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Sin dall’antichità gli atti di violenza e i fatti di sangue compaiono in molte opere poetiche e letterarie, e in particolare in un genere teatrale, la tragedia attica, contraddistinto da un paradosso evidente: la violenza fisica o psicologica può essere presupposto o nucleo narrativo della trama, ma non è mai mostrata direttamente allo spettatore. Il trauma invece può essere di volta in volta narrato, rievocato, rivissuto dai protagonisti e dai comprimari. Con questo criterio si possono distinguere, tra gli adattamenti e rivisitazioni moderne della tragedia, quelli che scelgono deliberatamente di rappresentare violenza e trauma in scena, in modi più o meno espliciti, o privilegiano invece altre vie, talvolta anche con finalità terapeutiche.

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Copyright of Annali d'Italianistica is the property of Annali d'Italianistica, Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this essay, I argue that the terms anarchia and anarchos had become associated with critiques of democracy before the final quarter of the fifth century BCE. I begin with a review of archaic and early classical uses of the term, with a particular focus on two instances in Aeschylus’ Oresteia. I then examine Euripides’ two uses of anarchia/anarchos, one in Hecuba and the other in Iphigenia at Aulis. In each case, we see that the concept of anarchic behavior is associated with democratic bodies; that charges of anarchia are laid by characters who engage with critiques of democracy throughout the dramas; and that the term itself is embedded within discourses that are laden with the language and rhetoric of anti-democratic discourses found in Thucydides, Herodotus, and the Old Oligarch. Given that Euripidean references to anarchia are embedded within terminology that was already current in contemporary anti-democratic thought, I conclude that the concept of democracy’s ‘anarchic’ tendencies had already been developed by the final quarter of the fifth century BCE.

Copyright of Thiasos is the property of Edizioni Quasar di Severino Tognon s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Il contributo analizza la costruzione dell’immagine dello straniero nelle Supplici di Eschilo. Dapprima lo straniero suscita curiosità e fascinazione, poi invece ispira inquietudine e rifiuto, diventando ‘barbaro’, appartenente a una cultura incivile. Inoltre, l’autore dell’opera utilizza lo sguardo dell’Altro per definire apologeticamente la propria cultura e la propria democrazia. L’analisi della tragedia ci spinge a riflettere e a cercare di essere più consapevoli di come ci relazioniamo alle culture altre e come noi costruiamo l’immagine dell’altro anche nell’epoca attuale.

This essay examines the representation of the sacrifice of Iphigenia in the fresco by Gian Battista Tiepolo, located in Villa Valmarana near Vicenza. It explores the origins of the myth, beginning with the tragedy of Aeschylus, and continues to explore interpretations in the Latin literature until the Baroque period. The essay focuses especially on the patriarchal figure of Agamemnon, and the meaning of his hidden face.

Nel preparare Vaghe stelle dell’Orsa…, il regista Luchino Visconti e i suoi sceneggiatori hanno notoriamente tratto ispirazione dalla tragedia greca. Facendo ricorso a documenti inediti e confrontando sei diverse stesure della sceneggiatura, questo saggio si propone di stabilire con precisione quando e come le versioni del mito degli Atridi di Eschilo, Sofocle ed Euripide hanno influito sul progetto, contribuendo all’ambiguità di fondo che lo pervade. Al contempo, si ristabilisce il rilievo di altre suggestioni dell’antico, in particolare quella degli etruschi mediata da Forse che sì forse che no di Gabriele D’Annunzio.

Copyright of Futuro del Pasado: Revista Electrónica de Historia is the property of Futuro del Pasado: Revista Electronica de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The servant's scene in Aeschylus' Choephoroi (vv. 869-891), is re-examined in the play's context and in relation to the character's psychologically condition, which gives rise to a confused syntax, allow to defend the manuscript tradition in some passages (cf. particularly vv. 875, 880, 882, 883-884). [ABSTRACT FROM AUTHOR]