return of Harry to Wishwood, his ancestral home, sets the stage for the unravelling of personal and familial traumas that are symptomatic of deeper societal maladies. Through sophisticated dialogues, symbolic figures, and the unravelling of hidden motives, Eliot presents a world haunted by sin and yearning for expiation. The Family Reunion, addresses complex modern themes, especially the transmission of guilt across generations. The drama presents guilt as a haunting legacy—one that is passed from parent to child within the Monchensey family. According to Eliot, true redemption is only possible when the reality of guilt and the need for expiation are fully acknowledged; denial or suppression merely allows the burden to persist. The protagonist, Harry, inherits not only the family estate but also the accumulated sense of sin that comes with it. As Eliot’s narrative unfolds, it becomes clear that the psychological weight of inherited guilt remains unresolved until confronted and worked through, turning the play into a meditation on the necessity of recognizing and atoning for one’s inherited and personal failings in order to break free from their hold.

Πριν η Μήδεια φτάσει στην Κόρινθο ως φυγάς, πριν σφάξει τα παιδιά της από απελπισία, υπήρχε μια άλλη ιστορία, σκοτεινότερη και πιο αδίστακτη.Το «Πελίειον Άγος» ξετυλίγει τα γεγονότα του πρώτο μεγάλου εγκλήματος της Κολχίδας μάγισσας στην Ελλάδα: τη δολοφονία του Πελία μέσω των ίδιων των θυγατέρων του. Όταν ο Ιάσονας επιστρέφει με το Χρυσόμαλλο Δέρας, ο Πελίας (ο σφετεριστής του θρόνου που έστειλε τον ανιψιό του σε βέβαιο θάνατο) αρνείται να παραδώσει την εξουσία. Η Μήδεια, με ψυχρή μεθοδικότητα, στήνει την πιο φρικτή παγίδα: πείθει τις Πελιάδες ότι μπορεί να ξαναφέρει τον πατέρα τους στα νιάτα του, μέσω μαγικής τελετής.

  Γραμμένο με βαρύ, αισχυλικό ύφος και ψυχολογική οξύτητα, το έργο εξερευνά τα όρια της εκδίκησης, τη δύναμη της πλάνης και το βάρος του μιάσματος που περνά από γενιά σε γενιά. Το θαύμα ενός αναστημένου κριαριού γίνεται η απόδειξη· η ελπίδα γίνεται δηλητήριο· και, όταν οι κόρες υψώσουν το μαχαίρι πιστεύοντας ότι λυτρώνουν, στην πραγματικότητα σφάζουν. Η Μήδεια εδώ δεν είναι ακόμη η μητέρα που θα σκοτώσει τα παιδιά της· είναι η «ξένη», που μόλις άρχισε να λερώνει τα χέρια της με ελληνικό αίμα. Και ο κύκλος της βίας μόλις ξεκίνησε.

  Ελπίδα, μαγεία και δόλος πλέκονται σε μια τραγωδία όπου η εκδίκηση μεταμφιέζεται σε θαύμα.

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  Before Medea arrived in Corinth as a fugitive, and before she slew her children in despair, there was another story —darker and more ruthless. "Pelieion Ágos" unfolds the events of the Colchian sorceress’s first great crime in Greece: the murder of Pelias by his own daughters. When Jason returns with the Golden Fleece, Pelias —the usurper, who sent his nephew to certain death— refuses to relinquish power. Medea, with cold precision, lays the most horrific trap: she convinces Pelias' daughters that she can restore their father to his youth, through a magical ritual.

  Written in a weighty, Aeschylean style, and with psychological acuity, the play explores the limits of vengeance, of the power of deception, and of the burden of corruption passed from generation to generation. The miracle of a resurrected ram becomes proof; hope then turns to poison; and, when the daughters raise the knife, believing they enact redemption, in truth they commit slaughter. Here, Medea is not yet the mother who will kill her children; she is the “foreigner,” who has only just begun to stain her hands with Greek blood. And the cycle of violence has only begun.

  Hope, magic, and deceit intertwine, in a tragedy where vengeance masquerades as a miracle.

Continuo e discontinuo. Il substrato dei fenomeni. Della mente collettiva e suo rapporto con il mito. CAPITOLO SECONDO: La teogonia di Esiodo. Del contenuto della Teogonia e sua organizzazione. CAPITOLO TERZO: Linguaggio estetico e Teogonia. Ovvero: il linguaggio estetico è teologico. Della forma del linguaggio e del suo significato occulto. CAPITOLO QUARTO: Limiti del linguaggio naturale. Dei limiti del linguaggio. I "Tipi psicologici" di Jung. Una proposta psicologica: gli dei della Grecia CAPITOLO QUINTO: Bacini mnemonici e bacini genetici nel mito greco. Delle immagini e loro struttura. Il mito: ricordo di ciò che deve avvenire. Analogia tra ordine mentale e ordine teologico. Ontogenesi e filogenesi: analogia tra ideazione mentale e ideazione genetica. CAPITOLO SESTO: I sogni di Ermes ed il viaggio di Dioniso. Della separazione tra il maschio e la femmina: la falce di Crono. Il rifiuto del proprio specifico senso come umana peculiarità. Verità del sogno. CAPITOLO SETTIMO: Alla sorgente del tempo. La teogonia di Esiodo. Delle incompatibilità esistenziali. Tetis e Persefone. Il tempo. CAPITOLO OTTAVO: Metamorfosi e tragedia. Della metamorfosi breve ed imprevista come oggetto della tragedia. La tragedia come soluzione di un contrasto tra mente maschile e mente femminile. Diversità tra gli eroi di Eschilo e Sofocle e quelli di Euripide.

After first debuting as an actress and playing Andromache in Syracuse (The Trojan Women, 2006), Angela Demattè turned to playwriting and in 2020 produced a stage adaptation of the same Trojan Women. Her approach to Greek tragedy is shaped by the interplay of these perspectives, which forms the focus of this dialogue.

DeM 2025 - Table of Contents:
the articles are available in open access: https://dionysusexmachina.it/dem-numero-16-anno-2025

Adelaide Fongoni, Tragic duality and gender identity: the sister pairs in Sophoclean tragedy

Barbara Giubilo, Bacide, Glanide e il pesce siluro. Su un possibile pun in Ar. Eq. 1003-1004

Francesco Puccio, Il comico sulla scena. A proposito di una nuova traduzione delle Nuvole di Aristofane

Alessandro Maggio, Esopo e la favola nella commedia non aristofanea

Nicola Comentale, Il marionettista Potino e il pubblico di Atene in Ath. I 19e

Cornelia Isler-Kerényi, Dioniso pacificatore, Dioniso castigatore

Fabio Roscalla, Rileggendo (e ricordando) Diego Lanza

Luigi Spina, Bisogna correggere anche i Maestri, qualche volta (Arist. Poet. 1456b 8-18)

Alice Bonandini, Recitare le Troiane, riscrivere le Troiane. Dialogo con Angela Demattè

Emanuele Stolfi, Dalla biblioteca al teatro (passando per YouTube). Quasi un diario di scena

Modern yapılarının yanında mitlere yaptıkları göndermelerle tragedyalar, ilkel inanç ve kabullerin bir yansıması, arkaik inançların dramatik temsilleridir. Bunun en iyi örneklerinden birinin de Oidipus Kolonos'ta tragedyası olduğu anlaşılmaktadır. Günümüze ulaşan Antik Yunan edebiyatına mal edilen çok az tragedyada bu eser kadar mitik tanrı ve onlarla şekillenen inanç biçimlerine atıfta bulunulmuştur. Mitik inancın tragedyalar yoluyla böylece oyunla/sahneyle yeniden ele alındığı, kutsandığı, toplumsal belleğe farklı bir formla kodlandığı söylenebilir. Yunan tragedyalarında daha pek çok mesele tanrı-insan-izleyici düzleminde açıkça tartışmaya açılır. Demokratikleşmenin, ilerlemenin, yetkinin, yönetimin, bilgeliğin, erdemli olmanın tartışıldığı tiyatro sahnesine korobaşı ve koronun tesadüfen yerleştirildiği düşünülemez. Pek çok özelliklerinin yanı sıra aynı zamanda mitik hafızanın da koruyucusu koro ve korobaşı şahit, müdahale edici, uyarıcı, gözlemci, hatta bazen yol göstericidir. Araştırmada, Sophokles'in tragedya üçlemesinden ikincisi olan Oidipus Kolonos'ta üzerinden bazı çözümlemeler gerçekleştirilecek; daha özelinde bu tragedyaya kaynaklık eden veya tragedyalar içerisinde atıf yapılan, hatırlatılan, işaret edilen mitik unsurlar ve semboller ayrıntılı bir biçimde söz konusu metinden de alıntılamalar yapılarak irdelenecektir. Sonuçta ele alınan tragedya metninde bilinçli olarak sıkça başvurulan, atıfta bulunulan mitik tortuların, özellikle halkı ve süperegoyu temsil eden korobaşı ve koro tarafından hatırlatıldığı; tragedyanın sözlü kültürde yaşatılan mitik algı, kabul ve anlayışın bir devamı olarak inşa edilen temsillerden biri olduğu anlaşılmıştır.

This essay examines the representation of asylum and exile in two foundational Greek tragedies: Euripides’ Medea and Sophocles’ Oedipus at Colonus. By comparing the protagonists’ journeys through the lens of ancient and modern political thought, it explores how ancient Greek drama anticipated contemporary debates around displacement, hospitality, and moral belonging. The work also investigates the tragic dimension of the refugee condition and how it is intertwined with gender, justice, and divine authority, thus offering critical insights into the perennial relevance of ancient tragedy.

This chapter revisits the issue of poetic authority, focusing on a selection of Pindar's song-dances, mainly epinicians, paeans, dithyrambs, and hyporchemes. It responds to John Marincola's introductory discussion of the background to historiographical authority in his Authority and Tradition in Greek Historiography: In archaic lyric poetry, the invocation of the Muses remains common, although one can also see traces of new validations interspersed amongst the traditional ones: Theognis invokes the gods at the outset of his poems, yet speaks of some of the content of his poem as derived from 'the experience of my elders'; Mimnermus appeals to eyewitnesses as validators for his description of a fighter's prowess in battle; Solon calls the Earth to witness for his political actions. 

anticipates Freud with his use of Trieben, though he was by no means the first to do so. Many "philosophers of Will," including Schelling and Schopenhauer, also used the language of drives, and their influence was a massive part of Nietzsche's intellectual context.

This essay compares Sophocles' Antigone and Edip Cansever's Tragedyalar to explore how tragedy manifests across different historical and cultural contexts. The comparison is significant for several reasons: firstly, it allows us to examine how the universal aspects of tragedy, such as conflict, suffering, and catharsis, adapt to modernity. Second, it highlights the transformation of tragedy as a genre and its relevance to modern individuals. By juxtaposing Antigone-a canonical Greek tragedy, with Tragedyalar-a modern Turkish poetic work, essay aims to produce new insights into how modern tragedies engage with themes of alienation, loss of meaning, and individual struggle in a secularized, rational world. Rather than treating Sophocles as a direct comparative text, this essay positions it as an intertext, given the temporal and cultural gap. Viewing Antigone through an intertextual lens allows us to trace recurring motifs and structures while acknowledging the distinctiveness of Cansever's context. The analysis will explore how the ancient and the modern intersect, how universal themes are recontextualized, and how new meanings emerge in a world where divinity has receded. This approach demonstrates that tragedy remains a vital, evolving form which resonates across eras, adapting to address new human predicaments.

Boubker Oumouli 1 est une figure incontournable du théâtre d'expression amazighe au Maroc. À la fois comédien, musicien, dramaturge, metteur en scène et directeur artistique, il incarne une approche novatrice du spectacle des arts vivants en intégrant les traditions amazighes dans une démarche de renouvellement esthétique. Fondateur de l'association Dramédia, véritable laboratoire de création scénique, il explore les multiples dimensions du patrimoine culturel amazighe-conte, mythe, poésie, danse et rituels-pour les réinterpréter dans un cadre théâtral contemporain. Cherchant à faire du théâtre autrement, Oumouli s'attache à théâtraliser le patrimoine amazighe en le transposant dans un langage scénique innovant. Il ne se limite pas à une simple mise en valeur de la

Drawing on Ricœur’s critique of the idea of self-transparency and the foundational demand of the Cogito, the conference aims to address the issue of the dynamic interplay between self and other—both in its individual and collective dimensions. While the primary forms of alterity addressed by Ricœur—namely, the body, moral consciousness, and the other—may refer more directly to the domain of intimate selfhood, according to the author, the self-other dynamic also manifests itself on a collective level. The aim of the conference is thus to continue the critical reappropriation of Ricœur’s thought by fostering a dialogue between Ricœurian and non-Ricœurian perspectives on the topic of the self-other dynamic interplay.

Psikomitoloji neyi, nasıl yordar? Psikanaliz nedir, nasıl çalışır? Tragedya nedir, neyi irdeler? Sophokles'in (İÖ 495-406) ' ', gr. -Oidipous Tyrannos-ve ' ', gr. -Oidipous epi Kolonoi-tragedyaları bu sorulara yanıt için örnek metinlerdir. Antik Yunan mitolojisinin erken aktarımlarında da Oidipus'un ismine rastlıyoruz, ancak bu trajik kahramanı bize yakınlaştıran Sophokles'in eserleri. Aristoteles (İÖ 384-322) Poetika'da Tiran Oidipus'u ideal tragedya olarak niteler; tragedya kavramını irdelerken bu eseri prototip olarak kullanmıştır. Günümüz kültüründe Oidipus'un merkezi önem kazanmasını, 'Psikanaliz'in kurucu babası Sigmund Freud'un (1856-1939) 'Oidipus Karmaşası' mefhumuna bağlayabiliriz. Mitin Sophokles & Freud yorumu, kültür tarihine ve modern insanın psikososyal gelişim sürecinde içkin eksene açıklık getiren anahtar metafordur. Oidipus'un haşin ve hazin öyküsü Antropoloji, Psikoloji, Sosyoloji, Hukuk, Felsefe, Sanat... eserlerinde binlerce kez farklı perspektiflerden ele alınmış, interdisipliner katkılarla bu soylu 'masum suçlu' çok boyutlu bir imge ve simgeye dönüşmüştür. Elinizdeki eser, iki ayrı kitaptan oluşuyor. İlk ciltte Oidipus mitinin psikanalitik kuram ve uygulama çalışmaları, ikincisinde sosyokültürel yansıma ve uyarlamaları ağırlıkta olmak üzere, apayrı branşlardan katkıları bir araya getirmeye çalıştık. Dört yıllık bir çalışmanın ürününü ilginize sunmaktan onur ve keyif duyuyorum. Sonuçta 'Oidipus' denince ilk akla gelecek bir başvuru kaynağı ortaya çıktı. Muhakkak ki eksikler var ama bu değerli makalelerin hayli bütünlüklü bir 'Oidipus' resmi oluşturduğunu düşünüyorum. Umarım, Oidipus üzerinden kendi psikomitolojik açılımlarınıza da vesile teşkil eder. Bu minvalde, emekleri için, özgün katkılarıyla değer katan tüm yazarlarımıza teşekkürlerimi ifade etmek isterim.

Le geste artistique, que ce soit dans le domaine musical, celui des arts visuels ou de la danse, est fondamentalement un acte technique qui pose la question de sa transmission, de sa reproduction, de son perfectionnement. Le geste artistique s’inscrit dans une histoire des savoir-faire et des communautés de transmission. Il appelle l’étude des médiations permettant
sa persistance, ses métamorphoses, ses éventuelles résurgences.
Si le geste devient artistique par la technique, il peut aussi la contrarier : qu’on pense au dripping de Jackson Pollock, à la danse libre d’Isadora Duncan, aux expérimentations musicales de John Cage et leur influence sur les arts figuratifs, plus largement à la valorisation de la création spontanée, contraire à l’habileté artisanale ou à la virtuosité technique.

In specialized literature, expressions that metaphorically reflect the Soviet Union are referred to as Sovietisms. The Georgian language is particularly rich in Sovietisms, a fact that has a historical basis: in 1921, the Red Army fully occupied Georgia. The 70-year period of forced unification within the Soviet Empire left a lasting impact on the Georgian language. The names and surnames of many Soviet leaders served as the basis for new expressions. This paper discusses several of them: "Aurora's Volley," "Brezhnev's Kiss," "Denikin's Time," and "Stakhanov-like." The paper cites illustrative material from contemporary Georgian political discourse. A conceptual analysis of specific cases is presented in two directions: a) identifying metaphorical structures and showing how a metaphor shapes a specific idea, and b) highlighting cultural significance and demonstrating how metaphors express the political positions of a given speech community. The results of the study show that in modern Georgian political discourse, Sovietisms are not merely ideological metaphors but also instruments of so-called hate speech. These expressions are used in explicitly negative contexts, primarily to describe pro-Russian sentiments. They serve as tools for ridicule, criticism, or even verbal attack against an interlocutor or the subject of discussion.

Pausanias has often been represented, by the standards of modern travel writing, as an author who is reticent about describing his personal experiences. There have been some important attempts to reassert the experiential nature of his account, but there is still a tendency to understate the importance of bodies and bodiliness for his text. Repeatedly he offers us images of mythical and historical bodies immersed in the landscapes he passes through. Every so often, interspersed with those passages, we come across moments where the land is equated with a human body. My aim is to explore the function of those passages within Pausanias' text. I argue that they imply a conception of antiquarian travel as a surprisingly corporeal enterprise, in the sense that Pausanias appeals repeatedly to the reader's haptic imagination; also that they play an important role in articulating Pausanias' distinctive vision of the continuing but always elusive presence of the past in the landscapes of Roman Greece. Pausanias has a powerful sense of the permeability between human bodies and the environment, and intertwined with that theme, often articulated through it, an awareness of the permeability between the past and the present.

L'objet de cet article est de cerner les différentes étapes qu'a connues la critique du deuxième stasimon de l'Hélène d'Euripide, depuis le milieu du dix-neuvième siècle jusqu'aux études récentes. La question cruciale est le rapport entre ce stasimon et le reste de la tragédie et elle est liée en partie à la question de l'interprétation du vocatif ὦ παῖ, au début de l'antistrophe 2. Même si la critique sur ce passage est foisonnante et très variée, on peut néanmoins y relever trois grandes étapes. Dans un premier temps, les critiques affirment l'absence de lien apparent entre l'intrigue de la pièce et le sujet du stasimon. Dans un deuxième temps, les chercheurs établissent un lien entre le chant et le mythe d'Hélène en se concentrant sur le syncrétisme mobilisé dans le chant. Les dernières études s'intéressent en revanche au thème de la musique consolatrice, pour voir dans ce stasimon un passage réflexif sur les ambitions poétiques et sociales que la tragédie se donne.

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Sophocles-so I hypothesize-comments on the brutal subjugation of Melos by Athens with his Philoctetes. The plot structure of the tragedy corresponds quite closely to the actual events. Some striking changes in Sophocles' drama compared to the myth as well as to Euripides' preceding version correspond with Thucydides' account of the subjugation of the island. And even from the opening lines, one can discern Sophocles' allusion to the theme of Melos: three terms in the second and fourth opening lines-ΛHΜΝΟΣ (Lemnos), NEOPTO-ΛEΜΟΣ (Neopto-lemos), ΜHΛΙEYΣ (Melier)can be interpreted as anagrams of the island's name. If this analysis is correct, we can conclude that Sophocles sharply criticized the actions of his countrymen against Melos-and especially of their presumed instigator, Alcibiades. He recalls these events because he wants to warn his countrymen-in vain, by the way-about the primary perpetrator of the events. This guy was preparing to return to his old homeland, supposedly repentant, after having disastrously betrayed it to the Attic arch-enemies.

This article takes a multi-sensory approach to the baroque drama de honra in order to enlighten the sensory expectations (thirst for blood and body horror) of the public who came to witness how several women accused of adultery were killed on stage. In this case, the effects of the tragedy are constructed from uxoricides sometimes performed in explicit sacrificial rituals. Thus, every studied play contributes to the creation of a school of exemplarity in the emotional community of theatregoers through the morbid excitement of the senses aroused by violence. From Doña Mencía’s ritualistic death in El médico de su honra (1635) to the Machiavellian manslaughter orchestrated by the Duke of Ferrara in El castigo sin venganza (1631), smell, touch, sight, and hearing all play a role in the configuration of the oppressive atmospheres that are characteristic of honour plays. Acting stimulates the senses of the audience, who thereby perceives the endangered corporeality of the murdered women. Their deaths, represented in an exceptional way, are key to the reception of the four comedias analyzed here.

Recount of the Greek Theater Festival Project, which has been held since 2006 in the History Course at the University of Pernambuco – Mata Norte Campus: legal and institutional justification; plays presented; theoretical and methodological foundation; ethical principles and case analysis.

In the past few years, I have applied automated authorship attribution analysis to several disputed or partially disputed texts within the corpus of Greek drama. Using methods ranging from visualisation to advanced Machine Learning–Artificial Intelligence models, I have explored their potential to unravel questions of authorship in texts such as 'Rhesus' (attributed to Euripides), 'Prometheus Bound' (attributed to Aeschylus), the problematic ending of Aeschylus’ 'Seven Against Thebes', and a controversial debate scene in Euripides’ 'Electra'. In this talk, I will present primarily published work on the subject, focusing on the most comprehensive and promising Machine Learning models I have employed. I will delve into the methodology, results, trends, challenges, and far-reaching implications of this approach, as well as highlight unexpected benefits emerging from this form of textual analysis. Additionally, I will address the impact of some of these re-attributions on contemporary theatre practice. As Michel Foucault insightfully observed, “an author’s name is not simply an element in a discourse… [I]t performs a certain role with regard to narrative discourse, assuring a classificatory function. Such a name permits one to group together a certain number of texts, define them, differentiate them from, and contrast them to others.” This raises a critical question: How willing or prepared are theatre practitioners to detach a work, long attributed to a canonical master, from its traditional place in the celebrated canon and stage it as the creation of an anonymous author?

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Ο Spike από την τηλεοπτική σειρά Buffy the Vampire Slayer είναι ένα αντιπροσωπευτικό παράδειγμα breakout χαρακτήρα, και το τόξο μεταβολής του τον έχει κάνει ιδιαίτερα δημοφιλή τόσο στους fan της σειράς όσο και στους ακαδημαϊκούς κύκλους. Σκοπός της παρούσας μεταπτυχιακής διπλωματικής εργασίας είναι να προσεγγίσει τον Spike μέσα από ένα ψυχολογικό και ψυχοθεραπευτικό πρίσμα: Αφ’ ενός, να αναλύσει την ανάπτυξη του χαρακτήρα του μέσα από μια οπτική που συνδυάζει θεωρητικά πλαίσια κινηματογραφικής και τηλεοπτικής αφήγησης με θεωρίες από τον χώρο της ψυχολογίας. Αφ’ ετέρου, να εξετάσει τρόπους με τους οποίους ο χαρακτήρας θα μπορούσε να αποτελέσει ψυχοθεραπευτικό εργαλείο στο πλαίσιο ψυχοθεραπευτικών μοντέλων όπως η κινηματογραφοθεραπεία, το geek therapy, αλλά και η θεραπευτική γραφή. Για να επιτευχθεί αυτό, αρχικά γίνεται μια επισκόπηση των σχετικών θεωρητικών πλαισίων από τους τομείς των κινηματογραφικών και τηλεοπτικών σπουδών, της ψυχολογίας και της ψυχοθεραπείας, της δημιουργικής, εκφραστικής και θεραπευτικής γραφής, καθώς και των Buffy Studies. Ακολουθεί μια συνδυαστική ανάλυση του χαρακτήρα μέσα από αυτά τα μοντέλα, για να σκιαγραφηθεί η ψυχοθεραπευτική του δυναμική: Το τόξο μεταβολής του χαρακτήρα αναλύεται τόσο αφηγηματολογικά όσο και ως μια ψυχοθεραπευτική πορεία του χαρακτήρα Εξετάζονται οι παράγοντες που καθιστούν τον χαρακτήρα θεραπευτικό για τον θεατή, μέσα από το πρίσμα των θεωριών θέασης, αλλά και μέσα από τα στοιχεία ενσώματης ερμηνείας του ηθοποιού που τον υποδύθηκε. Στην συνέχεια, συζητούνται τρόποι με τους οποίους το θεραπευτικό αυτό δυναμικό μπορεί να αξιοποιηθεί στην ψυχοθεραπευτική πρακτική και στην θεραπευτική γραφή. Τέλος, το δημιουργικό μέρος της εργασίας περιλαμβάνει την συγγραφή ενός σεναρίου ταινίας μικρού μήκους με πρωταγωνιστή τον Spike, ως παράδειγμα αξιοποίησής του στο πλαίσιο θεραπευτικού fan fiction.

This study shows the epistemological and methodological structure of research regarding the experience of Jesus' death based on the Gospels and the Shroud. Complexity, transdisciplinarity and synoptic methodology are the cornerstones of this approach. The work culminates in processing and developing a tool, in the format of an app, to manage known historical, scientific and biblical studies on the Shroud of Turin.
Talk presented at the Shroud of Turin 2025 International Conference & Symposium, St. Louis, USA, August 2 2025.

Na prática política de relatar um devir-mulher, o exercício teórico crítico consiste em, de acordo com Zajko e , não insistir no sistema androcêntrico que produziu o texto mítico, porém tampouco resistir a ele, este exercício consiste mais em fazer o compromisso de ir em busca de outras ordens de significados para os símbolos emergentes na atual produção da literatura menor. Para estas autoras, Elizabeth Cook em sua novela Achiles (2001), por exemplo, entende que mais importante que "ter ideias sobre Helena" é trazer à luz o ícone Helena: "Cook's description of Helen gives voice to a character whose actions are central to other people's accounts of the Trojan War but whose inner conscientiousness is rarely explored" (ibid., p. 2). Um outro elemento essencial nesta introdução é o conhecimento situado como predecessor de qualquer análise que venha a ser feita sobre o corpus literário proposto. A análise será fortalecida neste sentido por um texto no qual o exercício de produção científica é intercruzado com a experiência da autora, ou ainda como um processo criativo atravessado por seu próprio devir-mulher. Pensar a partir da diferença sexual, dado que o corpo é o primeiro lugar onde se localiza a fala, é um projeto político e também psicológico: "el processo global del pensamiento hunde sus raíces en la matéria prerracional" (Braidotti, 2004: 41), o pensar está, desta maneira, interconectado com o desejo e o inconsciente por meio das próprias experiências singulares. Ilumina-se, assim, uma interseção da filosofia da diferença com o âmbito literário e psicossocial que será explorada no decorrer de toda a tese. Sua base está tanto na identidade dos questionamentos de ditos âmbitos, quanto no alcance político e terapêutico que podem potencializar quando bem articulados. Em resumo, respondendo por outro eixo a proposta inicial sobre o potencial político da experiência estética no contexto da literatura, podemos afirmar que a criação literária, assim como toda comunicação cotidiana, está intimamente conectada à subjetividade, às relações de poder e à cultura de um tempo, constituindo-se como ferramenta fundamental para a contestação política e transformação social. Desta maneira, pretendo em um primeiro momento de cada capítulo da análise, investigar a perpetuação de tecidos discursivos, tal como os produzidos tendo por base os mitos, que enredam a constituição de subjetividades e, por consequência, predispõem suas práticas sociais. Como efeito deste primeiro objetivo, o que importará na análise das obras da literatura menor será, sobretudo, encontrar as diferenças, variações, dissonâncias minoritárias, que se possam produzir nesse tecido. Assim, a aquisição

Damagetus Heracles vs Lion of Nemea P.A.16.95 Δαμάγητος επιγραμματοποιός About Damagetus "Damagetus, the author of thirteen epigrams in the Greek Anthology, from the contents of some of which his time is fixed at the end of the third century B.C..." Smith's Dictionary of Greek and Roman Biography and Mythology, Vol 1 1870, p. 929-930. Damagetus, Mediocre epigrammatic poet of the 'Garland' of Meleager (Anth. Pal. 4,1,21), probably to be classified as part of the Peloponnesian School he lived at the time of the war between the Achaean and the Aetolian Leagues (220-217 BC) ΣΧΟΛΙΟ Στο επίγραμμα ο Δαμάγητος φέρνει αντιμέτωπους ένα θηρίο (τον λέοντα της Νεμέας), και έναν ημίθεο (ίσως τον Ηρακλή η καποιον πολεμιστή από το Άργος) Πάντως η Νεμέα απέχει 30 χμ από το Αργος. Υποθέτω,ίσως αυθαίρετα΄και με επιφύλαξη, ότι το επίγραμμα αποτελείται από 3 ελεγειακά δίστιχα.

Rome! Work in Progress...'' ''That Shakespearian Rome! Work in Progress... A twelve minute video, an experiment in intermedial Shakespeare criticism, was viewed at the international conference, Shakespeare and Rome: Identity, Otherness, Empire held at the Università di Roma Tre, in the Eternal City, in May 2005. The authors of the video, Maddalena Pennacchia and myself manipulated a variety of mediatic materials and genres to bring into focus the key words of the conference -identity, otherness and empire. 1 Exploiting such montage techniques as alternation, superimposition and synchrony to combine materials, we projected those terms through time and geographic space. We thus explored shifts in their meaning since the Elizabethans appropriated Roman history and culture to use them as a mirror of their own epoch. The video aimed to interrogate the Bard's Rome, four hundred years later, in our own postmodern, postcolonial, multicultural times so profoundly marked by their own forms of expansionism and by great cultural and political crises around the globe. The first frames of the video present the Coliseum as it stands today -a traffic island, a tourist destination and ''stage ,, for fake centurions and gladiators. In a voice-over, one of Italy's great pop idols, Antonella Ruggiero, sings in a voice which is both aggressive and nostalgic: 1 As ''authors ,, we scripted and directed the video. The conference convener, Maria Del Sapio, is responsible for the original idea of producing a video for the conference. Claudio Mosticone, Head of the Multimedial Laboratory for the Dipartimento di Letterature Comparate, which hosted the conference, joined us with his wide ranging experience and expertise, from local filming to montage to projection.

Resumo: No verso 1028 das Rãs, Dioniso diz que gostou quando, nos Persas, o coro bate palmas e emite exclamações de tristeza (εἶπεν 'ἰαυοῖ') diante do corpo morto de Dario. Com isso, Aristófanes coloca em evidência a interjeição como um componente particular das convenções do teatro. Inscrita numa tradição em que o lógos corresponde à palavra em ação, o emprego dessa estrutura lexical na tragédia grega apresenta-se, portanto, como elemento fundamental para o funcionamento deste gênero poético. Trata-se de uma estratégia refinada de enunciação que atende às finalidades trágicas de produção de efeitos emocionais mediante a palavra oralizada. Sem função denotativa ou descritiva, mas com rica variação de possibilidades de sentido, ela é pura performance mimética, marcada pela expressão espontânea de sentimentos quase inefáveis. Nesta comunicação propomos uma discussão do caráter mimético da interjeição na tragédia-de sua capacidade fônica de imitar a realidade-, recorrendo, para isso, a um levantamento do uso da estrutura nos Persas de Ésquilo, obra considerada "um grande lamento". O objetivo é compreender a natureza fundamentalmente sonora do arranjo discursivo da tragédia, evidenciando, assim, uma prática grega singular de uso da linguagem e de produção do discurso.

A fines del s. V a.C, el comediógrafo Éupolis parece haber centrado la atención de su obra Dêmoi en el retorno de cuatro líderes -Solón, Arístides, Milcíades y Periclesdesde el mundo de los muertos hacia Atenas, con el fin de rescatar a la comunidad cívica e introducir una serie de cambios en el orden político vigente. Los fragmentos conservados presentan una sólida crítica contra los manejos institucionales de la pólis, insistiendo en el valor de la justicia. Tomando en cuenta este aspecto, el presente trabajo pretende recuperar la referencia a una serie de emociones ligadas al ámbito público y al ejercicio de la ciudadanía. Mediante la presencia de un léxico afectivo, Éupolis deja entrever que, para ser eficaz, una renovación jurídica de las normas en vigor debe estar acompañada de la reinstalación de una normatividad afectiva, capaz de impulsar los valores perdidos necesarios para el buen funcionamiento social. Examinando el empleo de una verdadera retórica emocional, postulo aquí que, en la comedia eupolidea, el viaje físico que se produce en el drama, desde el Hades hacia el Ática, se ve complementado por otro desplazamiento igualmente importante, de índole moral, en el que se trata de reinstalar nuevos guiones sentimentales que devienen fundamentales en el contexto de una comunidad democrática en crisis.

The paper examines direct quotations from Plato's dialogues in Cicero's corpus. It aims to illustrate, through selected examples, the main avenues of analysis for this subject. Following a brief introductory section that outlines Plato's influence on Cicero's work and situates his project to create a Latin-language philosophy, three case studies are presented. These include the role of Latin translation in constituting the Greek text, the use of "usus vertendi" as a criterion for selecting among textual variants, and the existence of multiple versions of the same passage placed in different contexts by the author himself.

This paper aims to explore, by means of the significant example of
Sophocles’ Antigone, how much our perception of the construction and exploitation of dramatic space may contribute to the overall interpretation of an ancient tragedy. A detailed analysis of the indications Sophocles gives the spectator in order to orientate his perception of the off-stage space and of the space within the skēnē shows how the close intertwining between the construction of the characters and that of dramatic space offers a clear indication of Sophocles’ primary dramatic idea for this play. The axis around which the poet has constructed the story is the subtle and dangerous boundary dividing the spheres of life and death, which informs the theatrical space and creates a perfect balance between the movement of the characters and their tragic experience. All the other themes of the play, such as conflicts between law and individual freedom, between State and family, between father and son or male and female, although they may seem the most relevant for modern interpreters, must be projected against the foil of this primary conception.

This paper investigates how the Apollonian and Dionysian aesthetic concepts and cultural hybridity are reflected in the Sinhala translation of Aeschylus' Agamemnon, drawing upon three different English translations of the play. It fundamentally relies on the interpretations associated with the translation originally presented at the MOAT Theatre Festival in Australia. This translation skillfully blends the prose with a lyrical tone, harmonizing Apollonian and Dionysian aesthetics. The translator's careful syntactical choices embody Nietzsche's Apollonian realm while adapting seamlessly to the Sinhala cultural context. In the lyrical passages, particularly in the chorus and its melodic variations, Dionysian energy comes to life, characterized by eagerness and emotional uproar. This hybrid style captures the inherent tension of Greek tragedy, resulting in a culturally relevant and performative translation that connects literary texts from the original culture to the sensibilities of the receiving audience as a cross-cultural work.

El siglo XVI fue el del cambio de la cosmovisión medieval, y del asombro europeo por tantas y tan diferentes cosas que el descubrimiento del Nuevo Mundo ofrecía. Asombro, y temor también, para sus nativos, que meridianamente expresa la estampa ‘Ynsula hyspana’ de la carta de Colón traducida al latín por el aragonés Leandro de Cosco, de la curia pontificia, publicada en Basilea en 1493, de gran difusión en los medios cultos del viejo mundo. Los conflictos políticorreligiosos hallaron en las tierras desconocidas de allende e Atlántico, reparo y refugio. La Francia antártica de la bahía de Guanabara con los hugonotes, los puritanos del Mayflower en la Nueva Inglaterra, con la fundación de Boston y del Colegio Harvard. En cuanto a los judíos y conversos de España y de Portugal, a pesar de todas las prohibiciones políticas administrativas fue numerosa su emigración a Indias, donde el peso inquisitorial sería menor, y donde algunos se decidieron a buscar la libertad de conciencia que ya sabían podrían tener en el imperio otomano, en Flandes otros. Todo tipo de libertad, salvo la criminal, los criollos creyeron que conseguirían con la independencia, como con sabias palabras expondría en las Cortes de Cádiz Dionisio Inca Yupanqui, diputado por el Perú, «indio, inca y americano», en emocionado testimonio suyo.

Da pochi giorni ci ha raggiunto la notizia della scomparsa di Alexander Femister Garvie (Alex per tanti amici e colleghi), avvenuta il 17 settembre, all'età di novant'anni. Nell'arco di una lunga e feconda parabola di ricerca durata oltre cinquant'anni i suoi lavori hanno segnato passaggi decisivi nella storia degli studi, soprattutto per quanto riguarda la pratica di edizione e commento dei testi tragici greci del V secolo a.C., terreno d'elezione per il quale è stato senza dubbio uno degli studiosi di punta della sua generazione. La tristezza della perdita è solo parzialmente compensata dall'aver avuto la fortuna di conoscerlo e di godere della sua sincera amicizia. Un ricordo della sua figura di studioso è particolarmente opportuno sulle pagine della nostra rivista, che lo ha avuto per molti anni come generoso collaboratore. Nato a Edimburgo nel 1934, Alex studiò presso l'Università della sua città laureandosi in Classics nel 1955 («with first-class Honours»). Ottenne poi una borsa di studio presso il Gonville and Caius College di Cambridge, ma prima di poterne fruire dovette interrompere gli studi per due anni di servizio militare, trascorsi in Germania e a Cipro. Rientrato a Cambridge nel 1957, decise di conseguire una seconda laurea, e durante il corso di studi ebbe tra i suoi docenti Denys Page, che esercitò su di lui un influsso scientifico decisivo, soprattutto sul terreno della critica testuale. Proprio Page, dopo la laurea, gli suggerì di dedicare la tesi dottorale al problema della datazione delle Supplici di Eschilo, impostosi all'attenzione degli studiosi dopo la pubblicazione nel 1952 di una didascalia papiracea (P.Oxy. 2256) che metteva in discussione la datazione tradizionale di quel dramma. Del periodo di studi dottorali 1 Dawe, R.D. (1964). The Collation and Investigation of Manuscripts of Aeschylus. Cambridge: Cambridge University Press. L'amicizia fra i due è rievocata nell'obituary che Garvie pubblicò su Lexis (2020).