Results 1 – 8 of 8 Elena-Ione. Testo greco a fronte (Paperback) by Euripide and a great selection of related books, art and collectibles available now at. IONE ▽ di Euripide | Stagione / Public. · Hosted by KERKÍS. Teatro Antico In Scena. Interested. clock. Monday, November 19, at PM. IONE ▽ di Euripide | Stagione / Public. · Hosted by KERKÍS. Teatro Antico In Scena. Interested. clock. Friday, November 23, at PM – .
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Log In Sign Up. I read the lectures instead as depicting truth-telling as an always political I read the lectures instead as depicting truth-telling as an always euripidf predicament: Although the body of criticism that discusses the comic elements of Euripides’ tragedies esp.
The aim of this paper is to examine The aim of this paper is to examine the Parodos ll.
The degree of the ” parasatyric ” referentiality present in the Parodos demonstrates the sophistication of Euripides’ metapoetic strategies. The fusion of Athenian and Ionian identities is central to Euripides’ Ion, but this article demonstrates that the play’s paeanic monodies conspicuously avoid expressing Ion’s ” true ” origins, and thus challenge the reliability of paeanic The fusion of Athenian and Ionian identities is central to Euripides’ Ion, but this article demonstrates that the play’s paeanic monodies conspicuously avoid expressing Ion’s ” true ” origins, and thus challenge the reliability of paeanic performances of identity.
Thus, although the play seems to close with a successful merger of Athenian and Ionian origins, grave doubts persist as to the ability of paeanic song to properly express this communal identity.
The cRises and quesTions of idenTiTy in Euripides’ Ion have long proven an irresistible topic for critics, and for good reason.
The tragedy fuses two conflicting and ideologically loaded notions of Athe-nian identity: Sul finale ateniese di 11 12 tragedie . The paper focuses on a peculiar class of mythical innovation in Greek dra- ma: Considering the 32 euriide texts in the tragic Considering the 32 preserved texts in the tragic production of the 5th Century BC.
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To the 11 considered cases, should be added the prototype of Eumenides, con- sidered euriplde this perspective as the ending of the whole Oresteia trilogy. Tondini, Ione figlio di Aspasia. This essay aims at showing that ll.
Even Xenophon was concerned with the figure of Pericles the Younger Men.
III,5 after the trial of the Arginusae in which the latter had been put to death. Nutrici e pedagoghi sulla scena tragica attica Lecce, Pensa Multimedia, Athenian public, from archaic poetry to the new ethic-pedagogic theories of contemporary philosophy. La Creusa di Sofocle. Il lavoro intende inquadrare la tragedia frammentaria sofoclea “Creusa” all’interno del contesto mitologico e narrativo a noi euripids pervenuto, alla luce dell’analisi comparata con la superstite tragedia euripidea dello “Ione”, ipotizzando Il lavoro intende inquadrare la tragedia frammentaria sofoclea “Creusa” all’interno del contesto mitologico e narrativo a noi non pervenuto, alla luce dell’analisi comparata con la superstite tragedia euripidea dello “Ione”, ipotizzando una possibile trama e datazione.
La seconda parte del lavoro invece propone un’edizione critica riveduta dei frammenti giuntici, ipotizzando un contesto scenico all’interno del quale sarebbero stati pronunciati.
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Welke rol speelt de Griekse godsdienst bij Aischulos en Euripides? Choral Mediations in Greek Tragedy. Cambridge University Press This article argues that the ending of Euripides’ play Ion is the result of an interaction between the plan of the god Apollo and the reactions of the human characters Creusa and Ion, and that the result is better than it would have been This article argues that the ending of Euripides’ play Ion is the result of an interaction between the plan of the god Apollo and the reactions of the human characters Creusa and Ion, and that the result is better than it would have been if Apollo’s plan had gone smoothly.
Euripide, Ione, introduzione traduzione commento a c. Collana diretta da G.
Divine Rape on the Tragic Stage. This undergraduate thesis, written in completion of the requirements for a Bachelor of Arts in Classics at Barnard College, explores the representation of sexual unions between gods and mortals within Greek tragedy.
The ionr begins by The thesis begins by situating these narratives within the context of their predecessors in lyric and epic poetry before continuing to the central example of Euripides’ Ion, and its parallels in the fragmentary plays of Euripides Antiope, Alope, Auge, the Melanippe plays, Danae, and Alcmene. The thesis explores the ways in which these narratives combine rhetoric of injury with religious language to both portray the traumatic impact of divine rape, eurpiide its broader implications for relations between mortals and gods.
I argue that, within tragedy, narratives of divine rape function as a space within which to generally explore ruptures between the human and the divine, as well as potential avenues for recuperation and healing on an individual and social level. Euripides’ Ion is a special case in extant Greek tragedy in that it completely lacks powerful male characters: The other three men are respectively: It is with the female characters that the power resides in “Ion”.
Kreusa inherits the claim to the throne of Athens and passes it to her son – but most significantly she manages to make Apollo’s so carefully crafted plan go astray. Pythia is the ultimate authority in Delphi and Athena – appearing ex machina – settles the play’s intrigues and untangles its knots once and for all.
This paper will show the subversive interplay of gendered speech and power in one of Euripides’ less-studied extant plays. While the focus will lay on the received text, a diachronic inquiry will broaden the eurripide to include both Euripides’ precursors and the later texts dependent on his work such as Leconte de Lisle’s “Apollonide”.
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