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O presente artigo propõe uma análise de dois textos clássicos da Antiguidade grega,As Bacantesde Eurípedes e a República de Platão, à luz da teoria contemporânea degender performativityde Judith Butler. O conceito degender performativityserá apropriado para ilustrar analogamente, mesmo que de forma anacrônica, o quanto que o imaginário grego, apesar de temporalmente distante, pode nos apresentar – seja a partir do discurso filosófico, seja a partir do discurso literário da tragédia grega – bons exemplos para uma das teorias mais sofisticadas, diríamos, no campo dos estudos de gênero hoje. A proposta é a de mostrar de que modo o conteúdo desses dois textos nos permite compreender o debate contemporâneo da teoria crítica das identidades de gênero. Trata-se de identidades fixadas em atos performativos que conformam o gênero ao sexo anatômico, limitando-o a duas possibilidades: masculino ou feminino. Considerando o contexto histórico e as questões que são próprias do mundo grego antigo, a análise aqui proposta nos permitirá jogar luz, especialmente, nas estratégias que Platão e Eurípedes empreenderam no sentido de deslocar as normas de gênero constituídas napólis. O exame dos textos permitiu-nos identificar que na antiguidade, mas também na contemporaneidade, mesmo que de forma diferente, as discussões das relações de gênero estão ajustadas, principalmente, pelo discurso político a respeito dessas relações. ; The current article draws on Judith Butler's gender performativity theory to analyse two classical text of Greek Antiquity – theBacchaeby Euripides and TheRepublicby Plato. The concept of gender performativity will be used to illustrate analogously even anachronically, how much the Greek imaginary, in spite of being temporally distant, can fruitfully contribute to, what we would identify as one of the most sophisticated contemporary theories in contemporary gender studies, both as this imaginary emerges from the literary discourse of the tragedy or the discourse of philosophy. This will allow us to show how the two above mentioned texts can contribute to the contemporary debate on the critical theory of gender identity, as these are fixed in performative acts that make gender conform to anatomic sex, limiting gender to the two possibilities of masculine or feminine. Considering the historical context and the question that are specific to the world of Ancient Greece, our analysis will permit us to cast light, in particular, on the strategies that Plato and Euripides drew on to disrupt the gender norms of the polis. Examining the texts allows us to argue that in antiquity, as well as in the contemporary world, albeit in different ways, discussions of gender relations are fitted primarily by the political discourse regarding these relations.

This article examines the scholarly preoccupation with the hypothesis that Nietzsche was gay by offering a reading of Nietzsche's texts as autobiographical that puts them in conversation with Euripides's drama The Bacchae. Drawing a number of parallels between Nietzsche, self-avowed disciple of Dionysus, and Pentheus, the main character of The Bacchae and demonstrated antidisciple of Dionysus, I argue that both men experience their sexual attraction to women as somehow intolerable, and they negotiate this discomfort—which is simultaneously an unjustified paranoia and fear of the feminine—through the appropriation of feminine capacities and qualities for themselves. This appropriation ultimately expresses these men's fear of the erosion of male power and the coherence of distinct gender categories that I call a "queer fear of the feminine." However, this is neither a sign of incipient homosexuality nor a feminist move; rather, it is good old-fashioned patriarchy dressed up in drag. I conclude by offering a symptomatic reading of the popularity of the thesis that Nietzsche was gay, arguing that this reflects our own twenty-first-century tendency to read gender deviance as only ever a sign of sexual "orientation," which is always already presumed to be homosexuality.

It is often suggested that the Greek tragedians present clinically credible pictures of mental disturbance. For instance, some modern interpreters have compared the process by which Cadmus brings Agave back to sanity in Euripides' Bacchae with modern psychotherapy. But a reading of medical writers' views on the psychological dimension of medicine offers little evidence for believing that these scenes reflect the practices of late fifth-century Athenian doctors, for whom verbal cures are associated with older traditions of non-rational thought, and thus are scorned in favor of more "scientific cures" based on diet or medication. This paper will argue that Athenian tragedians, working from older traditions that advocated verbal cures for some mental ailments, do understand the potential psychological effects that their work can have on audiences, since tragedy requires psychological interaction with its audience in order to be effective. From a close reading of select scenes in Euripidean tragedy, this paper suggests that the experiences of the characters who experience suffering in Euripides' Heracles and Bacchae are analogues of the experiences undergone by the spectators of tragedy at large. Parallels are made between the way that Agave and Heracles are both talked back to sanity by looking upon what has happened, and the way that tragedians make their audiences observe lamentations and meditations that follow the central tragic act, to help them return from the intense emotion provoked, perhaps, by the violence they have seen.

"Considering Butler's "tragic trilogy"-a set of interventions on Sophocles' Antigone, Euripides' Bacchae, and Aeschylus's Eumenides-this book seeks to understand not just how Butler uses and interprets Greek tragedy, but also how tragedy shapes Butler's thinking, even when their gaze is directed elsewhere. Through close readings of these tragedies, this book brings to light the tragic quality of Butler's writing. It shows how Butler's mode of reading tragedy-and, crucially, reading tragically-offers a distinctive ethico-political response to the harrowing dilemmas of our current moment"--

One of the works that close the golden age of the Attic tragedy, Euripides' Bacchae, has been studied by scholars interested in showing how tragic theatre derives from religious ritual. Among others, Cambridge Ritualists and Karl Kerényi saw in the sacrifice of Pentheus/Dionysus the mise-en-scène of the primary homicide that founds both the ritual sacrifice and the order of tragic representation. The true subject of Euripides' tragedy is nevertheless violence, whose religious legitimitation comes before the political system. The sense of the "Theban anomaly" – that can later be seen in the events involving the Labdacides and Oedipus – lies in this legitimation of the violence that founds the political system. In the mortal combat between Pentheus, the regent, and Dionysus, the demigod whose birth is directly related to the vicissitudes of the family that reigns in Thebes, the conflict between religion and politics comes to light. That conflict recalls the myth of the foundation of the town. Thebes is founded by Cadmus, who, after killing the dragon, sows his teeth. From these rise the Spartoi, violent warriors that, immediately after coming to life, kill each other. As witnessed by Pentheus and Oedipus, the violence of the origins extends to the following events of the town. From this point of view the Bacchae can be of great importance to understand the connection between religion, violence and politics. This connection doesn't escape Nietzsche's notice. In aphorism 472 (Religion and government) of Human, All-Too-Human, a small but meaningful hint to the background of Euripides's tragedy can be found. ; One of the works that close the golden age of the Attic tragedy, Euripides' Bacchae, has been studied by scholars interested in showing how tragic theatre derives from religious ritual. Among others, Cambridge Ritualists and Karl Kerényi saw in the sacrifice of Pentheus/Dionysus the mise-en-scène of the primary homicide that founds both the ritual sacrifice and the order of tragic representation. The true subject of Euripides' tragedy is nevertheless violence, whose religious legitimitation comes before the political system. The sense of the "Theban anomaly" – that can later be seen in the events involving the Labdacides and Oedipus – lies in this legitimation of the violence that founds the political system. In the mortal combat between Pentheus, the regent, and Dionysus, the demigod whose birth is directly related to the vicissitudes of the family that reigns in Thebes, the conflict between religion and politics comes to light. That conflict recalls the myth of the foundation of the town. Thebes is founded by Cadmus, who, after killing the dragon, sows his teeth. From these rise the Spartoi, violent warriors that, immediately after coming to life, kill each other. As witnessed by Pentheus and Oedipus, the violence of the origins extends to the following events of the town. From this point of view the Bacchae can be of great importance to understand the connection between religion, violence and politics. This connection doesn't escape Nietzsche's notice. In aphorism 472 (Religion and government) of Human, All-Too-Human, a small but meaningful hint to the background of Euripides's tragedy can be found.

Intro -- ‎Contents -- ‎Figures -- ‎Introduction (Dirven, Icks and Remijsen) -- ‎Complete List of Publications by Emily A. Hemelrijk -- ‎Chapter 1. Warrior Queens of the Hellenistic World (Strootman) -- ‎Chapter 2. Empresses Taking Charge (Icks) -- ‎Chapter 3. Zenobia versus Mawia (Dirven) -- ‎Chapter 4. Image and Reality (Slootjes) -- ‎Chapter 5. Priestesses in the Sacred Space of the Acropolis (Blok and van Rookhuijzen) -- ‎Chapter 6. Bringing Women into the Agonistic Sphere (van Nijf) -- ‎Chapter 7. Women on Time (Remijsen) -- ‎Chapter 8. Ut sacrificantes vel insanientes Bacchae (Salerno) -- ‎Chapter 9. Discourses of a Changing Society (Foubert) -- ‎Chapter 10. Present in Public Lettering (Roels) -- ‎Chapter 11. Publicly Luxurious (Hamelink) -- ‎Chapter 12. Beautiful Names and Impeccable Dress (Klaver) -- ‎Chapter 13. Female Patronage in Late Antiquity (Whiting) -- ‎Index.

Goddesses on the move -- To move or not to move: the mobility of virgin goddesses -- Beginning from Hestia -- Athena's ride -- Artemis the huntress -- The mobility of Olympian wives and mothers -- Aphrodite's epic love affairs and her mobility -- The mobility of Demeter and other females in the Homeric hymn to Demeter -- Hera's mobility and her choice to remain immobile -- Heroines on the move -- Away from the paternal hearth: mobile heroines in Greek tragedy -- Mobile heroines in Greek tragedy -- Io in Prometheus bound: mobility and centrifugality -- The Danaids and Io in the geography of Suppliants -- Female mobility between myth and ritual -- Maenads at the mountain: the mobility of maenads and configurations of space in Euripides' Bacchae -- The space of the hunt in huntress myths and the Arkteia at Brauron -- From female mobility to gendered spaces: the limits of mythic imagination -- The limits of mythic imagination and of female mobility in myth -- "Glass walls" as the limits of female mobility

Cover -- Halftitle page -- Series page -- Title page -- Copyright page -- Contents -- Illustrations -- Acknowledgments -- Introduction Breaking Apart: Greek Tragedy, Judith Butler, and Critique -- Breathing, Laughing, Politics -- The Unbearable and the Unlivable -- Butlerian Tragedy and the Writing of Critique -- 1 Infinite Heterology: Antigone -- Butler and "Antigone" Mendieta -- Antigone's and Freud's Auto-bio-thanatography -- The Underworld, Blackness, and Antigonean Self Abolition -- Morrison's (and Butler's) Autigone -- 2 Trans-parentality, Abortion, Social Ecology: Bacchae -- Reactionary Paranoia -- Trans-parental Troubles -- Somatechnics and Trans-deindividuation -- Enjambment and Watery Trans-corporeality -- Uncanny Births -- Gestational Melancholy and "Dismemberment Abortion" -- Furry Fugitivity -- 3 The Justice of Rage: Eumenides -- The Erinyes, Iphigenia, and the Force of Nonviolence -- Law and Violence -- Butler's Aeschylus with Kafka, Benjamin, and Diop -- The Furies and Niobe -- Buccal Exscriptions -- Countermonumental Dikê -- Aeschylus and Audre Lorde -- Fury Blackness Breath -- Incandescent Abolition -- Afterword Regarding Vengeance, Vulnerability, Grievability, and a Future for Israel-Palestine -- Law and Vengeance -- Vulnerability -- Grief and Grievability -- Vengeance-or Democracy? -- Notes -- Bibliography -- Index.

Cover -- Title Page -- Copyright -- Dedication -- Contents -- Preface -- Introduction: The Bacchae's Arc of Refusal and the Tragedy of the City -- Chapter 1. Inoperativity and the Power of Assembly: Agamben with Butler -- Chapter 2. Inclination and the Work of Dis/orientation: Cavarero with Ahmed -- Chapter 3. Fabulation and the Right to the City: Hartman with Arendt -- Conclusion: Sister Is an Anagram for Resist -- Appendix -- Inoperativity in Chaplin's Modern Times -- Inclination in Erin Courtney's A Map of Virtue -- Fabulation in Astra Taylor's What Is Democracy? -- Muhammad Ali's Repertoire of Refusal -- Notes -- Acknowledgments -- Index.

Ritual Irony is a critical study of four problematic later plays of Euripides: the Iphigenia in Aulis, the Phoenissae, the Heracles, and the Bacchae. Examining Euripides' representation of sacrificial ritual against the background of late fifth-century Athens, Helene P. Foley shows that each of these plays confronts directly the difficulty of making an archaic poetic tradition relevant to a democratic society. She explores the important mediating role played by choral poetry and ritual in the plays, asserting that Euripides' sacrificial metaphors and ritual performances link an anachronistic mythic ideal with a world dominated by "chance" or an incomprehensible divinity. Foley utilizes the ideas and methodology of contemporary literary theory and symbolic anthropology, addressing issues central to the emerging dialogue between the two fields. Her conclusions have important implications for the study of Greek tragedy as a whole and for our understanding of Euripides' tragic irony, his conception of religion, and the role of his choral odes. Assuming no specialized knowledge, Ritual Irony is aimed at all readers of Euripidean tragedy. It will prove particularly valuable to students and scholars of classics, comparative literature, and symbolic anthropology.

In this essay we reflect on the political significance of the human body in classical tragedy not only as a literary genre, but also as a kind of theatre which has enjoyed in modern times an extensive theatrical reception of live performances. In the first part, a clarification of the status of the tragic body in ancient tragedy is put forward, getting the perspective of the satyr drama as the closing element in the tetralogy, by means of which ancient playwrighters competed in theatrical contests in honor of Dionysos. In the second and third parts. two brief case studies of the modern receptions of two classical tragedies (Euripides' Bacchae and Shakespeare's Coriolanus) are offered in order to develop some ideas put forward in the first part. ; En este ensayo indagamos la significación política del cuerpo humano tal como es presentada en la tragedia antigua, no sólo como género literario sino como hecho teatral que sigue gozando de una amplia recepción en la escena actual. En la primera parte tomamos la perspectiva del elemento que cerraba las tetralogías trágicas de época clásica, el drama de sátiros. Esta perspectiva nos aporta una doble visión del cuerpo sufriente en virtud de la diferencia política entre cuerpos libres y cuerpos esclavos. En las partes segunda y tercera se estudian desde esta perspectiva dos casos de tragedias clásicas que han gozado de una recepción escénica de cierto interés en la modernidad, Bacantes de Eurípides y La Tragedia de Coriolano de Shakespeare.

Intro -- Half Title -- Series Page -- Title Page -- Copyright Page -- Dedication -- Contents -- Figures -- Contributors -- Abbreviations -- Introduction -- Notes -- Part I: Dionysus and the polis -- 1. Dionysos, the polis and power -- Dionysos Gigantomachos in the archaic and classical periods -- Dionysos Gigantomachos in Pergamon -- Notes -- Bibliography -- 2. The politics of Euripides' Bacchae and the preconception of irresolvable contradiction -- Notes -- Bibliography -- 3. On the necessity of Dionysus: the return of Hephaestus as a tale of the god that alone can solve unresolvable conflicts and restore an inconsistent whole -- Conflict between Hera and Hephaestus -- 'Made him drunk with wine' -- The wisdom of Dionysus and the tragedy of the world -- The possibility of new bonds -- Notes -- Bibliography -- 4. Alexander and Dionysus -- The Macedonian background: Dionysus before Alexander -- Nysa: Alexander finds Dionysus in India -- Alexander's use of Dionysus -- After Alexander -- The anger of Dionysus -- Notes -- Bibliography -- Part II: Dionysus in Rome -- 5. Dionysos against Rome? The Bacchanalian affair: a matter of power(s) -- The affair: a politico-religious question. Prodromes and the structure of a tale -- The Bacchanalian affair: an exceptional piece in Livy's work -- The Roman youth between family, city and Bacchanal -- The SC, a test of historic faithfulness -- Two objections -- After the Bacchanals -- Notes -- Bibliography -- 6. Augustus and the Neoi Dionysoi -- Introduction -- Context -- Dionysian panegyric -- Fertility -- Conclusion -- Notes -- Bibliography -- 7. The state as crater: Dionysus and politics in Plutarch's Lives of Crassus, Antony and Caesar -- Dionysiac balance -- Three types of statesmanship -- Crassus: nothing but water -- Antony: nothing but wine -- Caesar: wine mixed with water -- Conclusion -- Notes.

With The Birth of the Tragedy (1872), Dionysus has burst onto the philosophical scene, and on the political one too. Since that time, he was almost always presented as the god of vital energy, who is able to approach all the opposites; Dionysian is seen as a force that dissolves the boundaries, and that continuously generates new hybrids. In all these versions, Dionysus is hailed as a liberator. On the contrary, this article intends to indicate the aporias of the Dionysian, in particular the chains – not easily visible – that imprison this concept. Euripides has been the first who revealed these limits. In The Bacchae, the power of the formless prevents the rise of complex identities. Each character is dragged to the lack of distinctions. The principle of metamorphosis seems to work according to a too fluid process. Therefore, we should rediscover the role of the Apollonian, even in Nietzsche's work; and, above all, we should reconsider the necessity of the alliance between the two aesthetic deities. Only in the reciprocal link each of them becomes a crossing force. ; 1 ; Con la Nascita della tragedia di Nietzsche (1872), Dioniso ha fatto irruzione sulla scena filosofica e anche su quella politica. Da allora, è stato quasi sempre presentato come il dio dell'energia vitale, in grado di accedere a tutti gli opposti; il dionisiaco sarebbe una forza che dissolve i confini, e genera continuamente nuove ibridazioni. In tutte queste versioni, Dioniso viene esaltato come un liberatore. Quest'articolo si propone invece di indicare le aporie del dionisiaco, cioè le catene – non facilmente visibili – che lo imprigionano. Il primo a rivelarle è stato Euripide. Nelle Baccanti, la potenza dell'informe impedisce il sorgere di identità complesse. Ogni personaggio viene trascinato verso l'indistinzione. Il principio di metamorfosi funziona in maniera troppo fluida. Bisogna perciò riscoprire il ruolo dell'apollineo, anche nell'opera di Nietzsche: e soprattutto la necessità dell'alleanza tra le due divinità estetiche. Soltanto nel ...

В статье рассмотрен культ Диониса глазами «очевидца» греческого трагика Еврипида, с целью показать репрезентативность культа в отдельно взятом авторском тексте и значимость мистериальных практик для коллектива граждан. В ходе анализа трагедии Еврипида «Вакханки» показано, что даже очевидцы событий рассматривали культ с разных позиций гармонии и хаоса, мистического и рационального, публичного и частного. Дихотомия культа символизировала и двойственность положения человека в рамках полисного коллектива, а также неоднозначность роли мужчин и женщин в античном социуме. Репрезентативность культа в трагедии, являющейся «зеркалом» политической и социальной жизни Древней Греции, свидетельствует о важности мистериальной практики для нормального функционирования полиса и гармоничного распределения общественных ролей в нем. Сделан вывод о том, что в культе Диониса древним грекам удалось совместить представление о безграничной свободе человека с представлениями о гражданской структуре полисной организации. The article deals with the cult of Dionysus "еyewitness" the Greek tragedian Euripides to show the representation of the cult in a separately taken text and the importance of the mystery practices for the community of citizens. The analysis of the tragedy of Euripides'' «The Bacchae» shows that even eyewitnesses saw the cult from different perspectives harmony and chaos, the mystical and the rational, public and private. The dichotomy of the cult symbolized the duality of position of the person within the polis collective and ambiguity roles of men and women in ancient society. The representativeness of the cult in the tragedy, which is the "mirror" of the political and social life of Ancient Greece, demonstrates the importance of mysterial practice for the normal functioning of the policy and the harmonious distribution of social roles in it. The conclusion is that the Greeks managed to combine in the cult of Dionysus the idea of the unlimited human freedom with the concepts of the civil structure of the city-state organization.

O presente artigo propõe uma análise de dois textos clássicos da Antiguidade grega, As Bacantes de Eurípedes e a República de Platão, à luz da teoria contemporânea de gender performativity de Judith Butler. O conceito de gender performativity será apropriado para ilustrar analogamente, mesmo que de forma anacrônica, o quanto que o imaginário grego, apesar de temporalmente distante, pode nos apresentar – seja a partir do discurso filosófico, seja a partir do discurso literário da tragédia grega – bons exemplos para uma das teorias mais sofisticadas, diríamos, no campo dos estudos de gênero hoje. A proposta é a de mostrar de que modo o conteúdo desses dois textos nos permite compreender o debate contemporâneo da teoria crítica das identidades de gênero. Trata-se de identidades fixadas em atos performativos que conformam o gênero ao sexo anatômico, limitando-o a duas possibilidades: masculino ou feminino. Considerando o contexto histórico e as questões que são próprias do mundo grego antigo, a análise aqui proposta nos permitirá jogar luz, especialmente, nas estratégias que Platão e Eurípedes empreenderam no sentido de deslocar as normas de gênero constituídas na pólis. O exame dos textos permitiu-nos identificar que na antiguidade, mas também na contemporaneidade, mesmo que de forma diferente, as discussões das relações de gênero estão ajustadas, principalmente, pelo discurso político a respeito dessas relações. ; The current article draws on Judith Butler's gender performativity theory to analyse two classical text of Greek Antiquity – the Bacchae by Euripides and The Republic by Plato. The concept of gender performativity will be used to illustrate analogously even anachronically, how much the Greek imaginary, in spite of being temporally distant, can fruitfully contribute to, what we would identify as one of the most sophisticated contemporary theories in contemporary gender studies, both as this imaginary emerges from the literary discourse of the tragedy or the discourse of philosophy. This will allow us to show how the two above mentioned texts can contribute to the contemporary debate on the critical theory of gender identity, as these are fixed in performative acts that make gender conform to anatomic sex, limiting gender to the two possibilities of masculine or feminine. Considering the historical context and the question that are specific to the world of Ancient Greece, our analysis will permit us to cast light, in particular, on the strategies that Plato and Euripides drew on to disrupt the gender norms of the polis. Examining the texts allows us to argue that in antiquity, as well as in the contemporary world, albeit in different ways, discussions of gender relations are fitted primarily by the political discourse regarding these relations.