This article draws from the Japanese phenomenological approach (Kyoto School, particularly Kitaro Nishida and Watsuji Tetsurō) concerning the embodied experience of time-space. It unravels crucial ...concepts behind Möbius Strip, a mixed-media performance along the way with a particular focus on peripeteia. Having been triggered by the current warfare in Ukraine, Möbius Strip deals with the phenomenon of war. The aim of this article is to disentangle the meaning of peripeteia as a term in a concrete fashion by identifying its role and impact in the dramaturgy of Möbius Strip. The term is further circumscribed under a comparative point of view, which narrates peripeteia as a term that is primarily encountered in Ancient Greek tragedy and unravels its connection with cognate terms from Asian tradition.
The volume brings together contributions on 15th and 16th century translation throughout Europe (in particular Italy, France, Spain, Portugal, Germany, and England).Whilst studies of the reception of ...ancient Greek drama in this period have generally focused on one national tradition, this book widens the geographical and linguistic scope so as to approach it as a European phenomenon. Latin translations are particularly emblematic of this broader scope: translators from all over Europe latinised Greek drama and, as they did so, developed networks of translators and practices of translation that could transcend national borders. The chapters collected here demonstrate that translation theory and practice did not develop in national isolation, but were part of a larger European phenomenon, nourished by common references to Biblical and Greco-Roman antiquities, and honed by common religious and scholarly controversies. In addition to situating these texts in the wider context of the reception of Greek drama in the early modern period, this volume opens avenues for theoretical debate about translation practices and discourses on translation, and on how they map on to twenty-first-century terminology.
"What is Europe exactly? How are ideas of Europe represented? What do we think of when we speak about religion in representations of Europe? And how does religion shape these conceptions? What are ...their effects? There is no single answer to these questions because there are too many different ideas of what Europe and religion should have been, are or need to be in the past, present and future respective-ly. This volume focuses on case studies in which ideas and concepts become crystallised: a text, a work of art, a building, an exhibition, a map, a film festival, a song or a meal. With contributions by Dolores Zoé Bertschinger, Carla Danani, Verena Marie Eberhardt, Natalie Fritz, Anna-Katharina Höpflinger, Ann Jeffers, Stefanie Knauss, Marie-Therese Mäder, Daria Pezzoli-Olgiati, Natasha O’Hear, Alexander Darius Ornella, Sean Michael Ryan, Alberto Saviello, Baldassare Scolari and Paola Wyss-Giacosa."
Il nome di Agamennone evoca un tempo antico e primitivo, quando il potere coincide con la forza, e una storia familiare che narra di una catena ininterrotta di delitti di sangue. Agamennone è il ...protagonista di una biografia dolorosa, costretto a fare i conti con la maledizione che colpisce la sua famiglia e lo costringe a errori e colpe, imbrigliato dalla rivalità con il più valoroso e nobile degli eroi, Achille, da cui esce sconfitto prima ancora della sfida, vincitore di Troia, ma vittima di un destino tragico. Questo volume nasce nel solco di una tradizione di studi del Dipartimento di Beni Culturali e del Centro di Studi ‘La permanenza del Classico’ dell’Università di Bologna iniziata con Edipo (Edipo classico e contemporaneo, 2012) e proseguita con le Troiane (Troiane classiche e contemporanee, 2017) e raccoglie saggi sulle versioni antiche del mito, le tragedie di Eschilo e Seneca, sulle riscritture moderne e contemporanee, nella letteratura, nel teatro, nella musica, nell’arte.
Background:
Ancient Greek tragedy remains today a special dramatic genre that expresses the concept of the classic through time, perhaps better than any other form of art and culture, representing, ...as a theatrical expression, the vision of the conception and expression of values of a particular era. In this context, the purpose of the present research is to study the humanitarian values of European culture, as they are expressed in ancient Greek drama, and to highlight the way in which these values are projected through modern drama and are impressed on the spectators.
Methods:
To achieve this goal, 105 spectators watched the tragedy of Aeschylus ‘Seven against Thebes’ directed by Cesaris Grauzinis and answered, both immediately after watching the performance and six months later, a questionnaire, in order to record their opinions about the theatre performance they had attended.
Results:
According to the findings of the comparative analyses, it emerged that the messages and values governing the work remain unchanged for its viewers over time. The memory is based on original audio-visual elements and directorial findings, confirming that it preserves the messages of the symbolism of the performance as well as the channels through which they were conveyed to the audience.
Conclusions:
The correspondences between the past and the present, as well as the contrasts on stage, contributed to the reproduction of the fundamental moral values that the dramatic work brought, highlighting the work and messages of Aeschylus.
In this book, experts discuss the use of ‘theatre’ and ‘metatheatre’ to describe ancient Greek dramatic activities. By examining how these two concepts are used in very different ways by scholars of ...various horizons, this collective volume aims both at widening what should be encompassed under the label ‘theatre’ when looking at the ancient Greek world and at better defining what could count as ‘metatheatre’ in ancient Greek dramatic production.
This chapter surveys evidence for the spread, in the fifth and fourth centuries BC, of drama and theatrical culture around the eastern Mediterranean from Sicily to Babylon and from the Black Sea to ...Cyrene. 116 sites are examined with some attention given to the chronological, social, political and festival context of the reception of theater and, where specifically attested, of drama.
This article tries less to give a practical demonstration than to theoretically sketch out and propose a novel approach to a specific aspect of ancient Greek culture, namely τιμή (honor) and the ...pursuit of it. Its aim is not only to illustrate the potential proficiency of such a methodology (and to set the ground for its application), but also to highlight concrete opportunities in the Humanities to study how the language of civic institutions in epigraphic sources and the moral language of ethical philosophy penetrate poetry in Greece: the idea that inscriptions and ethical philosophy are something that scholars of poetry should leave to ancient historians and philosophers has left lots of room for new scholarship in this area. Special attention is devoted here to Euripidean drama and its characters who, in exhibiting specific virtues (e.g. benevolence, solidarity, and friendship) while establishing reciprocal relationships, stand as socio-ethical examples of the pursuit of an honorable status within one’s community. Scholars have not fully explored to what extent this portrayal matches historical evidence for benefactions/exchanges between Greek citizens/cities and, at the same time, it complies with the virtues described by Aristotle’s ethical works. By interpreting honor as a means by which people regulate their social lives, the objective of this article is to show how Euripidean drama can serve as a valuable source to be explored for understanding Greek moral attitudes.
The paper investigates so-called technai in Aeschylus’ works, particularly with regard to the role attributed to the Gods as primary, if not unique actors and discoverers of technical knowledge. From ...the detailed study of the vocabulary of the word techne and its connected forms, extended to all Aeschylean dramas, a double meaning of technical knowledge emerges, a traditional as well as a specifically Promethean one. From this point of view, the dramatic plot described in Prometheus Bound seems to be particularly relevant in order to understand aspects of continuity and differences which underlie Greek thought and specifically Aeschylus’ on techne. The paper closes by a critical review of the following two passages of the Aeschylus’ work: Ag. v. 1129 and fr. 375 Radt.
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