Penis ex machina as anticlimax : ἐξέβαλ, οἰῶ, τὸ ξίφος (Ar. Lys. 155-6)
Die „Libation des Gottes“ und die Blendung des Kyklopen – Überlegungen zu Euripides’ Kyklops 469–471
Published in Philologus
The comparison by which the Chorus of Satyrs in Euripides’ Cyclops 469–471 illustrates its wish to participate in the blinding of the Cyclops is regarded as difficult in research on the play, due to the ambiguous expression ὥσπερ ἐκ σπονδῆς θεοῦ (469). There is no consensus either on the question of how the reference to libation is to be understood...
Gênero e caracterização na "Medeia" de Eurípides
This paper looks into the characterization of the figure of Medea in Euripides’ homonymous play. At first, I consider how her speeches conform to speech patterns usually identified as feminine in tragedy and how she uses deceptive expressions of submission to dupe her opponents. Secondly, I investigate to what extent her linguistic characterization...
Zorba el griego o cuando Nietzsche bailó el syrtaki
After the international success obtained by his filmic transposition of the tragedy of Euripides, Electra , director Michael Cacoyannis adapts for the cinema a famous novel by Cretan writer Nikos Kazantzakis, creating a work of art completely inde pendent, which even surpasses the popularity of its literary source. This article analyses this film, ...
A caracterização da Medeia na tragédia homônima sob a ótica da encenação
Based on Taplin’s considerations about performance in The stagecraft of Aeschylus: the dramatic use of exits and entrances in Greek Tragedy (1997) and on Van Emde Boas’ studies on Euripides’ methods of characterization, as seen in Characterization in Ancient Greek literature (2017), this essay analyzes the Greek tragedy Medea to develop considerati...
Como caracterizar o homem novo na tragédia?: O caso do marido de Electra
Considering elements of ancient poetics, this article aims at examining the characterization of Electra’s husband in Euripides’ homonymous tragedy. Contrary to characters from the mythical tradition, whose essential traits are already partially anticipated by their literary previous history, the heroin’s husband constitutes an anonymous new man, cr...
A caracterização de Andrômaca e Hermíone no "agón" de "Andrômaca" de Eurípides
This work integrates the thematic theme that has been developed in the last biennium by the research group Studies on the Ancient Theater of the FFLCH-USP: “Characterization of the character in the Greco-Roman theater”. The scope here is to scrutinize the characterization of Andromache and Hermione in the agon performed by those characters in Eurip...
Caracterização e discurso na tragédia grega: o ancião e a esposa no prólogo do "Héracles" de Eurípides
This paper investigates how speech – in particular the first one in a Euripides’ tragedy – contributes to characterization. This is an indirect, metonymical characterization, that was called ēthopoiia in Antiquity. Two characters are examied, Amphitryon and Megara, in the prologue of Euripides’ Heracles; it is argued that their characterization not...
Formas hímnicas en el tercer estásimo de Helena de Eurípides
El objetivo de este trabajo es analizar la relevancia que posee para la comprensión de Helena el himno κλητικός a los Dioscuros en el tercer estásimo (vv. 1451-1511), solicitando la presencia y la ayuda de los hermanos divinos de la heroína. Si bien sοlo los vv. 1495-1511 constituyen el himno, todo el estásimo puede entenderse como un canto ‘apotro...
A caracterização de Polifemo no "Ciclope" de Eurípides
Polyphemus, one of the scariest and most dangerous monsters in Greek mythology, is a main character in Euripides’ satyr play Cyclops. Many elements of his characterization by Euripides are partially inspired by Book 9 of Homer’s Odyssey and resurface in other dark characters of Euripidean drama. Characteristics and influences from Euripides’ sophis...
