Thalia Papadopoulou, Heracles and Euripidean Tragedy

Fil: Nápoli, Juan Tobías. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Thalia Papadopoulou, Heracles and Euripidean Tragedy

Fil: Nápoli, Juan Tobías. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Thalia Papadopoulou, Heracles and Euripidean Tragedy

Fil: Nápoli, Juan Tobías. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Intent and Method: A Study of Female Characters in Aeschylean and Euripidean Drama

Aeschylus and Euripides used tragic female characters to help fulfill the purpose of religious celebration and to achieve the motivation of public reaction. The playwrights, revising myths about tragic woman and redefining the Greek definition of appropriate femininity, supported or questioned the very customs which they changed. Originally composed as part of a religious festival for Dionysus, the god of wine, revelry and fertility, the tragedies of Aeschylus and Euripides were evaluated by Aristotle. He favored Aeschylus over Euripides, but it appears as if his stipulations for tragic characterization do not apply to Aeschylean and Euripidean women. Modem critics question both Aristotle's analysis in the Poetics as well as the tragedies which he evaluated. As part of the assessment of Aeschylus, the character of the Persian Queen, Atossa, appears as a conradiction the images that Greeks maintain of non-Greeks. The Persians is discussed in relation to modem criticisms and as on its function as a warning against radical changes in Athenian domestic life. The Oresteia, a trilogy, also charts the importance of an atypical woman in Aeschylean tragedy, and how this role, Clytaemnestra, represents an extreme example of the natural and necessary evolution of families, households and kingdoms. In contrast to Aeschylus' plea to retain nomoi (traditional custom and law), EUripides' tragedy, the Medea, demonstrates the importance of a family and a country to provide security, especially for women. Medea's abandonment by Jason and subsequent desperation drives her to commit murder in the hope of revenge. Ultimately, Euripides advocates changes in social convention away from the alienation of non-Greek, non-citizens, and females. Euripides is, unfortunately, tagged a misogynist by some in this tragedy and another example-the Hippolytus. Euripides' Phaedra becomes entangled in a scheme of divine vengeance and ultimately commits suicide in an attempt to avoid societal shame. Far from treatises of hate, Euripidean women take advantage of the little power they possess within a constrictive social system. While both Aeschylus and Euripides revise customary images and expectations of women in the context of religiously-motivated drama, one playwright intends to maintain civic order and the other intends to challenge the secular norm.

Mont Pelée and the tragedy of Martinique; a study of the great catastrophes of 1902, with observations and experiences in the field,

Mode of access: Internet.

Seneca and Elizabethan tragedy /

Mode of access: Internet.

Organisational learning, climate change and the tragedy of the commons in China

This paper ends with a brief discussion of climate change and suggests that a practical solution would be to transfer much of the current air, sea and long-haul trucking of intercontinental freight between China and Europe (and the USA) to maglev systems. First we review the potential of Asian knowledge management and organisational learning and contrast this against Western precepts finding that there seems to be little incentive to 'look after one's fellows' in China (and perhaps across Asia) outside of tight personal guanxi networks. This is likely to be the case in the intense production regions of China where little time is allowed for 'organisational learning' by the staff and there is little incentive to initiate 'knowledge management' by senior managers. Thus the 'tragedy of the commons' will be enacted by individuals, township, and provincial leaders upwards to top ministers - no one will care for the climate or pollution, only for their own group and their wealth creation prospects. Copyright © 2011 Inderscience Enterprises Ltd.

Problem of Tragedy and Tragic Consciousness in Russia at the turn of the 19th Century

This project intertwines philosophical and historico-literary themes, taking as its starting point the concept of tragic consciousness inherent in the epoch of classicism. The research work makes use of ontological categories in order to describe the underlying principles of the image of the world which was created in philosophical and scientific theories of the 17th century as well as in contemporary drama. Using these categories brought Mr. Vilk to the conclusion that the classical picture of the world implied a certain dualism; not the Manichaean division between light and darkness but the discrimination between nature and absolute being, i.e. God. Mr. Vilk begins with an examination of the philosophical essence of French classical theatre of the XVII and XVIII centuries. The history of French classical tragedy can be divided into three periods: from the mid 17th to early 19th centuries when it triumphed all over France and exerted a powerful influence over almost all European countries; followed by the period of its rejection by the Romantics, who declared classicism to be "artificial and rational"; and finally our own century which has taken a more moderate line. Nevertheless, French classical tragedy has never fully recovered its status. Instead, it is ancient tragedy and the works of Shakespeare that are regarded to be the most adequate embodiment of the tragic. Consequently they still provoke a great number of new interpretations ranging from specialised literary criticism to more philosophical rumination. An important feature of classical tragedy is a system of rules and unities which reveals a hidden ontological structure of the world. The ontological picture of the dramatic world can be described in categories worked out by medieval philosophy - being, essence and existence. The first category is to be understood as a tendency toward permanency and stability (within eternity) connected with this or that fragment of dramatic reality. The second implies a certain set of permanent elements that make up the reality. And the third - existence - should be understood as "an act of being", as a realisation of permanently renewed processes of life. All of these categories can be found in every artistic reality but the accents put on one or another and their interrelations create different ontological perspectives. Mr. Vilk plots the movement of thought, expressed in both philosophical and scientific discourses, away from Aristotle's essential forms, and towards a prioritising of existence, and shows how new forms of literature and drama structured the world according to these evolving requirements. At the same time the world created in classical tragedy fully preserves another ontological paradigm - being - as a fundamental permanence. As far as the tragic hero's motivations are concerned this paradigm is revealed in the dedication of his whole self to some cause, and his oath of fidelity, attitudes which shape his behaviour. It may be the idea of the State, or personal honour, or something borrowed from the emotional sphere, passionate love. Mr. Vilk views the conflicting ambivalence of existence and being, duty as responsibility and duty as fidelity, as underlying the main conflict of classical tragedy of the 17th century. Having plotted the movement of the being/existence duality through its manifestations in 17th century tragedy, Mr. Vilk moves to the 18th century, when tragedy took a philosophical turn. A dualistic view of the world became supplanted by the Enlightenment idea of a natural law, rooted in nature. The main point of tragedy now was to reveal that such conflicts as might take place had an anti-rational nature, that they arose as the result of a kind of superstition caused by social reasons. These themes Mr. Vilk now pursues through Russian dramatists of the 18th and early 19th centuries. He begins with Sumarakov, whose philosophical thought has a religious bias. According to Sumarakov, the dualism of the divineness and naturalness of man is on the one hand an eternal paradox, and on the other, a moral challenge for humans to try to unite the two opposites. His early tragedies are not concerned with social evils or the triumph of natural feelings and human reason, but rather the tragic disharmony in the nature of man and the world. Mr Vilk turns next to the work of Kniazhnin. He is particularly keen to rescue his reputation from the judgements of critics who accuse him of being imitative, and in order to do so, analyses in detail the tragedy "Dido", in which Kniazhnin makes an attempt to revive the image of great heroes and city-founders. Aeneas represents the idea of the "being" of Troy, his destiny is the re-establishment of the city (the future Rome). The moral aspect behind this idea is faithfulness, he devotes himself to Gods. Dido is also the creator of a city, endowed with "natural powers" and abilities, but her creation is lacking internal stability grounded in "being". The unity of the two motives is only achieved through Dido's sacrifice of herself and her city to Aeneus. Mr Vilk's next subject is Kheraskov, whose peculiarity lies in the influence of free-mason mysticism on his work. This section deals with one of the most important philosophical assumptions contained in contemporary free-mason literature of the time - the idea of the trinitarian hierarchy inherent in man and the world: body - soul - spirit, and nature - law - grace. Finally, Mr. Vilk assess the work of Ozerov, the last major Russian tragedian. The tragedies which earned him fame, "Oedipus in Athens", "Fingal" and "Dmitri Donskoi", present a compromise between the Enlightenment's emphasis on harmony and ontological tragic conflict. But it is in "Polixene" that a real meeting of the Russian tradition with the age-old history of the genre takes place. The male and female characters of "Polixene" distinctly express the elements of "being" and "existence". Each of the participants of the conflict possesses some dominant characteristic personifying a certain indispensable part of the moral world, a certain "virtue". But their independent efforts are unable to overcome the ontological gap separating them. The end of the tragedy - Polixene's sacrificial self-immolation - paradoxically combines the glorification of each party involved in the conflict, and their condemnation. The final part of Mr. Vilk's research deals with the influence of "Polixene" upon subsequent dramatic art. In this respect Katenin's "Andromacha", inspired by "Polixene", is important to mention. In "Andromacha" a decisive divergence from the principles of the philosophical tragedy of Russian classicism and the ontology of classicism occurs: a new character appears as an independent personality, directed by his private interest. It was Katenin who was to become the intermediary between Pushkin and classical tragedy.

IT pricing: Copyright law, consumer rights, and competition policy. A submission to the House of Representatives Standing Committee on Infrastructure and Communications Inquiry into IT Pricing

For a hundred years, since Federation, Australian consumers have suffered the indignity and the tragedy of price discrimination. From the time of imperial publishing networks, Australia has been suffered from cultural colonialism. In respect of pricing of copyright works, Australian consumers have been gouged; ripped-off; and exploited. Digital technologies have not necessarily brought an end to such price discrimination. Australian consumers have been locked out by technological protection measures; subject to surveillance, privacy intrusions and security breaches; locked into walled gardens by digital rights management systems; and geo-blocked.

Conflito, resistência e philía no Héracles furioso de Eurípides

In Heracles Mainomenos, by Euripides, the hero is submited to the ultimate test: win himself, accepting stay alive after committing an irremediable error. The dramatic action has dual motivation, human and divine. The human conflict requires resilience of families and friends of Heracles and the opposition of Lico is a key element to the action. In the subsequent clash between Heracles and the goddess Hera, victory lies with the deity, motivating the disaster, but confirms the heroics of Heracles, that resists the urge to annihilation after the murder of children. His friend, King Theseus, provides him the support needed to dissuade him from his purpose of annihilation and strengthens him for endurance. The valuation of philia is an important element in shaping the sense of this euripidean text.

Medeae Medea forem! : zur Euripidesrezeption Ovids in den Heroides

In den Briefen 4, 6, 11 und 12 der Heroides hat Ovid direkt oder indirekt Figuren des Mythos zum Gegenstand seiner Dichtung gemacht, die den zeitgenössischen wie auch den heutigen Rezipienten insbesondere durch Tragödien des Euripides bekannt sind. Die zu Beginn dieser Arbeit dazu durchgeführte historische Analyse der grundsätzlichen Bedingungen der Rezeption der Tragödien des Euripides in der Zeit Ovids zeigt, dass der römische Dichter für ein intertextuelles Dichten in den Heroides die Werke des griechischen Tragikers als Prätexte nutzen konnte, da die Rezipienten über die theoretische und praktische Kompetenz verfügten, entsprechende Verweisungen zu identifizieren, diese in einem Prozess der intertextuellen Lektüre zu dekodieren und den Text auf diese Weise zu interpretieren. Eine Beschreibung dieses antiken literarischen Kommunikationsprozesses zwischen Ovid und seinen Rezipienten erfolgt dabei mit den Mitteln einer für die Euripidesrezeption Ovids konkretisierten Intertextualitätstheorie (Kapitel A.I und II). Die ausführlichen Interpretationen zu den Heroides-Briefen 12, 6, 4 und 11 sowie zur Rezeption des Medea-Prologs in verschiedenen Gedichten Ovids (Kapitel B.I bis V) zeigen, dass der römische Dichter verschiedene Formen intertextueller Verweisungen nutzt, um in den bekannten Geschichten von Medea, Hypsipyle, Phaedra und Canace bislang ungenutztes narratives Potential zu entdecken und auf dieser Grundlage eine alte Geschichte neu zu erzählen. Das in der Forschung bereits vielfach beschriebene Prinzip Ovids des idem aliter referre ist in den untersuchten Texten konkret darauf ausgerichtet, die aus den Tragödien bekannten Heroinen in einer bestimmten Phase ihrer Geschichte zu Figuren einer elegischen Welt werden zu lassen. Diese neu geschaffene elegische Dimension einer ursprünglich tragischen Geschichte dient dabei nicht einer umwertenden Neuinterpretation der bekannten tragischen Figur. Vielmehr lässt Ovid seine Briefe zu einem Teil des Mythos werden, zu einem elegischen Vorspiel der Tragödie, die einen durch Euripides vorgegebenen Rahmen des Mythos erweitern und damit zugleich zentrale Motive der tragischen Prätexte vorbereiten. Ovid gestaltet aus, was in dem von Euripides initiierten Mythos angelegt ist, und nutzt das elegische Potential der tragischen Erzählung, um das Geschehen und vor allem die Heroine selbst in seinem Brief zur Tragödie hinzuführen. Damit bereitet Ovid in den Heroides die weitere Entwicklung der äußeren tragischen Handlung vor, indem er vor allem eine innere Entwicklung der von ihm geschaffenen Briefschreiberin aufzeigt und auf diese Weise jeweils aus einer von ihm geschaffenen elegischen Frau jene tragische Heldin werden lässt, die den Rezipienten aus der jeweiligen Tragödie des Euripides bekannt ist. Die sich daraus notwendigerweise ergebenden Spannungen und Interferenzen zwischen den Erwartungen der Rezipienten und der Realität der von Ovid neu gestalteten Figur in ihrem elegischen Kontext werden von dem römischen Dichter produktiv genutzt und durch die im Text initiierte Entwicklung aufgehoben. So scheinen dann letztlich aus den Elegien Ovids die Tragödien des Euripides hervorzugehen.

El imaginario trágico de la locura : La metáfora agonal y la caracterización de la enfermedad en Orestes de Eurípides

En el teatro griego clásico, el imaginario de la enfermedad trasunta aspectos significativos de las relaciones entre tragedia y medicina hipocrática; en él ocupa un lugar central la metáfora agonal. A partir de este presupuesto, el presente trabajo se centrará en el análisis de la metáfora agonal en Orestes de Eurípides (408 a.C.). Imágenes provenientes del campo atlético y militar, asociadas a la marcada presencia del término agón, reflejan en esta tragedia euripidea tardía la violencia de la locura. El objetivo del presente trabajo será demostrar de qué modo este imaginario singular muestra en el drama aspectos conflictivos de la indisociable relación entre el matricida y su nósos, y revela la patología de la locura como irrupción de una lucha entre fuerzas que pugnan en el interior del mismo Orestes

Conflito, resistência e philía no Héracles furioso, de Eurípides

En la pieza Heracles Furioso, de Eurípides, el héroe se somete a la prueba definitiva: vencerse a sí mismo, aceptar seguir con vida después de cometer un error irremediable. La acción dramática tiene doble motivación, humana y divina. El conflicto humano requiere capacidad de resistencia de la familia y amigos de Heracles y la oposición de Lico es un elemento clave para la acción. En el enfrentamiento posterior entre Heracles y la diosa Hera, la victoria corresponde a la deidad, motivando a la catástrofe, pero se confirma la heroicidad de Heracles, que se resiste a la tentación de aniquilación tras el asesinato de sus niños. Su amigo, el rey Teseo, le proporciona el apoyo necesario para disuadirle de su propósito de aniquilamiento y fortalece al héroe decaído para la resistencia. La valoración de philia es un elemento importante en la constitución de la significación del texto de Eurípides