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Published: 10 December 2022
Last updated: 29 January 2023

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1

Ritoók, Zsigmond. "Problems in Euripides’ Antiope." Acta Antiqua Academiae Scientiarum Hungaricae 48, no. 1-2 (January 2008): 29–40. http://dx.doi.org/10.1556/aant.48.2008.1-2.4.

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2

Kuch, Heinrich. "Positionen in der Antiope des Euripides." Acta Antiqua Academiae Scientiarum Hungaricae 51, no. 3-4 (September 2011): 201–6. http://dx.doi.org/10.1556/aant.51.2011.3-4.1.

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3

Schramm, Michael. "Platon im Theater: Der Gorgias im Dialog mit Euripides’ Antiope." Hermes 148, no. 3 (2020): 286. http://dx.doi.org/10.25162/hermes-2020-0021.

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4

Nightingale, Andrea Wilson. "Plato's "Gorgias" and Euripides' "Antiope": A Study in Generic Transformation." Classical Antiquity 11, no. 1-2 (April 1, 1992): 121–41. http://dx.doi.org/10.2307/25010965.

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5

Diggle, James. "P. Petrie 1.1–2: Euripides, Antiope (fr. 223 (Nauck) Kannicht, XLVIII Kambitsis)." Proceedings of the Cambridge Philological Society 42 (1997): 106–26. http://dx.doi.org/10.1017/s0068673500002066.

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6

VILLING, ALEXANDRA. "‘DANGEROUS PERFECTION’ AND AN OLD PUZZLE RESOLVED: A ‘NEW’ APULIAN KRATER INSPIRED BY EURIPIDES' ANTIOPE." Bulletin of the Institute of Classical Studies 57, no. 1 (June 1, 2014): 61–78. http://dx.doi.org/10.1111/j.2041-5370.2014.00066.x.

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Abstract An Apulian calyx krater attributed to the Underworld Painter that entered the British Museum in 1867 as part of the collection of the Duc de Blacas (GR 1867,0508.1335, Vase F270) has long puzzled scholars on account of its enigmatic iconography, seemingly representing Orpheus and Cerberus in the Underworld. Yet cleaning of the vase some 50 years ago – hitherto unnoticed by scholarship – revealed Cerberus to be a regular single-headed dog. Two additional heads were added during nineteenth-century ‘restoration’ in the accomplished early nineteenth-century Neapolitan restorers' workshops headed by Raffaele Gargiulo. A new reading of the scene identifies it as the dialogue between Amphion and Zethos, a key episode in Euripides' play Antiope that is also referred to in Plato's Gorgias as emblematic of the rival concepts of the ‘active’ and the ‘contemplative’ life.
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7

Tarrant, Harold. "The Dramatic Background of the Arguments with Callicles, Euripides' Antiope, and an Athenian Anti-Intellectual Argument." Antichthon 42 (2008): 20–39. http://dx.doi.org/10.1017/s0066477400001829.

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This paper does not aim to establish the ‘dramatic date’ of Plato's Gorgias, nor does it seek to establish with any precision the date at which Euripides’ fragmentary Antiope was written. Nor does it aim to show that Athenian anti-intellectualism had some fixed beginning and conclusion rather than persisting, in some fashion, as long as intellectuals frequented its public places. It does, however, have aims that may easily be mistaken for these. First, while Plato was not too particular about fidelity to a dramatic date, he frequently shows a strong desire to supply an intellectual background for the views that his characters will propound and the debates that follow from them. In the case of dialogues that employ a single interlocutor that certainly tends to produce a reasonably coherent dramatic date, but what matters to Plato is not so much fidelity to history as the appropriate intellectual context.
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8

Rusten, J. S. "Two lives or three? Pericles on the Athenian character (Thucydides 2.40.1–2)." Classical Quarterly 35, no. 1 (May 1985): 14–19. http://dx.doi.org/10.1017/s0009838800014518.

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ɸιλοκαλο⋯μέν τε γ⋯ρ μετ' εὐτελείας κα⋯ ɸιλοσοɸο⋯μεν ἄνευ μαλακίαας. πλούτῳ τε ἔργου μ⋯λλον καιῷ ἢ λόγου κόμπῳ χρώμεθα, κα⋯ τ⋯ πένεσθαι οὐχ ⋯μολοσεῖν τιν⋯ αἰσχρόν, ⋯λλ⋯ μ⋯ διαɸεύγειν ἔργῳ αἴσχιον ἔνι τε τοῖς αὐτοῖς οἰκείων ἄμα κα⋯ πολιτικ⋯ν ⋯πιμέλεια, κα⋯ ⋯τέροις πρ⋯ς ἔργα τετραμμένοις τ⋯ πολιτικ⋯ μ⋯ ⋯νδε⋯ς γν⋯ναι.J. Kakridis has seen in this famous passage a reflection of the popular debate, conducted most memorably by Amphion and Zethus in Euripides' Antiope and Callicles and Socrates in Plato's Gorgias, over the respective merits of the vita activa and vita contemplativa. Normally the intellectual is faulted as lazy and helpless, the politician as an ignorant busybody; yet Pericles, according to Kakridis, claims that Athenians avoid these faults and combine the traits of both lives at their best.This interpretation accords well with the idealism of the funeral oration, but it falters over what Pericles places between philosophy and politics, viz.πλο⋯τος. Kakridis must struggle to account for the transition directly from philosophy to wealth, on the assumption that πλούτῳ τε…χρώμεθα serves to amplify ἄνευ μαλακίας, while ἔνιτε…⋯πιμέλεια extends the description of the non-intellectual life from the private sphere of trade to the public one of politics (pp. 50–1).
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9

Hylling Diers, Tanja. "Tragedier i Berlin." Peripeti 7, no. 13 (January 1, 2010): 125–34. http://dx.doi.org/10.7146/peri.v7i13.108083.

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Tanja Diers ser nærmere på tre tragedieiscenesættelser på Volksbühne i Berlin: Prometheus af Aischylos, Medea af Seneca (efter Euripides) og Antigone/Elektra af Sofokles. Artiklen vil undersøge Agoraprojektet, mere specifikt de to tragedier iscenesat afhenholdsvis Dimiter Gotscheff og Frank Castorf. Prometheus og Medea er iscenesat eftermeget forskellige æstetiske koncepter henholdsvis med sproget som performativ kraft ogtegn- og associationsoverflod efter postdramatisk forbillede. Undersøgelsen vil fokusere påiscenesættelseskoncepterne med henblik på at diskutere projektets status som et udviklendeprojekt i forhold til bestående teaterkonventioner, kulturel forståelse af forholdet mellemden tyske kultur og den antikke græske, samt relationen til et samtidig publikum.
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10

Xanthakis-Karamanos, G. "P. OXY. 3317: EURIPIDES' ANTIGONE (?)." Bulletin of the Institute of Classical Studies 33, no. 1 (December 1, 1986): 107–11. http://dx.doi.org/10.1111/j.2041-5370.1986.tb00189.x.

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11

GREGORY, JUSTINA. "GENRE AND INTERTEXTUALITY: SOPHOCLES' ANTIGONE AND EURIPIDES' ALCESTIS." Bulletin of the Institute of Classical Studies 49, Supplement_87 (January 1, 2006): 113–27. http://dx.doi.org/10.1111/j.2041-5370.2006.tb02334.x.

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12

Briand, Michel. "Paradoxes of Spectacular/Political Performativity: Dionysian Dance in Classical Greek Theater, Dubois’ Tragédie, Femen's Sextremist Protests, and Harrell's Antigone Sr." Congress on Research in Dance Conference Proceedings 2016 (2016): 27–37. http://dx.doi.org/10.1017/cor.2016.5.

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In Athenian classical theater (especially in Dionysian choruses; the tragic in Aeschylus, Sophocles, or Euripides; the satyric in Euripides’ Cyclops; or the carnivalesque in Aristophanes), aesthetics, ethics, and politics intermingle in kinesthetic, musical, and textual pragmatics. This paper questions the reference to classical performativity (especially the gendered bodies it stages) in contemporary performances, from Olivier Dubois’ Tragédie (2012) (and the committed nudity it enacts) to Femen's sextremist protests and Trajal Harrell's Antigone Sr. / Paris is Burning at The Judson Church (L) (2012). These issues are central to the philosophy of performance, from F. Nietzsche's The Birth of Tragedy (1872) to J. Butler's and A. Athanassiou's Dispossession: The Performative in the Political (2013).
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13

Konstantinou, Ariadne. "TRADITION AND INNOVATION IN GREEK TRAGEDY'S MYTHOLOGICAL EXEMPLA." Classical Quarterly 65, no. 2 (August 25, 2015): 476–88. http://dx.doi.org/10.1017/s0009838815000270.

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Novelties introduced into traditional myths are an essential characteristic of Greek tragedy. Each and every play demonstrates, in different ways, how tragedians were versatile and innovative in handling mythic material. Modern prefaces to individual tragedies often discuss the possible innovations in the dramatization of a myth compared to previous or subsequent versions. Innovations advanced in a play sometimes became so familiar that they came to be regarded as ‘standard’. Such examples include the condemnation and death of the protagonist in Sophocles’ Antigone and, in all likelihood, Medea's filicide in Euripides’ Medea.
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HUSKINSON, JANET. "THEATRE, PERFORMANCE AND THEATRICALITY IN SOME MOSAIC PAVEMENTS FROM ANTIOCH." Bulletin of the Institute of Classical Studies 46, no. 1 (December 1, 2003): 131–65. http://dx.doi.org/10.1111/j.2041-5370.2003.tb00737.x.

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AbstractThis paper reconsiders four pavements from houses in or around Antioch on the Orontes which are generally recognised to have had some association with plays or the theatre. The ‘Red Pavement’ and the mosaic of ‘Iphigencia’ have been taken to illustrate the texts of particular plays by Euripides; scenes in the ‘House of Dionysus and Ariadne’ show satyrs in theatrical costume; and a triclinium mosaic from the House of Menander portrays the playwright himself. It views them in the light of some current interpretative approaches based on ‘theatricality’ and ‘performance’ and the decoration of houses. Through detailed analysis of each case it shows how their images provide further evidence of the cultural life of Antioch and for the interests and aspirations of elite patrons.
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15

Martens, Keegan. "Reimagining Heroism: A Conceptual Analysis Through Antigone and Medea." Journal of Humanistic Psychology 58, no. 4 (January 23, 2017): 431–43. http://dx.doi.org/10.1177/0022167816686690.

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The definition of heroism is contested within the psychological literature, with some suggesting that a formal definition is unfeasible. Following these suggestions, to help clarify what is understood by “heroism,” I critique three potential understandings of heroism drawn from recent psychological work on heroism. In the first critique, I discuss the notion of heroes as displaying certain characters traits, or strengths. In the second, I argue that heroic action cannot be defined by its consequences. In the final critique, I explore whether heroism can be evaluated by the authority an actor supports or opposes. These critiques use Sophocles’ Antigone and Euripides’ Medea as their examples to show that these three understandings cannot express what is heroic about Antigone and not heroic about Medea. I suggest that, instead, the designation “hero” should be understood as an ethical evaluation of the person so designated.
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Cannizzaro, Francesco, Stefano Fanucchi, Francesco Morosi, and Leyla Ozbek. "SKĒPTRON IN SOPHOCLES’ OEDIPVS REX." Classical Quarterly 69, no. 2 (November 12, 2019): 515–22. http://dx.doi.org/10.1017/s0009838819000909.

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In Sophocles’ Oedipus Coloneus, after laying hands on Antigone and Ismene, Creon ridicules Oedipus by saying these words (OC 848–9):οὔκουν ποτ’ ἐκ τούτοιν γε μὴ σκήπτροιν ἔτιὁδοιπορήσῃς.Then you shall never more walk with the aid of these two props!It is possible that Creon is here alluding to Oedipus’ actual appearance throughout the play. As far as we know, Oedipus comes on stage with no walking stick, and uses Antigone and Ismene as a crutch while walking. Creon's comparing Oedipus’ daughters to a crutch, however, is also metaphorical. Such a metaphor is quite common in some modern languages (for example in Italian, ‘bastone della vecchiaia’, or in French, ‘bâton de vieillesse’), but was known by ancient Greek poetry as well. In Euripides’ Hecuba, for instance, Hecuba depicts her daughter Polyxena as her crutch (281 βάκτρον).
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17

Heck, Joel D. "The Liberal Arts, Antidote for Atheism." Linguaculture 2014, no. 2 (December 1, 2014): 67–78. http://dx.doi.org/10.1515/lincu-2015-0025.

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Abstract C. S. Lewis once stated that the decline of classical learning was a contributory cause of atheism. This article explores why he made this very unusual statement, describing how Lewis saw the Classics as a literature full of gods and goddesses, providing hints of truth, giving us things to write about, and preparing for the Christian faith. Using some remarkable quotations from Virgil and Plato, Lewis demonstrated how those writers anticipated both the birth and the death of Christ. Lewis’s concept of myth, powerfully present in the Classics, shows how the Gospel story itself is a “true myth,” one with a pattern that is similar to many of the pagan myths. The personal story of Lewis himself demonstrates how the Classics, and, more broadly, the liberal arts were a testimony to the truth of God and how the Greek plays of Euripides, the philosophy of Samuel Alexander, the imagination of writer William Morris, the poetry of George Herbert, and the historical sensibility of G. K. Chesterton combined (with many other similar influences) to convince Lewis that the death and resurrection of Jesus Christ were especially a “true myth,” one that happened in history, demonstrating him to be the Son of God.
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18

Fernandes, Rafael Zacca. "Os arquivos do luto e as lições patéticas: uma educação sentimental em Anne Carson." Elyra, no. 18 (2021): 265–83. http://dx.doi.org/10.21747/2182-8954/ely18a15.

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This article’s goal is to demonstrate Anne Carson’s practice of translation as a research activity in the “archives of grief”. It explains how this research results not only in products (the translated texts), but also in a set of “pathetic lessons”, teaching something about the pathos and reinforming the ethos. The article also includes an exposition on Carson’s rereading of Walter Benjamin’s theory of the translation, with which she conceives translation as a hearing of the original’s ruin. The object of analy-sis includes some of Carson’s essays and some of her translations of classical tragedies, the ones in Grief Lessons, with Euripides plays, as well as Antigonick, Carson’s translation of Sophocles’ Antigone.
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Kocijančič, Matic. "Truly Bewept, Full of Strife: The Myth of Antigone, the Burial of Enemies, and the Ideal of Reconciliation in Ancient Greek Literature." Clotho 3, no. 2 (December 24, 2021): 55–72. http://dx.doi.org/10.4312/clotho.3.2.55-72.

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In postwar Western culture, the myth of Antigone has been the subject of noted literary, literary-critical, dramatic, philosophical, and philological treatments, not least due to the strong influence of one of the key plays of the twentieth century, Jean Anouilh’s Antigone. The rich discussion of the myth has often dealt with its most famous formulation, Sophocles’ Antigone, but has paid less attention to the broader ancient context; the epic sources (the Iliad, Odyssey, Thebaid, and Oedipodea); the other tragic versions (Aeschylus’s Seven Against Thebes and his lost Eleusinians; Euripides’s Suppliants, Phoenician Women, and Antigone, of which only a few short fragments have been preserved); and the responses of late antiquity. This paper analyses the basic features of this nearly thousand-year-long ancient tradition and shows how they connect in surprising ways – sometimes even more directly than Sophoclean tragedy does – with the main issues in some unique contemporary traditions of its reception (especially the Slovenian, Polish and Argentine ones): the question of burying the wartime (or postwar) dead and the ideal of reconciliation.
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DeBrohun, Jeri Blair. "TRAGIC CONTAMINATIO AND POLLUTED SACRIFICE IN SENECA'S OEDIPUS." Ramus 46, no. 1-2 (December 2017): 35–57. http://dx.doi.org/10.1017/rmu.2017.3.

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It has long been noticed that in his Oedipus, Seneca diverges conspicuously from his primary model, Sophocles’ Oedipus Tyrannus (OT), in a number of aspects. Prominent among these is an expansive, two-part ritual sequence at the play's center, comprising a prodigy-filled yet spectacularly unsuccessful sacrifice and extispicium followed by a more successful, if no less terrifying, necromancy to raise the slain Laius. This article concentrates on the sacrifice and extispicium (Sen. Oed. 288-402). I argue that in this episode Seneca has employed tragic contaminatio (the weaving into one play of significant elements from two or more different source plays) and allusion to produce an exceptionally innovative scene that is a remarkable display of the Roman playwright's ingenuity. For while Sophocles’ OT remains an active intertext, Seneca has also imported elements from Euripides’ Phoenissae. His primary model for the passage, moreover, is actually to be found in a different Sophoclean Theban play, Antigone. Specifically, Seneca has reworked and elaborated upon the climactic reversal scene between Creon and Tiresias in Antigone (998-1114), in which the seer reports on the corruption of the prophetic rites he has just performed and identifies Creon as the cause of the pollution, both for his continued refusal to allow the burial of the fallen Polyneices and for his entombment of the living Antigone.
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Regagliolo, Alberto. "La tragedia greca per bambini." Forum Filologiczne Ateneum, no. 1(8)2020 (November 1, 2020): 345–60. http://dx.doi.org/10.36575/2353-2912/1(8)2020.345.

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Children at eight / nine years old do not have yet a complete and clear idea of the death; nevertheless, one way to approach them to reflect on this sensitive issue can be through literature, in particular with the Greek tragedy. Introducing the Greek tragedy already in primary school inevitably brings the child closer to the theme of the education of death and loss as well as addresses the issue of suffering. However, it is necessary to identify within the classical repertoire of Sophocles, Euripides and Aeschylus some positive characters who can guide children in understanding some adapted tragic moments. Institutions, teachers and associations are essential in accompanying children on this journey to discover death and mourning through the school curriculum and other alternative activities. Some teaching possibilities fall within multisensory, experiential and playful education. Here a proposal is presented by analyzing some elements of the Antigone tragedy to be put into practice in primary school.
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Olechowska, Elżbieta. "Ancient Plays on Stage in Communist Poland." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 41–74. http://dx.doi.org/10.4312/keria.20.3.41-74.

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A recently published analytical register of all ancient plays and plays inspired by antiquity staged in Poland during communism, provided factual material for this study of ancient drama in Polish theatre controlled by the state and of its evolution from the end of WW2 to the collapse of the Soviet regime. The quasi-total devastation of theatrical infrastructure and loss of talent caused by the war, combined with an immediate seizing of control over culture by Communist authorities, played a crucial role in the shaping of the reborn stage and its repertoire. All Aeschylus’ plays were performed at various points during the period, four out of seven Sophocles’ tragedies – with Antigone, a special case, by far the most popular – about half of the extant Euripides’ drama, some Aristophanes, very little of Roman tragedy (Seneca) and a bit more of Roman comedy (Plautus). The ancient plays were produced in big urban centres, as well as in the provinces, and nationally, by the state radio and later television. The various theatres and the most important directors involved in these productions are discussed and compared, with a chronological and geographical list of venues and plays provided.
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Budzowska, Małgorzata, and Jadwiga Czerwińska. "The Political Involvement of Myth in Its Stage Adapatations." Collectanea Philologica, no. 19 (December 30, 2016): 63–75. http://dx.doi.org/10.18778/1733-0319.19.05.

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Ancient myths from the Mediterranean Culture often become a language used to express current social and political anxieties. In the contemporary theatre ancient myths are deconstructed and subverted according to the postmodern dialogue with tradition. Aesthetic changes are accompanied by the ideological modifications. This obviously crisis position of myth is associated with the method of de-contextualization when a mythical plot or just a mythical character is involved in the (post)modern political background. This paper is to analyse three theatre productions from Polish theatre (Iphigenia by Antonina Grzegorzewska, 2008; Oresteia by Michał Zadara, 2010; Antigone by Marcin Liber, 2013) which adapt the most political ancient myths of Atreides and Labdacides’ families. Authors will present the ancient literary context of these myths (Sophocles, Euripides, Aeschylus) and compare it with the contemporary stage adaptations. Political issues which will be discussed concern 1) global terrorism threat; 2) communism; 3) political usage of dead heroes and enemies – post-memory; 4) wars in Iraq and Afghanistan; 5) Nazi genocide; 6) media management of death. All these current problems constitute a deconstructed background for ancient myths and authors will consider whether this procedure creates an empty mythical mask for performance or, conversely, it enriches a source meaning of ancient myth.
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Yakar, Halide Gamze İnce. "From Mythologıcal Ages to Contemporary Ages: Child Education." Journal of Education and Training Studies 6, no. 2 (January 29, 2018): 160. http://dx.doi.org/10.11114/jets.v6i2.2962.

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Seeking the solution to the problems of contemporary man and approaching the social events through mythology is the other way to use the healing power of literature education. Having served as a guide for people in the past, mythology is the mirror of the past, which indicates the reasons and possible results of the events that have experienced today. The communities, which internalize the information well through myths, can direct their future, as well. In this study, we aim to examine the child education and the social problems that arise as a result of this education through the protagonist of Duca Kocaoğlu Deli Dumrul story, his relation with his parents and his life told in one of the twelve texts in the Book of Dede Korkut, which is an epic of Oghuz Turks. To this end, Suphi Altındöken, which had sparked a debate by killing Özgecen Aslan, a university student in Mersin in 2015, and Deli Dumrul, who shows relatively different characteristics from the other protagonists in the Book of Dede Korkut will be compared by their education that they receive from their parents and the environment that they grew up. In this comparison, we have used two tragedia; of Alcestis and of Antigone by Euripides and Sophocles, two playwrights from 5th and 4th centuries B.C. respectively, and used the story of Dumrul and Azrael, published by Murathan Mungan in 2000. In the context of a mythological story from the 12th century and an event from the 21st century, the main elements of child education, especially the parents' attitude, will be included.
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Kaplan, Kalman J. "Biblical versus Greek Narratives for Suicide Prevention and Life Promotion: Releasing Hope from Pandora’s Urn." Religions 12, no. 4 (March 26, 2021): 238. http://dx.doi.org/10.3390/rel12040238.

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Although suicide has been unfortunately stigmatized unfairly through the ages, we should not make the mistake of going to the opposite extreme and valorizing it. We should not forget that the major role of health care professionals is to prevent suicide when possible and to invigorate the underlying life force in the person. Suicide is often the ultimate outcome of a tragic and pessimistic view of life. It was prevalent in ancient Greek writing. Indeed, over 16 suicides and self-mutilations can be found in the 26 surviving tragedies of Sophocles and Euripides. In contrast, only six suicides can be found in the Hebrew Scriptures, and only one suicide in the Christian Scriptures. In addition, the Hebrew Scriptures present numerous suicide-prevention narratives that effectively provide a psychological instruction for people in despair which seems unavailable to figures in the writings of the great Greek tragedians. Unfortunately, some religious traditions tended to go to the opposite extreme in stigmatizing suicide rather than understanding it and trying to prevent it. This paper examines evidence regarding seven evidence-based risk factors for suicide: (1) Feeling depressed and isolated; (2) Feeling one’s life is without purpose; (3) Being a refugee from one’s homeland; (4) Feeling unable to express oneself with others; (5) Being adopted; (6) Feeling abandoned by one’s child leaving the family nest; and (7) Feeling doomed by a dysfunctional (indeed incestuous) family of origin We contrast biblical and Greek narratives regarding each of these factors, respectively: (1) Elijah against Ajax, (2) Job against Zeno, (3) David against Coriolanus, (4) Jonah against Narcissus, (5) Moses against Oedipus, (6) Rebecca against Phaedra, and finally, (7) Ruth against Antigone. These biblical figures thrive across risk factors while their Greek and Roman counterparts kill or mutilate themselves or provoke others to do the job. All these contrasts should demonstrate to psychotherapists, counselors, and clergy alike as to how Greek narratives lead to self-destructive behaviors while biblical narratives provide a hopeful positive psychology, and a constructive way out these dilemmas. My colleagues (Paul Cantz, Matthew Schwartz, and Moriah Markus-Kaplan) and I call for a biblical psychotherapy for positive psychology, suicide prevention, and indeed life promotion. Where hope is locked up in Pandora’s urn after she has released all the evils unto the world, the biblical God places hope into the sky as a bow after Noah and his family and all the creatures on the ark disembark to land after the receding of the flood.
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Diggle, James. "P.Oxy. XLVII, 3317: Euripides, Antigone or Antiope." Archiv für Papyrusforschung und verwandte Gebiete 42, no. 2 (1996). http://dx.doi.org/10.1515/apf.1996.42.2.164.

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27

Пичугина, В. К. "PEDAGOGICAL MEMORIALS ABOUT THE FUTURE IN THE TRAGEDY ABOUT ANTIGONE BY EURIPIDES AND SOPHOCLES." Интеллектуальные традиции в прошлом и настоящем, no. 4 (October 12, 2018). http://dx.doi.org/10.21267/aquilo.2018.4.17494.

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Трагедии Еврипида «Финикиянки» и Софокла «Антигона» рассматриваются как тексты, потенциально открытые для изучения особенностей античной педагогической культуры, дававшей импульс для развития античной интеллектуальной культуры. Главными героями трагедий являются взрослые дети Эдипа, которые, проходя через многочисленные жизненные испытания, продолжают желать вразумляться только через собственные страдания. Через столкновение своих и чужих, живых и мертвых, правых и виноватых драматурги демонстрируют особенности пространственно-временных координат, которые задает себе и другим главная героиня — дочь Эдипа Антигона. Ее родные Фивы превращаются в город, где потомки Эдипа создают особое поле интеллектуальной напряженности. Euripides’ “Phoenissae” and Sophocles’ “Antigone” are considered to be open to study the characteristics of the ancient pedagogical culture that gave impulse to the development of ancient intellectual culture. The main characters of the tragedies are Oedipus's adult children who, having coped with different troubles in their lives, continue to want to be warned only by their suffering. The playwrights demonstrate the features of the space-time coordinates which are asked by the protagonist, the daughter of Oedipus Antigone. The playwrights do it with the help of the collisions of living and dead, innocent and guilty. The native city of Antigone, Thebes, is a special field of intellectual tension, which create the descendants of Oedipus.
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"10. Heroism." New Surveys in the Classics 44 (2014): 81–87. http://dx.doi.org/10.1017/s0533245118000111.

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Antigone's defiant words might be regarded as an archetypal statement of tragic heroism. Faced with a human instruction to leave her dead brother unburied, she fulfils the rites owed to the corpse knowing that this will lead to her death; when the time comes, she treats the tyrant who menaces her, Creon, with disdain. She does this as a powerless young woman, facing an older man in a position of total authority; the contrast between the figures on stage, evident in their costumes and masks, will have accentuated the shocking nature of her response. The chorus show her no sympathy. They are even older men, which makes the female Antigone seem all the more alone; other female characters who challenge the power of males, such as Procne or Euripides’ Medea, at least have a supportive chorus of the same gender. So the circumstances in which Antigone finds herself emphasize the bravery evident in her speech, where she shows herself willing to give up her life to treat her brother's corpse as she believes the laws of the gods demand.
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Dittadi, Antonio. "MISZELLEN: EURIPIDE O EPICARMO? A PROPOSITO DI UNA CONTROVERSA TESTIMONIANZA SULL’ “ANTIOPE” NELL’OR. II BEHR DI ELIO ARISTIDE." Philologus 157, no. 1 (January 1, 2013). http://dx.doi.org/10.1515/phil.2013.0013.

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"IX. Religion." New Surveys in the Classics 21 (1989): 33–37. http://dx.doi.org/10.1017/s053324510002191x.

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Old thought-patterns die hard: three centuries after the guardianship of women was formally abolished, both halves of the Roman empire legislated to restrict the rights of clergy to receive legacies from women. The West showed more anxiety about property being left away from the rightful heirs, the East about clergy who used religion as a pretext for entering the houses of women not of their family. Great heiresses, like Olympias in Constantinople or Demetrias in Rome, could divert their riches to the church, refusing to perpetuate a family line or to benefit the imperial house.Religion had always been the one area in which women might have non-family duties. This is not to say that religious duties were likely to conflict with family commitment. Two famous counter-examples, the Antigone of Sophocles and the Bacchae of Euripides, do not prove the point: in both, women are forced out of their proper behaviour-patterns because the man in charge fails to recognize an obligation to family, city, and gods.
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