Academic literature on the topic 'Euripides Iphigenia in Aulide'
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Journal articles on the topic "Euripides Iphigenia in Aulide"
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GURD, SEAN. "On Text-Critical Melancholy." Representations 88, no. 1 (2004): 81–101. http://dx.doi.org/10.1525/rep.2004.88.1.81.
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ABSTRACT This essay discusses a lost chapter in the history of the textual criticism of Euripides' Iphigenia at Aulis: G. Hermann's 1847 De Interpolationibus Euripideae Iphigeniae in Aulide. I argue that this work, like all textual criticisms in classics, aims to represent not the image of a lost original, but rather a singular image of textual history and formal change. This has consequences for the reading of critical texts in general, which do not aim to return us to the past but to provide a charter of history conceived as a temporally heterogeneous textual multiplicity.
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Castrucci, Greta. "L’Euripo sulla rotta di Troia, secondo Euripide. Correnti alterne del destino o venti d’opposte doxai?" ACME - Annali della Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano, no. 03 (December 2012): 243–52. http://dx.doi.org/10.7358/acme-2012-003-cast.
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In his Iphigenia at Aulis, Euripides places his characters on the stage of Euripus, a sea strait which – since ancient times – had had a strong symbolic value: it was crossed by opposing currents and so represented the place of change, also in the metaphorical sense of changes of mind. As J. Morwood remarked in A Note on the Euripus in Euripides’ Iphigenia at Aulis, in this tragedy Euripides appropriates this metaphorical interpretation and uses the geographical and mythical context of the Euripus to emphasize the mental changes his characters go through. This article aims to go more deeply into Morwood’s brief note, showing how mention of the Euripus is never casual or accidental in Iphigenia at Aulis, but always substantial: Euripides wants to stage the changeability not only in his characters’ psychology and ethics, but also in their destinies and in the Gods’ actions, and takes advantage of the geographical setting for this specific aim. Thus, every reference to the Euripus in this drama (from Agamemnon’s words in the Prologue to Iphigenia’s lament in the fourth episode), assumes an allusive value, even if it seems apparently banal, and maybe also refers, implicitly, to sophist attitudes.
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Miola, Robert S. "Early modern receptions of Iphigenia at Aulis." Classical Receptions Journal 12, no. 3 (January 22, 2020): 279–98. http://dx.doi.org/10.1093/crj/clz031.
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Abstract The sacrifice of Iphigenia, appearing influentially in Euripides’ Iphigenia at Aulis, assumes various forms in early modern translation, reading, and adaptation. Early modern receptions variously constrict, domesticate, Romanize, and Christianize the story. Publication in Latin, especially in Erasmus’ translation (1506) transposes Greek linguistic and cultural referents to later hermeneutics, rendering mysterious ancient elements into familiar Roman analogues — Stoic ideals, fortuna, prudentia, and the like. Caspar Stiblin’s Latin translation (1562) and Gabriel Harvey’s copious marginalia in his copy of Erasmus’ translation show that constriction and domestication often take the form of fragmentation of the text into sententiae, or wise sayings. The search for rhetorical figures, political maxims, or moral lessons generates many Christian applications and culminates in Buchanan’s biblical reworking of Iphigenia’s story in Jephthes, wherein Artemis gives way to the Judaeo-Christian god and Iphigenia, here Iphis, becomes a type of Christ. The Vernacular Adaptations of Jane Lumley, Jean Racine, and Abel Boyer continue to dismantle the heroic ethos of Euripides play and re-imagine the story: Achilles dwindles into a romantic lead, Agamemnon, into a vicious ruler and father, and Iphigenia becomes a pious and submissive daughter.
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McDonald, Marianne. "Iphigenia's "Philia": Motivation in Euripides "Iphigenia at Aulis"." Quaderni Urbinati di Cultura Classica 34, no. 1 (1990): 69. http://dx.doi.org/10.2307/20547029.
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Bacalexi, Dina. "Personal, paternal, patriotic: the threefold sacrifice of Iphigenia in Euripides' Iphigenia in Aulis." Humanitas 68 (December 29, 2016): 51–76. http://dx.doi.org/10.14195/2183-1718_68_3.
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In the IA, Iphigenia accepts to be sacrificed. This voluntary sacrifice can be interpreted as a result of her threefold motivation: personal, love for life; paternal, love for her father Agamemnon, the leader of the Greek army which is about to sail to Troy; and patriotic, love for her country, the great Hellas, whose dignity and freedom Agamemnon and the army intend to defend. These three motives are interconnected and should not be considered separately. This is the principal Euripidean innovation, with regard to the mythical and Aeschylean tradition of Iphigenia's sacrifice. It allows us to reconsider the Aristotelian criticism concerning Iphigenia's change of mind, and to restore the unity of the character.
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Wickramasinghe, Chandima S. M. "Grief and Stress Communication and Management in Euripides’ Iphigenia in Aulis." KnowEx Social Sciences 1, no. 1 (July 7, 2021): 01–12. http://dx.doi.org/10.17501/27059901.2020.1101.
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Communication, an essential human trait, is vital to develop a great connectedness among individuals as it helps to understand human mind and emotions. Grief and stress are communicated in different proportions in ancient Greek tragedies, which revolve around a plot that emanates grief. The characters in a Greek tragedy are affected by or are victims of a grieving situation central to the play. Aristotle maintained that tragic action must emanate pity and fear which are connected with grief and stress. Euripides, the revolutionary dramatist of Classical Athens, has empowered his characters to the effect of transmitting their sentiments freely. This feature is notable in his plays such as Alcestis, Electra, Ion, Orestes and Iphigenia in Aulis (IA). In IA, a well-established mythical account is presented as a simple family story. It is not just Iphigenia, who is affected by her impending tragedy. Almost all characters grieve in different proportions, while attempting to manage their grief and stress first by communicating it and then in ways peculiar to themselves. The strategies range from keeping a positive attitude, accepting the situations, to being assertive instead of being aggressive. This study examines the communication of grief and stress as a means of managing such sentiments with especial reference to Iphigenia in Aulis in order to understand how Euripidean tragedy could bring relief to its audience. In the process, the study observes how the dynamics of engagement of a character with others, their feelings, thoughts and intentions can contribute to manage grief and stress through effective communication of such sentiments. Keywords: grief and stress, communication, management, Euripides, Iphigenia in Aulis
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Lush, Brian V. "Popular Authority in Euripides’ Iphigenia in Aulis." American Journal of Philology 136, no. 2 (2015): 207–42. http://dx.doi.org/10.1353/ajp.2015.0032.
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Alves Ribeiro Jr., Wilson. "Os autores da Ifigênia em Áulis de Eurípides." CODEX – Revista de Estudos Clássicos 2, no. 2 (December 5, 2010): 57. http://dx.doi.org/10.25187/codex.v2i2.2811.
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<div class="page" title="Page 57"><div class="layoutArea"><div class="column"><p><span>O texto da <em>Ifigênia em Áulis</em>, tragédia de Eurípides encenada pela primeira vez em 405 a.C., juntamente com <em>Bacchae</em> e <em>Alcmeon</em>, chegou até nós com inegáveis sinais de adulteração e de interpolações. No presente trabalho são discutidos os elementos mais importantes para a moderna abordagem do texto legado pela tradição medieval e para a identificação das passagens que podem ser atribuídas a Eurípides ou aos retractatores da <em>Ifigênia em Áulis</em>. </span></p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>The authors of Euripides’ Iphigenia at Aulis </strong></p><p><span><strong>Abstract</strong> </span></p><p><span> The text of Iphigenia at Aulis</span><span>, Euripides’ tragedy staged for the first time in 405 a.C. t</span><span>o- gether with Bacchae and Alcmeon, reached us with undeniable signs of adulteration and interpolations. This work presents and discuss the most important elements for a modern approach of the text received from medieval tradition and for identification of passages that can be ascribed to Euripides or to Iphigenia in Aulis retractatores. </span></p><p><span><strong>Keywords:</strong> Iphigenia at Aulis; Euripides; Greek tragedy; manuscripts </span></p></div></div></div><p><span><br /></span></p></div></div></div>
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Kovacs, David. "Toward a reconstruction ofIphigenia Aulidensis." Journal of Hellenic Studies 123 (November 2003): 77–103. http://dx.doi.org/10.2307/3246261.
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AbstractIphigenia Aulidensiswas produced after the poet's death, probably in 405 BC. The aim of this paper is to recover the text of this production, which I call FP for First Performance. Probably Euripides left behind an incomplete draft, which was finished by Euripides Minor, the poet's son or nephew. The text we have contains, as Page showed in 1934, material added for a fourth-century revival and other still later interpolations. Diggle's edition tries to separate original Euripides from all later hands on the basis of style. But if we want to recover the amalgam that was FP we need to be attentive to the plot that is implied by the most clearly genuine portions: we can't confine ourselves to what appears to be Euripidean since more than one hand contributed to FP.A discovery about the plot gives us some objective basis for reconstructing FP. Our transmitted text contains two different conceptions of Calchas' prophecy, only one of which belonged to FP. Several passages scattered throughout the play imply that it was public, made to the entire army, but other passages say that it was private, restricted to Agamemnon's inner circle, with the army left in the dark. The secret prophecy motif, I argue, is the work of a fourth-century producer, whom I call the Reviser. Its purpose was to introduce into the play scenes where Greek soldiers, ignorant of the real reason for Iphigenia's coming to Aulis, might make naive comments or ask questions that are highly ironic in view of the actual situation, this being an emotional effect he found congenial. We find two such passages in places that are under grave suspicion: the entrance of Clytaemestra, where there is a chorus of Argives who felicitate Iphigenia on her wonderful prospects, and the first messenger, who reports naive questions from the soldiery. Both these passages have linguistic and dramaturgical features that make it virtually certain that neither Euripides nor Euripides Minor wrote them. Working from these we can detect the Reviser's hand at other places in the play and reconstruct its original lineaments. One satisfying result is that the business of baby Orestes, played by a doll, can be shown to be the work of the Reviser. The play ended with Iphigenia's departure for the altar, and there was no substitution of a stag. Like Menoeceus, Macaria and their kin, Iphigenia pays for the victory of her country with her blood, and there is no happy ending.
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Lawrence, S. E. "Iphigenia at Aulis: Characterization and Psychology in Euripides." Ramus 17, no. 2 (1988): 91–109. http://dx.doi.org/10.1017/s0048671x00003118.
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Perhaps the most intriguing feature of Euripides'Iphigenia at Aulisis the tendency of the characters to alter their attitudes towards the human sacrifice. Menelaus and Iphigenia (and even Achilles, it would appear) each undergo a single but remarkable change of mind, while Agamemnon displays so much confusion and uncertainty in adjusting his attitudes that it is not perfectly clear just how many times he actually changes his mind. These about-faces are not merely responses to changing circumstances or fresh information; rather they dramatize in an unusually arresting fashion a characteristically Euripidean psychology that emphasizes those forces or tendencies, both inside and outside the mind, that work to disrupt or even preclude the moral, intellectual or psychological integration of the character.Now although this psychology typifies Euripidean drama in general in varying degrees, it would appear to take a more extreme form in theI.A.than in much earlier plays such asMedeaorHippolytus. We shall find it of some interest then, after examining closely the characterization and psychology of this late play, to hazard a number of necessarily brief comparisons with some earlier plays and also with Sophoclean drama.
Dissertations / Theses on the topic "Euripides Iphigenia in Aulide"
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Weffort, Luis Fernando. "Poesia, retórica e educação na Ifigênia em Áulis de Eurípides." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-13062008-150901/.
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Trata-se de pesquisa teórica, de cunho filosófico-educacional, sobre o modo como Eurípides retrata, discute e problematiza, em sua obra, o debate intelectual e político que marcou a vida cultural de Atenas na segunda metade do século V a.C., assim como os seus desdobramentos no campo moral e educacional. Em virtude da dificuldade de tomarmos, neste estudo, como objeto de análise o conjunto da obra conservada de Eurípides, damos destaque à peça Ifigênia em Áulis. Além de abordar explicitamente o tema da educação, essa obra consta entre as últimas composições do poeta, o que nos permite analisar o amadurecimento de suas reflexões poético-filosóficas. A tragédia, embora com características bastante peculiares, insere-se na Grécia como herdeira da tradição poética grega - a épica e a lírica - e da sua missão educadora. Em face das grandes transformações de caráter político, social e cultural ocorridas na Grécia com o desenvolvimento e a consolidação do modelo de pólis democrática - que tem o seu apogeu no século V a.C., um novo perfil de homem, com características bastante diferentes daquelas projetadas em torno da nobreza aristocrática palaciana, vai ser exigido. Reconfigurando as estruturas do mito e valendo-se dos meios expressivos do teatro, a tragédia vai exercer em Atenas, que se tornara, então, o principal pólo cultural, político e econômico da Grécia, o seu ofício poético-pedagógico de direcionar o olhar dos homens para as questões essenciais da vida na pólis. A posição tradicional da arte dramática parece não satisfazer Eurípides. É certo que não lhe faltava a consciência de sua missão pedagógica. Não a exercia, porém, no mesmo sentido de seus antecessores, mas sim mediante a participação apaixonada nos problemas da política e da vida espiritual de seu tempo. A crítica euripidiana, cuja força purificadora reside na negação do convencional e na revelação do problemático, nos faz olhar para as contradições e as idiossincrasias de uma educação em tempos de crise. Na Ifigênia em Áulis, que ora examinamos, Eurípides põe em questão o próprio paradigma heróico, base da educação tradicional aristocrática, suscitando uma reavaliação do conceito de herói e de seu significado na formação do homem grego. Por outro lado, sempre sob o peso artístico de uma erística ousada e vigorosa, a dinâmica dialética desse drama, complexa e tão bem articulada, ilumina a questão dos limites da ação educativa e de seus fundamentos. E o imponderável, que paira sobre a existência do homem, é lembrado, como o grande obstáculo à elaboração de um modelo definitivo e seguro de educação.This theoretical research, of philosophic-educational nature, aims to analyze the way as Euripides represents, discusses and brings into question, through his work, the intellectual and political debate which marked the cultural life of Athens in the second half of the 5th Century b. C., as well as its effects in the moral and educational field. Due to difficulty of analyzing, in this study, the whole preserved work of Euripides, we emphasize the play Iphigenia in Aulis. This play approaches the subject of the education and is one of the last compositions of the poet, which allows us to analyze the philosophical-poetic maturing of his reflections. The tragedy, although with a sufficient amount of peculiar characteristics, is inserted in Greece as an heiress of the poetical Greek tradition - the epic and the lyrical ones - and its educational mission. Due to great political, social and cultural transformations that occurred in Greece with the development and the consolidation of the model of pólis democratic - that has its highest point in the 5th century b. C. -, a new profile of man, with sufficiently different characteristics of those projected ones around the aristocratic nobility, would be demanded. Reconfiguring the structures of the myth and using the expressive means of the theater, the tragedy would play in Athens, that became, then, the main cultural, political and economical pole of Greece, its poetical-pedagogical role to conduct the attention of the men to the essential questions of the life in the pólis. The traditional position of the dramatic art seems not to satisfy Euripides. It is certain that he did not lack the conscience of a pedagogical mission. He did not practice it, however, in the direction of his predecessors, but by means of the passionate participation in the problems of the politics and the spiritual life. The euripidian criticism, whose purifying force inhabits in the negation of the conventional and in the revelation of the problematic, makes us look at the contradictions and the idiosyncrasies of an education in times of crisis. In the Iphigenia in Aulis, Euripides questions the heroic paradigm, base of the traditional aristocratic education, causing a revaluation of the concept of hero and of his meaning in the formation of the Greek man. However, under the artistic weight of a daring and vigorous eristic, the dialectical dynamic of this drama, complex and articulated, always illuminates the question of the limits of the educative action and of his bases. And the imponderable, which hovers over the existence of the man, is remembered, like the great obstacle to the preparation of a definite and secure model of education.
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Kovacs, George Adam. "Iphigenia at Aulis: Myth, Performance, and Reception." Thesis, 2010. http://hdl.handle.net/1807/32938.
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When Euripides wrote his final play, Iphigenia at Aulis, depicting the human sacrifice of Agamemnon’s first child that allowed the sailing of the Greek expedition against Troy, he was faced with several significant mythographic choices. Of primary concern was the outcome of the sacrifice: there existed a strong tradition in early sources that mitigated the sacrifice by affecting a divine rescue by Artemis, usually with a deer being left in her place on the altar. The extremely troubled textual history of our script – the play was first performed posthumously, and we do not know in what state Euripides left the text – means that we cannot be certain which tradition Euripides actually chose to follow, sacrifice or rescue. Depicting Iphigenia as a willing victim, however, must have been Euripides’ own innovation.
This dissertation explores the ramifications of that self-sacrifice and contextualizes this play within a tradition of mythographic evolution and reception. Chapter 1 surveys the history of criticism of the text, itself a mode of reception, and also examines trends in Euripidean criticism in the modern period, limited until recently by the textual issues. Chapter 2 considers instances of the Iphigenia legend before Euripides’ play. The parodos of Agamemnon, the first source to express the sacrifice in terms of human suffering, receives special attention. Chapter 3 seeks to understand audience reception at the moment of first performance through three different critical lenses: thematic (self-sacrifice was a recurring motif in Euripides’ work), socio-political (by considering the recurring Panhellenic sentiment deployed in the play’s rhetoric), and dramaturgical (by treating the spatial dynamics of the performance as a point of intertextual contact). Chapters 4 and 5 examine reception of the sacrifice story in antiquity (in the Hellenistic and Roman periods), a process which reveals much about the position of Greek tragedy in the popular imagination following the fifth century. The final chapter brings to bear considerations of adaptations of the play into new genres and new media since the advent of the printing press, all of which open up new possibilities for the creators of these adaptations and the story they wish to tell.
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Alexander-Lillicrap, Jessica. "Two escape tragedies in translation and performance: Euripides' Iphigenia among the Taurians and Helen." Thesis, 2022. http://hdl.handle.net/1959.13/1451302.
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Research Doctorate - Doctor of Philosophy (PhD)The aim of this study is to approach Euripides’ Iphigenia among the Taurians and Helen as theatre, and so to produce new, accurate and actable translations of these closely related plays. In composing these translations, this thesis also examines the process of physical staging, and how that may influence decisions in translating, drawing on the experience and interpretation of the plays and translation from the perspectives of the director, the actors and the audience. Both plays are unusual in structure and theme; the fantasy element, especially the phantom Helen, continues to be influential in fantasy literature, science and speculative fiction. The themes of innocence, sacrifice, family and cycles of violence remain relevant, which makes it a shame to see so few productions of these plays. Therefore, a new actable translation, which is created with a view to production, is significant to the cultural landscape. Iphigenia among the Taurians, dated circa 414 BCE, takes place after the end of the Trojan War. Iphigenia, the daughter of Agamemnon, who had previously been sacrificed by her father, was saved at the last moment by Artemis and taken to the land of the Taurians to serve in her temple. Iphigenia is reunited with her brother when he is brought to her as a sacrifice in the temple in which she serves as a priestess. Orestes and his friend Pylades plan with Iphigenia to escape their predicament and travel home to Greece. Helen, dated 412 BCE, is set at a similar time, but even more drastically, Helen never travelled to Troy but has been waiting faithfully for her husband in Egypt, while an Eidolon imitates her in Troy. Helen has been rebuffing the advances of Theoklymenos by sleeping beside the tomb of his father, while Theoklymenos murders any Greeks who arrive in his land to avoid Helen escaping with her reputation intact. When Menelaos is shipwrecked in Egypt, he and Helen are reunited and plan an escape home to Greece. Both plays are an unexpected, though not unprecedented, version of Iphigenia’s and Helen’s traditional stories. In fact, the many similarities in structure, language and themes lead to some discussion of the dating of each play (see below). Iphigenia and Helen are both Greeks who have been transported to a foreign land and whose reputation and morality are called into question as a result. Euripides emphasises ‘foreign’ behaviours, chance and fate within the text of the plays. While both plays end with a successful escape, the tension that forms throughout the plays’ events is still as strong as any tragedy with a sad ending. This work is original because there is currently no published work that brings together both a translation and a discussion of staging, each based on practical research, of Iphigenia among the Taurians and Helen. Following the process through all the collaborative elements of a play offers a unique perspective on the works. Further, the commentaries discuss both the translation and the staging process. In connecting staging decisions to the translation this work aims to encourage more discussion between theatre practice and study of ancient texts, and more performances of these particular works.
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Catenaccio, Claire. "Monody and Dramatic Form in Late Euripides." Thesis, 2017. https://doi.org/10.7916/D8G44X64.
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This study sets out to reveal the groundbreaking use of monody in the late plays of Euripides: in his hands, it is shaped into a potent and flexible instrument for representing emotion and establishing new narrative and thematic structures. Engaging with the current scholarly debate on music, affect, and characterization in Greek tragedy, I examine the role that monody plays in the musical design of four plays of Euripides, all produced in the last decade of his career: Ion, Iphigenia in Tauris, Phoenician Women, and Orestes. These plays are marked by the increased presence of actors’ song in proportion to choral song. The lyric voice of the individual takes on an unprecedented prominence with far-reaching implications for the structure and impact of each play. The monodies of Euripides are a true dramatic innovation: in addition to creating an effect of heightened emotion, monody is used to develop character and shape plot.
In Ion, Iphigenia in Tauris, Phoenician Women, and Orestes, Euripides uncouples monody’s traditional and exclusive connection with lament. In contrast to the work of Aeschylus and Sophocles, where actors’ song is always connected with grief and pain, in these four plays monody conveys varied moods and states of mind. Monody expresses joy, hope, anxiety, bewilderment, accusation, and deliberation. Often, and simultaneously, it moves forward narrative exposition. The scope and dramatic function of monody grows and changes: passages of actors’ lyric become longer, more metrically complex, more detached from the other characters onstage, and more intensely focused on the internal experience of the singer. In the four plays under discussion we see a steadily increasing refinement and expansion of the form, a development that rests upon the changes in the style and function of contemporary music in the late fifth century.
By 415 B.C., many formal features of tragedy had become highly conventionalized, and determined a set of expectations in the contemporary audience. Reacting against this tradition, Euripides successively redefines monody: each song takes over a traditional Bauform of tragedy, and builds upon it. The playwright uses the paired monodies of Ion to pose a conflict of ideas that might otherwise be conveyed through an agon. In Iphigenia in Tauris the heroine’s crisis and its resolution are presented in lyrics, rather than as a deliberative rhesis. In Phoenician Women, Antigone, Jocasta, and Oedipus replace the Chorus in lamenting the fall of the royal house. Finally, the Phrygian slave in Orestes sings a monody explicitly marked as a messenger speech that inverts the conventions of the form to raise questions about objectivity and truth in a disordered world.
In examining these four plays, I hope to show some of the various potentials of this new Euripidean music as a major structural element in tragic drama, insofar as it can heighten emphasis, allow for the development of emotional states both subtle and extreme, reveal and deepen character, and mirror thematic movements. Euripides establishes monody as a dramatic form of considerable versatility and power. The poetry is charged with increased affect and expressivity; at the same time it articulates a new self-consciousness about the reciprocal capacities of form and content to shape one another. Here we may discern the shift of sensibility in Euripides’ late work, which proceeds pari passu with an apparent loosening of structural demands, or what one with equal justice might recognize as an increase in degrees of freedom. As the playwright repeatedly reconfigures the relationship between form and content, the range of what can happen onstage, of what can be said and sung, expands.
Books on the topic "Euripides Iphigenia in Aulide"
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Douglas, Richardson Scott, and Euripides, eds. Euripides' Iphigenia at Aulis. Lanham: University Press of America, 1988.
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Andò, Valeria. Euripide, Ifigenia in Aulide. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-513-1.
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This volume contains the first Italian critical edition with introduction, translation and commentary of Euripides’ Iphigenia in Aulis. The tragedy, exhibited posthumously in 405 BCE, stages the first mythical segment of the Trojan War, namely the sacrifice of Iphigenia, daughter of king Agamemnon, head of the Greek army, in order to propitiate the winds that should lead the navy to Troy. A tragedy of intrigue and unveiling, in which all the characters try to oppose the sacrifice, judged to be an impiety despite its sacred essence. It is therefore a tragedy without gods, in which characters of modest moral stature move, unstable, ready to sudden changes of mind, and among whom the protagonist stands out: the girl who, having overcome the dismay for the destiny awaiting her, voluntarily moves towards death on the altar, for a flimsy patriotic ideal and with the illusion of achieving immortal glory. Since the end of the eighteenth century, the text of this tragedy, handed over to us by the manuscript tradition, has been exposed more than others to a rigorous philological criticism that has broken its unity, through considerable expunctions of entire sections and sequences of verses. The volume traces the phases of this critical work, showing its methods – and sometimes its excesses – and choosing a balance line in the constitution of the text. The overall exegesis of the tragedy, which I propose in this study, consists in the belief that, despite the exodus being spurious, the finale, in view of which the entire dramaturgy was composed, still had to contemplate Iphigenia’s salvation. In fact, if the Panhellenic ideal of defence against the barbarians is now meaningless, and if a war of destruction, to begin with, needs the death of an innocent person, then this death must be transcended and the horror of human sacrifice must dissolve. It therefore seems that, once political current events become opaque, the poet’s research tends to create situations of great patheticism in an aesthetic setting of refined beauty.
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Euripides. Tragedie di Euripide: Hecuba ; Iphigenia in Aulide. Torino: Res, 2000.
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Euripides. Tragedie di Euripide: Hecuba ; Iphigenia in Aulide. Torino: Res, 2000.
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Euripides, ed. Euripides, Iphigenie in Aulis. Wien: Verlag der Österreichischen Akademie der Wissenschaften, 1992.
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Criscuolo, Ugo. L' ultimo Euripide: L'Ifigenia in Aulide. Napoli: Loffredo editore, 1989.
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Euripides. Euripides: Iphigenia among the Taurians, Bacchae, Iphigenia at Aulis, Rhesus. Oxford: Oxford University Press, 1999.
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Teevan, Colin. Iph--: After Euripides' Iphigeneia in Aulis. London: Nick Hern Books in association with Lyric Theatre, Belfast, 1999.
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Teevan, Colin. Iph--: After Euripides' Iphigeneia in Aulis. London: Nick Hern Books in association with Lyric Theatre, Belfast, 1999.
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Tragic aporia: A study of Euripides' Iphigenia at Aulis. Berwick, Vic: Aureal Publications, 1988.
Find full textBook chapters on the topic "Euripides Iphigenia in Aulide"
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Torrance, Isabelle. "Iphigenia at Aulis." In A Companion to Euripides, 284–97. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119257530.ch20.
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