Euripides "Hecuba" 54

Gregory, Justina

doi:10.2307/1088696

Cited by 7 publications

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“…Kaj se je torej zgodilo? Videti je, da je Ahil vojsko »ustavil« (37)(38) le s svojo grozečo pojavo -in da je Poliksenino žr-tvovanje bogove, že tako nezadovoljne z nepokopanim Polidorjevim truplom (49-50), kvečjemu še dodatno razjezilo; prvo poročilo o tem, da je veter pre- 27 Mossman,Wild Justice,Greek Popular Morality,184. 30 Gregory,Euripides: Hecuba, Ibid., xxix-xxxi.…”

Section: Maščevanje In Njegova Cenaunclassified

“…Tudi Odisej in Polimestor se sklicujeta na politično nujnost, ahajska vojska se pri odločanju o Polikseninem žrtvovanju anahronistično zateče h glasovanju, Hekaba sama pa -očitno navdihnjena z mitilenskimi dogodki -po neobetavnem izidu terja ponovno glasovanje in hkrati razmišlja o primernem ravnanju z vojnimi ujetniki (287-90). 37 A čeprav je zgodovinski kontekst za razumevanje Evripidovega dramskega mojstrstva neprecenljiv, je v verzih njegove Hekabe nekaj, kar presega zgolj zgodovinsko raven -in se morda celo upira nedomišljeno režira-nim poskusom povezovanja z zgodovino; britanska predstava iz leta 2005, ki je v uprizoritvi (z Vanesso Redgrave v glavni vlogi) močno aludirala na iraško vojno, je kritike s svojo didaktiko povečini odbila. 38 Po drugi strani pa je ista predstava, s katero je novoustanovljeno Društvo narodov po prvi svetovni vojni nabiralo sredstva za svoje delovanje, brez posebnega aktualiziranja omrežila občinstvo, ki mu je za razumevanje univerzalnega jezika trpljenja zadoščala lastna izkušnja.…”

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Pravica in maščevanje v Evripidovi Hekabi

Movrin

2011

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Evripidova Hekaba je zaradi neusmiljenih sodb romantičnih kritikov, ki so ji med drugim zamerili dvodelno strukturo, pristala na obrobju literarne pozornosti. V ospredje se je znova prebila šele v dvajsetem stoletju; raziskovalci danes ugotavljajo, da dejanje povezuje predvsem junakinjino iskanje pravice, medtem ko svet okrog nje zanemarja temeljne postulate grške etike, urejene po načelu recipročnosti – pojme, kot so ξενία, αἰδώς, χάρις in ἱκετεία.

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Pravica in maščevanje v Evripidovi Hekabi

Movrin

2011

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“… 87 For Clytemnestra as dream and phantom, see Sommerstein (1989) 100; Podlecki (1989) 136; Lennig (1969) 77–80; Hickman (1938) 32–6. For Polydorus, see Segal (1990) 311; Brillante (1988) 434; and 441–2; Jouanna (1982) 42–50; Cederstrom (1971) 163; Lennig (1969) 147–52; Hickman (1938) 51–7; contra Gregory (1999) 50. For both, see Harris (2009) 25 n. 7.…”

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“… 88 For a summary of the solutions for Clytemnestra's entry in Eumenides, see Sommerstein (1989) 100–1; Podlecki (1989) 136; Mitchell-Boyask (2009) 51–2. For Polydorus' apparition, see Mastronarde (1990) 276; Mossman (1995) 50–1; Collard (1991) 130; Gregory (1999) 46; Brillante (1988) 434; Jouanna (1982) 51–2, all of whom support the roof theory, with use of crane possible; see, however, Hickman (1938) 53–4; Hourmouziades (1965) 159–60; and, more recently, Lane (2007), Matthiessen (2010) 261 and Scodel (2012) 59 and 185, who support use of the ground level. …”

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INTERIORITY, THE ‘DEEP EARTH’ AND THE SPATIAL SYMBOLISM OF DARIUS' APPARITION IN THEPERSIANSOF AESCHYLUS

Bakola

2014

Camb. class. j.

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This article demonstrates that the spatial category of depth is crucial for understanding Aeschylus'Persians. Underground spaces are often symbolically represented in Greek drama not only on a vertical axis but also by the interior of the stage-building (skene). By investigating the connections between ‘interiority’ and ‘depth’, this article argues that the most economical and effective reconstruction of Darius' apparition is to suppose that he emerged from the interior of theskene, whose existence at this date is often disputed. The article furthermore analyses the multifaceted concept of the earth in thePersians, to suggest new ways in which underground, ground and interior spaces can be connected holistically to other spatial and natural imagery.

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“…Collard (1991) ad Hec. 466-74, Gregory (1999) ad Hcc. 472, Cropp (2000) ad 222-4, Kyriakou (2006) ad 221-4).…”

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Writing and self-conscious mythopoiēsis in Euripides

Torrance

2010

Camb. class. j.

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Euripides uses a variety of strategies to draw attention to the novelties in his dramatic myth-creation ormythopoiēsis. He does so, for example, through multiple allusions to earlier poets, distinguishing himself from predecessors by acknowledging their influence while simultaneously producing something distinctive. Euripidean novelties are legitimized in several instances through cultic aetiologies. These aspects of Euripidean drama have long been acknowledged. More recently, Matthew Wright has shown how the characters in several Euripidean plays discuss their own myths in a self-conscious manner, a process he terms ‘metamythology’. A technique which has been less studied, however, is Euripides' exploration of the motif of writing and its connection to the act ofmythopoiēsiswithin his work. Scholars who discuss writing in Euripides have done so either within the general context of inherent tensions between oral and written communication in Greek tragedy (or Greek literature), or have focused on the use of letters as dramatic devices. This paper argues that Euripides exploits the motif of writing in a way which is entirely different from the other tragedians, and puts forward the central thesis that writing in Euripides is associated self-consciously and metapoetically with plot construction and authorial control.

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Euripides "Hecuba" 54

Cited by 7 publications

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Pravica in maščevanje v Evripidovi Hekabi

Pravica in maščevanje v Evripidovi Hekabi

INTERIORITY, THE ‘DEEP EARTH’ AND THE SPATIAL SYMBOLISM OF DARIUS' APPARITION IN THEPERSIANSOF AESCHYLUS

Writing and self-conscious mythopoiēsis in Euripides

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