The paper is a case study of a cultural transfer between Germany and France. It questions the categories of acting, agent and action in Jean-Pierre Vernant’s and Bruno Snell’s ideas: how could the ...reflection of a German Greek scholar, which results from the encounter of meticulous philology and idealist philosophy, continue to impact fifty years later the thinking of an iconoclastic researcher, inspired by social sciences? Snell claims that tragedy shows and creates at the same time the process of autonomous human acting. Vernant on the other hand questions this theory as it had played a strong role on him. Snell, who is more involved with the categories of decision and will, projects this, according to Vernant, from modern notions into Greek texts. In his opinion, tragedy presents the human being in a complex web of autonomy and heteronomy. However, this critic throws a new light on Vernant’s thought itself, revealing its deep ambivalence.
El siguiente trabajo aborda el fratricidio entendido como tópico de la cultura occidental, introduciendo sus significativas proporciones a partir de los distintos abordajes que en época moderna se ...han llevado adelante respecto de su función en la literatura. El estudio se aboca a la delimitación del tópico en el ámbito de la literatura griega en relación con el devenir de la progenie edípica. Así, parte de la épica griega arcaica para llegar a la tragedia, contrastando los elementos míticos que una y otra presentan como sostén de su relato. La tesis central, que manifiesta que el fratricidio de Eteocles y Polinices constituye un castigo dirigido a la figura de Edipo mediante su exilio, encuentra su consumación en Fenicias de Eurípides, cuya originalidad se hace manifiesta a partir de un estudio comparado de las fuentes.
The word δούλευμα, which appears only three times in extant Greek literature, is defined in all the authoritative dictionaries with the meaning of “slave” or “servitude”, but this lexical meaning is ...not well supported by the contexts in which the word appears. The word δούλευμα does not signify a person’s status as a slave or the duty of a slave to perform a service for its owner. Rather, δούλευμα has an extended or secondary meaning of a woman’s “baby doll” or “doll-like object” (in the same way that other polysemous words, such as κόρη, νύμφη, and γλήνη, can also mean “doll”, depending on the contexts in which these words are used). This proposed definition offers a new perspective on the three scenes in which the word appears in Greek tragedy.
The paper discusses the fragments of Astydamas’ Hector, some of which ascribed only by conjecture, and draws some conclusions on the play in order to recognize hints of the evolution of tragedy in ...the 4th century BC. The paper stresses in particular the craft of the dramaturgy and the relevance of pathetic elements and of the psychological investigation, according to what Aristotle will say in his Poetics.
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.
Este artículo analiza el potencial didáctico de la tragedia griega como recurso docente en Educación Primaria en España, a través de la obra “Antígona” de Sófocles, desde un enfoque de mejora de las ...competencias sociales y cívicas. La originalidad de este estudio reside en la hipótesis de que la inclusión en el aula de la tragedia griega a edades tempranas, permitiría al alumnado valorar la herencia cultural griega en el presente, así como comenzar a madurar el pensamiento crítico, a través de la identificación de problemáticas sociales derivadas de la guerra, la represión, la esclavitud, la injusticia o las desigualdades. Se efectúa un análisis comparativo entre las exigencias curriculares en cuestiones cívicas y las competencias que alcanzaría el alumnado incluyendo la tragedia griega en el ámbito escolar.
This text reflects on the actions of Hecuba, protagonist of the Euripidean tragedy of the same name, set in Athens during the Peloponnesian war and triggered by the death of her children Polydorus ...and Polyxena. Hecuba, a captive of war and deprived of her family philia after the loss of her children, acts motivated by feelings of revenge. However, values such as collective solidarity, hospitality, civility and freedom will be addressed as elements of cohesion in this Euripidean drama. Keywords: Classical Athens; Greek theater; Female action. Este texto propoe refletir sobre a acao de Hecuba, protagonista da tragedia homonima de Euripides que foi encenada em Atenas durante a guerra do Peloponeso, desencadeada a partir da morte de seus filhos Polidoro e Polixena. Cativa de guerra e privada da philia familiar com a perda dos filhos, Hecuba agira motivada pelo sentimento de vinganca. Porem, valores como solidariedade coletiva, hospitalidade, civilidade e liberdade serao abordados como elementos de coesao do drama euridipiano. Palavras-chave: Atenas classica; Teatro grego; Acao feminina.
This text reflects on the actions of Hecuba, protagonist of the Euripidean tragedy of the same name, set in Athens during the Peloponnesian war and triggered by the death of her children Polydorus ...and Polyxena. Hecuba, a captive of war and deprived of her family philia after the loss of her children, acts motivated by feelings of revenge. However, values such as collective solidarity, hospitality, civility and freedom will be addressed as elements of cohesion in this Euripidean drama.
PDF
