Greek Tragedy

This conference – which will take place at the University of Salerno, Italy, 26-28/11/2026 – aims to lay the groundwork for a systematic exploration of Plato’s language, to define the scope of this research, and to identify priority areas and potentially fruitful avenues of inquiry. We invite papers that focus on one or more distinctive aspects of Platonic language, including morphosyntax, vocabulary, rhetorical devices, and stylistic features. We particularly welcome studies that examine the interaction between Platonic language and the linguistic and conceptual frameworks of key strands in Greek literary production (e.g. historiography, epic poetry, medicine, drama). Additionally, contributions on the reception of Platonic language in Greek and Latin literature, as well as its broader influence from antiquity through the Renaissance, are highly encouraged. The following questions represent some of the key issues that papers might address, and contributions that span multiple categories are especially welcome:

• How do the codes and conceptual frameworks of epic-didactic poetry, hymnic poetry, lyric poetry, and drama manifest in Plato’s language?

• In what ways does the relationship between Platonic prose and the prose of historiography, medicine, and the technai manifest from a morphosyntactic and lexical perspective?
• To what extent do colloquialisms in Platonic dialogues reflect the spoken language of Plato’s time, and to what extent are they a result of Platonic literary manipulation?
• In the literary reception of Plato, which elements of his language most captured the interest of Greek and Roman authors? Did these authors believe it was possible to reproduce Platonic language? Papers might explore how later writers engaged with and attempted to emulate the distinctive features of Plato’s language.
• During the Humanist and Renaissance periods, how and to what extent was the rediscovery of the Platonic corpus driven by an interest in Plato’s language? How much of Platonic language can be traced in Humanistic and Renaissance Greek?
These questions are intended to guide, but not limit, the scope of contributions. Papers that address multiple aspects or offer comparative analyses across different genres and periods are particularly encouraged, as they can provide a more comprehensive understanding of the complexity and enduring impact of Platonic language.

The followers of Dionysus are usually referred to by two different terms that are generally considered to be synonymous: βάκχαι and μαινάδες. Here we examine the use of both terms by Euripides in his tragedy Bacchae, one of the most important works for the conception of dionysism, and we try to determine whether they are really synonymous or
whether there is a significant difference between them.

Je reviens à la question du regard dans le texte : « Władza obrazu, polityka zbawienia, czyli On ira tous au paradis  » (Le pouvoir de l’image, la politique du salut ou On ira tous au paradis). Dans ce texte, je me suis intéressée à la manière dont l’image agit sur nous, non seulement comme objet esthétique, mais aussi comme opérateur éthique. J’y interroge la puissance de l’image dans le monde contemporain, en mobilisant les travaux de Marie-José Mondzain (Le Commerce des regards) et de Georges Didi-Huberman (Ce que nous voyons, ce qui nous regarde), tout en réactivant des questionnements d’origine théologique, notamment à travers la pensée d’Origène.

Islands' features constantly stirred the Greek artistic imagination and, from the archaic poets, through the fifth–century dramatists, to Plato's Atlantis or the Hellenistic writers of paradoxography, literary islands' representations are strongly consistent between themselves. As the mythical thought and the poetic imagery, although embedded in images, work with analogies and parallels, the concept of insularity thus proceeds for the Greeks from these series of representations and cultural tropes. This chapter tries to retrace how did the Greeks perceive νησος 'island' (compared to both the sea and the continent) and the shore (as liminal space between sea and earth), how did they represent the islands and thus the insularity. It is not so much the physical features of islands (commonly described with both realistic and schematic details) and specific island individuals as the metaphorical expressions intimately associated with the ways in which the Greeks represented the islands and the shores. More than realistic physical landscapes or island phenomena, they are traits of respectively, insular and liminal symbolism. Islands and shores, they both separate and, at the same time, join sea and land, water and earth, contiguous realms yet opposed in many respects.

No matter where we look in the so-called life, we find unbounded prayers of heroes: fallen, defeated, fragile and beautiful heroes who rise, or fall, into the deep tragic condition of this world. It is there where each of this Dramatis personae, together and in concert, get the opportunity to create the highly complex phenomenon of the musical action, which in turn initiates the miracle of power. A prodigious and fragile new beginning is born, in the tenderness of the pianissimo, and dwells between us in all its hopes. This is why tragic lives have the power to re-dress ancient words and deeds. Therefore, it will be the song of the Greek tragedies what will make them yet once again fall in love with the world; what will push them to face unexplored and unknown seas; what will hurl them to the world through the storms. Thus, the proposal of this doctoral study of social aesthetics, which combines ethnomusicology (social anthropology of music), political theory, political philosophy and the social ethnography of power, aims to shed light and interest on those saved souls, of victors and vanquished, who travel far and beyond, and who burn at the crossing of the winds to stay alive.

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

Edipo, sollecitato dalla cittadinanza a trovare un rimedio alla peste che affligge Tebe, esprime con una metafora significativa lo sforzo intellettivo che ha dedicato alla risoluzione del problema, dicendo di aver percorso molte strade con le divagazioni del pensiero (πολλὰς δ’ὁδοὺς ἐλθόντα φροντίδος πλάνοις, v. 67). In questo lavoro abbiamo cercato, appunto, di ripercorrere le vie del ragionamento che i diversi personaggi compiono lungo la tragedia per dimostrare i propri punti di vista. Negli ultimi anni molti studiosi, fra cui Newton e Di Benedetto, hanno ben messo a fuoco i procedimenti razionali fatti dal protagonista, svelandone le fila del ragionamento ed evidenziando il particolare lessico di cui egli si avvale. Seppure talvolta si sia rilevato l’uso di alcuni di quei termini anche da parte di altri personaggi, ci è sembrato tuttavia che spesso l’analisi del modo di ragionare e di esprimersi di questi altri personaggi, ad eccezion fatta per Tiresia, abbia subìto una sorta di appiattimento su quelli che sono forme e atteggiamenti propri del protagonista. Difatti, il percorso conoscitivo che il protagonista intraprende, e che vorrebbe fosse del tutto autonomo, si intreccia con le vie percorse dagli altri personaggi, i quali talvolta assecondano i ragionamenti di Edipo, talvolta invece provano a contrastarlo, ma sempre e comunque mantengono una loro distinta fisionomia. Ecco dunque perché nella prima parte del titolo abbiamo voluto mettere in evidenza questo incontro tra percorsi diversi – una sorta di crocevia della conoscenza – che rivela differenze quanto mai significative di atteggiamento tra Edipo e quegli altri personaggi che egli incontra mentre conduce la propria indagine. Siamo convinti che questa dialettica, che nulla toglie alla centralità della figura del protagonista, possa arricchire l’analisi del testo e indicarne, magari, anche alcune strade interpretative non a fondo percorse.

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.

Обликовање болa: античка грчка тужбалица и њен терапеутски аспект * У овом раду, првом дијелу опширнијег истраживања, сагледавам различите аспекте античке грчке тужбалице. Један од најважнијих аспеката тужбалице је њен исцјелитељски аспект: вербализујући, испољавајући бол и дијелећи га са другима, бол постаје подношљивији и за жену која тужи и за ожалошћени скуп. У вези са овим исцјелитељским бива и стваралачки аспект тужења: жена која тужи, тужи јер мора да испољи бол, да олакша себи и другима, но док тужи -она нешто ствара. Поред овог, очито конструктивног, стваралачко-терапеутског потенцијала, нарицаљка у себи носи и другачији, свакако мрачнији потенцијал, уколико позива на освету не мирећи се са смрћу драге особе. Дубоко укоријењена у посмртни ритуал, жалосна запијевка поштује одређена обредна правила, а ипак је и спонтани израз бола. Разматрајући ове међузависне аспекте тужбалице, осврнућу се на мјесто тужбалице у грчком обреду и у трагедији, тој врхунској грчкој умјетности и књижевности. Обредна тужбалица у античкој трагедији је, као и увијек кад се ради о грчкој култури, непресушна тема. Иако трагедија припада литерарној традицији, она је вјеродостојан извор за античку грчку обредну праксу, те је и тужбалица унутар ње -ритуална, а не само уско књижевна. У овом раду разматрани аспект тужбалице, њену терапеутску моћ, поменуће јунаци више трагедија: сузе, вапаји и ријечи упућене покојнику за њих су угодна служба, сласт, задовољство, пјесма драга и неопходна. Овај рад има свој наставак, обликовање бола у неколиким студијама случаја. Инспирисана тужбалицама црногор'ских жена, оних које сам чула и прочитала, изнова читам * Овај текст је резултат рада на пројекту Интердисциплинарно истраживање културног и језичког наслеђа Србије. Израда мултимедијалног интернет портала "Појмовник српске културе" (бр. 47016), који финансира Министарство просвете и науке Републике Србије.

The intellectual traditions of the Western world are founded upon a conceptual architecture first articulated in the epic poetry, tragic drama, and historical inquiries of ancient Greece. Within this foundational corpus lies a recurring and powerful diagnostic tool for understanding the pathologies of human desire and political folly. This report posits that the mythological and linguistic structures of the Hellenic world, when properly excavated, offer a precise and chillingly relevant framework for analyzing contemporary political and social crises. At the heart of this framework is the figure of Helen of Troy—not as a historical personage, but as an abstract concept this analysis will term the "Helen Syndrome." This syndrome describes the fatal attraction to an extreme object of desire, an alluring phantasm whose very nature guarantees the destruction of its pursuers.
The ancient texts provide a complete, self-contained vocabulary for this tragic process, a causal chain that begins in the psychology of the masses and ends in their annihilation. The engine of the catastrophe is a collective, irrational longing, what the historian Thucydides identified in the context of Athens’ ruinous Sicilian Expedition as a δυσερωτασ των αποντων—a "ruinous passion for things absent or distant." This mass desire is then focused upon a captivating, idealized objective, a "Helen," whose perceived value justifies any risk. The pursuit is invariably enabled and accelerated by a particular brand of cynical leadership, a figure Homer memorably characterized as κυνῶπα, or "dog-eyed"—a predatory leader blind to honor and driven only by appetite. Under the sway of this leader, the collective is lured into a reckless act of seizure, a fateful attempt to grasp the desired object, an act signified by the aorist verb form ἕλεν ("he took/seized"), which is poetically and etymologically linked to Helen’s own name. The inexorable consequence of this seizure is a state of annihilation, a reduction to carrion and spoil, a condition for which the Homeric epics provide the term ἑλωρ.

Este artigo propõe uma leitura existencial-fenomenológica da obra A Metamorfose de Franz Kafka, relacionando-a à noção de Inautenticidade e à busca pela Autenticidade em Heidegger, bem como às reflexões de pensadores como Albert Camus, Viktor Frankl e Jordan Peterson. A partir da análise da condição de Gregor Samsa — sujeito alienado em um corpo estranho e rejeitado por sua própria família —, evidencia-se a perda de responsabilidade e de liberdade diante das imposições sociais e familiares, resultando em uma vida marcada pela Inautenticidade. Contrapondo essa experiência, são discutidos conceitos como Geworfenheit, Das Gerede e Angst em Heidegger, a responsabilidade como fundamento da vida autêntica em Peterson, e o sofrimento inevitável como condição da existência em Camus e Frankl. Conclui-se que a metamorfose de Gregor reflete a renúncia à própria autenticidade em favor das demandas externas, enquanto Kafka, por meio da escrita, conseguiu transmutar suas frustrações em liberdade criativa. Assim, a obra é entendida como uma metáfora existencial sobre a responsabilidade, a autenticidade e a possibilidade de dar sentido ao sofrimento humano.

Saudemos, como é devido, os editores e autores deste livro co- letivo sobre o lugar e o status dos estudos sobre a Antiguidade no Brasil contemporâneo. Seu objetivo: oferecer uma contribui- ção em primeira mão para uma história intelectual e uma histó- ria das disciplinas. E objetivo alcançado, graças a uma escolha editorial original. Não se trata de uma síntese do tema, mas sim de uma sequência de capítulos dedicados a figuras proeminen- tes: professores que, no século XX e XXI, trabalharam de for- ma singular na formação e no desenvolvimento desses estudos nas universidades brasileiras, onde foram atores e expressões.
Portanto, são vinte e cinco professores, pertencentes às princi- pais universidades, que retraçam as trajetórias individuais da- queles e daquelas que os precederam ou com quem conviveram. Assim, capítulo após capítulo, surgem tantos retratos singula- res de onde emerge, por fim, um verdadeiro retrato de grupo.
Um percurso historiográfico como esse, se é bem-vin- do e útil, também é a oportunidade para um valioso exercí- cio reflexivo. No “país do futuro”, os estudos sobre a Anti- guidade nunca puderam se apoiar em posições dadas por certas e se contentar em invocar a transmissão de um cor- pus de conhecimentos, tiveram, na verdade, que continua- mente redefinir sua relevância, senão defender sua legiti- midade, e saber confrontar os desafios contemporâneos.

Phantasma: absolut positives Szenario, welches das Positive des Begehrens in Szene setzt, das nur Positives kennt. Mit anderen Worten, das Phantasma ist (offensichtlich!) nicht dialektisch. In der Phantasie allein leben wollen und zugleich, ohne Widerspruch dazu, zusammenleben wollen = unsere Vorlesung (2007,(39)(40). Der somit als Phantasma bestimmte Begriff der Idiorrhythmie, dessen absolut positive ‚gleichzeitige' Konfiguration sich jeglicher realen und somit temporalen Schranke zu entziehen vermag, entstammt allerdings einer historischen Realität, die Barthes als Vorlage seiner Überlegungen durchaus offen darlegt. Die vollkommenste Erscheinung, genauer gesagt eine Erscheinung sui generis der laut Barthes nun für immer vergangenen historischen Idiorrhythmie, lässt sich in den "präkoinobitischen" Lebensformen des "orientalischen Mönchtums" zu Beginn des vierten Jahrhunderts auffinden (2007, 48). Dort zeigt sich eine eigentümliche Parallelexistenz der voneinander unabhängigen Mönche im Rahmen einer kleinen, jedoch nicht hierarchisch strukturierten Gemeinde, wo "jeder Mönch die Erlaubnis [hat], seinem persönlichen Lebensrhythmus zu folgen", und was daher als Vollzug "de[s] eigentliche[n] Ansatz[es] der Idiorrhythmie" gilt (2007, 79). Das

recuerdo de aquellos remotos y simpáticos tiempos en que juntos comenzamos nuestros trabajos humanísticos. No hace mucho publiqué un libro que recoge las investigaciones que sobre Sófocles y sus dramas había ido madurando estos últimos años 1 . Tres de ellas se refieren a esta gran tragedia, que con tan particular esmero y éxito tan proverbial dedicó a Antígona el poeta de Colono. La primera trata de explicar dos viajes que la joven hace al cadáver de su hermano, insepulto en el campo, viajes que por confesión de los comentadores no caben dentro de la acción del drama en sus primeros 500 versos. La segunda ofrece una nueva explicación del monólogo con que se despide de la vida la joven princesa, con gran desconcierto y desagrado de los estetas modernos. La tercera, por fin, se enfrenta con un importante estásimo del Coro (el cuarto), buscándole una interpretación tolerable, que hasta ahora no se le ha dado. La crítica, al juzgármelas (por cierto favorablemente, por lo general), me ha sugerido la conveniencia de incorporarlas en la pieza dramática y presentar a ésta iluminada y reajustada con estas nuevas aportaciones. Eso es lo que ahora quisiera hacer, tanto más cuanto que ellas de rechazo

Esse artigo sumariza os principais momentos de uma longa pesquisa sobre teorias da referência, que começou por volta de 2007. O resultado é uma teoria cognitivista da referência baseada em regras criteriais implícitas. Ela pode ser descrita como uma forma mais refinada de teoria do feixe de descrições, embora suficientemente poderosa para responder a quaisquer objeções externalistas, o que a torna capaz de superar o velho impasse entre descritivismo e referencialismo.
Meu texto mais completo desenvolvendo a teoria é "How do Proper Names Really Work?" (De Gruyter 2023)

The more time I spend with Sophocles' Antigone, the more I have come to think of it as Sophocles' play about all the things that won't happen. On some level, this is not a unique feature in the world of Greek literature. The Iliad raises the possibility in book two that the Greek army might just depart. In book three, we are led to wonder whether perhaps Paris might lose his duel with Menelaus and die, with the result that Helen will go home and everyone else will survive. Book nine taunts us with the possibility that Achilles will keep letting the Trojans win until they seal the deal. Book sixteen offers the chance that Zeus will answer Achilles' prayer and not let Patroclus be killed and that Patroclus will remember Achilles' advice not to push on to Troy and will accordingly outlive the day. Book twenty-two raises the specter of hope that Hector will have the good sense to escape from Achilles' onslaught by slipping behind the walls of Troy. Possibilities all, briefly. But instead of anyone escaping through these little loopholes, each terrible thing happens the wretched way it happens. Each of these peaceful outcomes is unfolded before our eyes only to be crisply foreclosed. 1 And yet I think the Antigone goes still further than the Iliad in forcing us to grapple with the proximity of happy outcomes that will not come to pass. It is as if the work of the entire play

Dentro de la obra El conde de Montecristo hay una cita atribuida a Píndaro que ha pasado totalmente desapercibida en la crítica literaria, pues hasta la fecha nadie ha tratado su procedencia y significado. En este artículo me propongo resolver el enigma que plantea: ¿Se trata de una cita ficticia o de Píndaro? Asimismo, analizo la ambigüedad (deliberada) en el nombre «Píndaro», que podría aludir tanto al poeta griego como al poeta francés del siglo XVIII.

Είναι ο άνθρωπος κύριος της μοίρας του ή η πορεία της ζωής του εκπληρώνει ένα προδιαγεγραμμένο και αναπόδραστο πεπρωμένο; Ποια είναι η δύναμη και το όριο της ανθρώπινης γνώσης απέναντι στη θεϊκή; Γνωρίζει ο άνθρωπος ποιος πραγματικά είναι; Τελικά, ποιο είναι το όριο ανάμεσα στον άνθρωπο και τον θεό;

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. 

What space for expression did the female poetic voice have in Archaic and Classical Greece, and in what ways could it activate social, cultic, and performative dynamics? To what extent were women able to manifest their wisdom through song and poetry, and what recognition did communities grant to their art? To answer these and other questions, the volume offers a fresh perspective on ancient Greek female poetry within the social dimension that underpins it, placing the works of more or less renowned poetesses—from Sappho to Corinna—in dialogue with those of authors such as Homer, Euripides, and Aristophanes, who created female characters endowed with a unique and powerful poetic voice, capable of interacting with the male universe. Poetry thus played a crucial role in bringing women out of the domestic sphere and into the public and “political” context of their cities, where they had the opportunity to express thoughts and opinions born of a sophia deeply marked by poetic and musical sensibility.

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 article introduces a paradigm for group-based poetry therapy through collaborative poetic transcription. Synthesizing forty-six peer-reviewed sources, it shows how co-created poems in therapeutic groups foster empowerment, narrative repair, and integration of trauma processes often overlooked by individual models. Grounded in EFECT and PERMA, the analysis highlights three mechanisms: dialogic agency, mutual witnessing, and ritualized transformation of pain into collective meaning. Beyond review, it presents a trauma-informed micro-protocol (60-75 minutes; 6-12 participants), an illustrative composite poem, and vignettes linking steps to outcomes. A linguistic toolkit-covering pronouns, deixis, modality, anaphora, and choral cuesdemonstrates how collectivity emerges both on the page and in the room. Practical and ethical implications are outlined for facilitators and institutions, emphasizing inclusivity and participatory authorship. The article concludes that collaborative poetic transcription is not merely expressive but a transformative act of radical care, expanding access, deepening recovery, and reimagining mental health support.

To the ever-enduring memory of Mario Mercuri (1950-2011), to whom I owe everything I know, about time and death. Unless otherwise stated, the translations are my own. This essay brings together some reflections that emerged from the final doctoral seminar (Winter 2017) I attended at Stanford University: «Literature and Death», by Sepp Gumbrecht. It was rightly before and after that seminar that I eventually decided to complete (and, in a sense, prematurely conclude) my doctoral studies well ahead of schedule. If this research ultimately exists and my academic journey has continued, it is entirely thanks to Sepp, whose influence and guidance still resonate with me to this day.

The beginning and the end of a total war (1940 and 1944): The memories of Antigone Tzavella

A diary, a few newspapers and two leaflets reconstruct the war's personal experience of a woman fighter with a public presence in Ioannina during the first half of the 20th century, Antigone Tzavella. Her written testimonies refer to the beginning of the most destructive war known to mankind, the Second World War, which for Greece was marked by the Italian attack on the Greek-Albanian border on 28 October 1940, that placed Ioannina at the forefront of military operations. The following are her "resounding" silences during the period of Occupation. Her memories of this war end with two documents of the Liberation (October 1944), the leaflets that an American plane dropped over the city.
The contribution of Antigone Tzavella to the historical record of this war is indisputable, because her memories constitute a rare source, extremely valuable, as it is proven, in terms of the accuracy of the data it contains, which, furthermore, gives us information about some hitherto unknown events. In addition, aspects of the everyday life of civilians in wartime conditions are highlighted, as well as the psychological dimension of the events. Of unparalleled value is the literary style she uses in her narrative, which is characterized by flow and coherence.

Os seres humanos são primatas que transformaram a sexualidade em cultura. Nossa história evolutiva mostra que a vida erótica nunca foi simplesmente biológica: desde cedo ela foi social, simbólica e ritualizada. Dos primeiros sinais da menstruação às grandes festas da fertilidade, dos ritos sacrificiais à invenção dos funerais, sexualidade e morte foram inseparáveis na formação das sociedades humanas. Este ensaio explora como os rituais eróticos e funerários coevoluíram, fundamentando as práticas culturais que ainda estruturam nossa vida psíquica e coletiva.

Babel-the beginning of polytheism and perversion of the One into many little gods externalized. Babylonianism-the externalization and separation of the One-God from the many. Perversion of Noahic Christianity of a separated divinity-human empty shells. Babel and the Linguistic-Mythic Shattering of this Unity-The Noahic truth corrupted then scattered to the ends of the earth. The end of the Trinity in "the Many". The truth "to be Had" replaces "the truth Had to be aware of." Archetypes as Preserved Echoes (Flood, Divine Man, Tree, Serpent, Fire).

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.

Este texto compara dois momentos da história da dramaturgia e as respectivasdiferenças estruturais apresentadas pelo gênero em cada tempo. Naprimeira parte, extrairemos do cânone acadêmico clássico um famigeradoconceito que subsiste no roteiro cinematográfico e no teatro realista, adramaturgia rigorosa. Na segunda, veremos o que aconteceu e por que comeste modelo de escrita dramática a partir da segunda metade do séculoXIX, quando desponta a dramaturgia moderna.

Мы знаем очень немного о связях между Спартой и Скифией в древности. Геродот сохранил пелопонесскую традицию о визите Анахарсиса в Лакедемон, который из всех эллинов именно о спартанцах составил наиболее благоприятное мнение (Herod. IV. 77.1-2); согласно тому же автору сюда прибыли скифские послы с предложением заключить военный союз против царя Дария, дабы отомстить ему за вторжение в их страну (Ibid. VI.84.2); после этого посольства у спартанцев якобы появилась поговорка «налей-ка по-скифски!», когда они желали выпить вина покрепче (Ibid. VI. 84. 3). На этом, кажется, заканчивается и «культурное» влияние, и политические контакты между двумя народами. Тем более интересным представляется упоминание «Колаксаева коня» в 59-й строке знаменитого Луврского «Парфения» Алкмана: ' Ауп^хора M^v аитаа бе беитера пеб 1 'Ау(ба) то y-e!6oq Tnnoq 'Ipqvcoi КоЛа^аТос; брофптаг (PMGF. Р. 25-26) Ведь это -Агесихора! Агидо за ней, вторая красотою, Колаксаев конь за приз с ибенским спорит\ Это произведение архаического спартанского поэта, которое пользуется репутацией «одного из самых загадочных в древнегреческой поэзии» 2 , поставило перед исследователями целый ряд весьма трудных вопросов филологического, мифологического, религиозного и даже астрономического свойства. Среди всех этих проблем вопрос о сравнении с резвыми скакунами прекрасных девушек, участвующих в хоре и исполняющих этот «Парфений», вовсе не воспринимается как очень сложный 3 В самом деле, разве не является естественным уподобление длинноногой молодой и здоровой женщины резвой кобылице, тем более в ситуации, когда эта женщина показывает не 1 Здесь и далее пер. В.Вересаева, уточненный В.Ярхо. 2 Ярхо В.Н. Алкман, Гиппокоонтиды и мировая справедливость// ВДИ. 1970. № 3. С. 45. 3 О некоторых аналогиях из древнегреческой поэзии, правда не бесспорных, см.:

H.D.F. Kitto's "Greek Tragedy", in the impeccable Greek translation by Leonidas Zenakos, has been reissued, with a new preface by Edith Hall. I attempt a review and appreciation of this classic book, which remains influential and widely read (though less so by professional classicists, and much more by intellectuals, theatre practitioners, and general readers) so many decades after its last revised edition. The most astonishing factor is that Kitto's approach is completely irrelevant to the predominant tendencies of present-day classical studies, as they are practiced by career scholars. It stands far away from the cultural concerns, the theoretical schematisations, and the jargon-ridden ruminations of modern university experts. Kitto is indifferent to all the multifarious schools of interpretation which dominate the field of professional classical studies during the last decades. He cares nothing for historicism, structuralism, anthropology, ritual approaches, narratology, or gender studies. Yet his book has never lost its appeal among clever students, cultivated playgoers, and informed artists of the theatre. For entire decades, it has retained a wide circulation and has never been out of print.

How is this scandal to be explained? How can a scholarly study be so useful and appealing and prestigious, even though it ignores all the theoretical principles of official academic orthodoxy? I venture a hypothesis: perhaps the true and worthy criticism of literature and culture is something altogether different and distant from the writings of the experts of present-day academic elites.

Resumo: A construção poética de José tolentino Mendonça faz-se de movimento, de lugares, de experiências pessoais, de reflexão sobre a dimensão humana, abrindo ao leitor um caminho entre o presente e o futuro, entre a palavra e o sentido. Nesta aproximação, impelidos pelo poema ‘Khôra’, sentimo-nos encorajados a explorar alguns significados, em particular aqueles que dão conta da pervivência da cultura clássica.

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.