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Abstract
The analysis of political language in Aeschylus' Suppliants confirms the hypothesis that the form of government here represented is strongly influenced by contemporary Athens: prehistoric Argos turns out to be a sort of mirror of democratic Athens. It is no coincidence that the sequence running from the entrance of Pelasgus at l. 234 to the Danaids' song of benediction (ll. 625-709) presents a dramatic pattern similar in several respects to that underlying in Eumenides 397-1002 (the scenes between the entrance of Athena and the Chorus' prayer of blessing). Pelasgus (likewise Athena in Eumenides) imparts a sort of lesson on 'democratic paideia' to the Danaids, in view of their integration as metoikoi in the institutional structures of the polis.

What can we do in the face of irreconcilable conflict, when two opposing parties (be they individuals, groups, nations) have disagreements in which there seems to be no common ground, no hope for resolution? Further still, what do we do when both sides of an argument appear to be rational? In this paper, I explore this kind of 'tragic' im-passe through the lens of Aeschylus' Eumenides. This play has been taken by some scholars to be the precursor of the Western legal system (establishing the jury trial and neutral, third-party judge). Others see it less optimistically, as a portrayal of a misogynistic abuse of power. I diverge from these lines of interpretation and suggest that the Eumenides offers a useful approach to disagreement, building on the idea that those bitter struggles that result in impasse can be resolved only through a deliberate reorientation of identity, guided by an engaged judge whose most important actions come after the trial.

Abstract
In this article, we explore the forms of justice presented in Aeschylus' Eumenides. Most scholarship hitherto has focused on the shift from retaliatory justice to trial by court of law enacted in the play. However, the verdict pronounced in Orestes' favor does not bring about resolution, but rather threatens to destabilize the polis, as the Furies redirect their anger against Athens. Indeed, the play can be seen as a study in the limitations of criminal justice. Our article examines the resolution of the conflict in the post-trial phase of the play in the light of principles and practices of modern restorative justice. Such comparison is not intended as arguing for correspondence. Rather, the aim is to understand more fully the dynamics of Athena's intervention by analyzing it against key elements of restorative justice.

This paper considers how Aeschylus dramatizes the memory of his Persian characters, and argues that the contradictory recollection of Marathon in Persae reflects an imperial ideology with which failure is incompatible: the dramatis personae frame Xerxes' defeat at Salamis as unprecedented even as they summon Darius as a semi-divine benefactor. With recourse to what historians and anthropologists term "social" or "collective" memory, the paper then considers how such a portrayal of Persian memory would have resonated with an Athenian audience in 472 engaged in democratic debate over the nature of the burgeoning Delian League.

How far is Aeschylus an archaic poet and to what extent is he an innovator? This is the subject I should like to discuss. To sum up, and in relation to former studies of mine, I would stress the fact that there are a series of archaisms in Aeschylus, either in content or form: a) Content: A recurrence of «divine» myths dealing with the gods. A recurrence of the theme of the death of the hero. The theme of punishment for the proud who violate religious taboos. Recurrence of the conflicts which affect the collectivity represented by the chorus, and that of solutions of transaction or equilibrium with a «happy ending». b) Form: The following are all indisputable archaisms: the absence, at times, of a prologue, and the presence of epirhematic agones with intervention of the chorus, as likewise of lyrical dialogues between the chorus and one or two actors. Then there is an element which, to my mind, is archaic with respect to subsequent tragic dramatists, but which is at heart the result of an innovation: the trilogy which enables the dramatist to develop conflicts which would otherwise be unrepresentable on account of the limited elements at the poet's disposal. I believe that the following may also be considered as innovations: the acceptance of the influence of the themes and philosophy of epic and lyric, the depth treatment of the theme of the hero and the development of the great political themes, all with epic undertones. Likewise, the complex, varied use of inherited structural units, at the service of the development of tragic themes, as I have attempted to explain elsewhere. ; No disponible.

In Reciprocity, Truth, and Gender in Pindar and Aeschylus, author Arum Park explores two notoriously difficult ancient Greek poets and seeks to articulate the complex relationship between them. Although Pindar and Aeschylus were contemporaries, previous scholarship has often treated them as representatives of contrasting worldviews. Park's comparative study offers the alternative perspective of understanding them as complements instead. By examining these poets together through the concepts of reciprocity, truth, and gender, this book establishes a relationship between Pindar and Aeschylus that challenges previous conceptions of their dissimilarity. The book accomplishes three aims: first, it shows that Pindar and Aeschylus frame their poetry using similar principles of reciprocity; second, it demonstrates that each poet depicts truth in a way that is specific to those reciprocity principles; and finally, it illustrates how their depictions of gender are shaped by this intertwining of truth and reciprocity. By demonstrating their complementarity, the book situates Pindar and Aeschylus in the same poetic ecosystem, which has implications for how we understand ancient Greek poetry more broadly: using Pindar and Aeschylus as case studies, the book provides a window into their dynamic and interactive poetic world, a world in which ostensibly dissimilar poets and genres actually have much more in common than we might think.

El presente estudio tiene como objetivo examinar los versos 782-974 del Agamenón de Esquilo a través de las herramientas metodológicas de deixis y determinar el carácter de Agamenón. En primer lugar el análisis de la deíctica red en el primer discurso de Agamenón ( 810-854) nos permite refutar la opinión común entre los estudiosos asociada al síndrome de hubris. No obstante del análisis de los versos 914- 930 se puede extraer como conclusión que a pesar de los esfuerzos de Agamenón para adoptar un comportamiento políticamente y religiosamente correcto su inclinación egocéntrica se detecta en la abundancia de los pronombres personales y posesivos de la primera persona. En conclusión la poética de deixis puede considerarse como el modo adecuado para que evaluemos con exactitud el carácter de Agamenón en el dicho «carpet scene» episodio. ; In this paper I'll try to demonstrate that it is possible, using a deictic approach, to reveal the traits of Agamemnon's character in the third episode of Aeschylus' Agamemnon (782-974). Deixis as a means of understanding Agamemnon's portrayal in his first speech (810-854) refutes the widely held opinion among scholars of the hubris syndrome. Nevertheless from our analysis of the deictic network it follows that despite Agamemnon's concern with political and religious propriety his egocentric inclination smolders in lines 914-930, expressed through the striking abundance of personal and possessive pronouns of the first person often at emphatic position of the verse. In conclusion deixis is proven to be the most reliable way of evaluating Agamemnon's character in the carpet scene.

In Aeschylus' Prometheus Bound, the playwright depicts the punishment of Prometheus by the tyrannical Zeus. Zeus' subordinates understand his tyranny to be characterized by an absolute freedom of action. Yet the tyrant's absolute freedom as ruler is called into question by insecurity of his position and by his dependence on Prometheus' knowledge. We find in the Prometheus Bound a model of tyrannical rule riddled with contradictions: The tyrant's claim to total control and absolute freedom is in tension with a reality characterized by insecurity, impotence, and constraint. We contrast this model of rule with the model found in Aeschylus' Suppliant Maidens, in which the King, agreeing to be bound by the wishes of his subjects, nevertheless preserves for himself a certain freedom of action that the tyrannical ruler lacks.

Through an examination of Aeschylus'Oresteia, this essay argues for the critical importance of intergenerational justice to democratic theory. It explores the difficulties of democratic responsibility given the tension between necessity and freedom central to questions of intergenerational justice. The essay first details the relevant lacunae in the theories of two major figures of contemporary democratic theory, John Rawls and Jürgen Habermas. It then develops an account of democratic responsibility that acknowledges human freedom to make decisions, even given the necessity created by the fact that individuals and communities inherit their own range of potential actions from previous generations. The essay elaborates this claim by examining how each of the central figures in theOresteiadeals first with the dilemmas inherited from the past and then with new situations engendered by his or her own actions. The essay concludes with a consideration of this aspect of democracy in contemporary political life.