Suchergebnisse

International audience Since the beginning of the sixties of the last century, several philologists have studied the presence of significant parallels between the representation of Dionysus offered by Euripides' Bacchae and that which is at the heart of Aristophanes' Frogs,, parallels that the relative chronology of these two plays has undoubtedly helped to underline. These data have been interpreted in different ways, being most often put on the account of the myth to which the two plays refer or of the comic parody of the tragedy. I propose to reconstruct the main stages of this debate, while making my own contribution. My hypothesis is that the parallels identified by the researchers are to be understood within the framework of an inter-generic poetic rivalry between Euripides and Aristophanes. In this perspective, the fact that Dionysus is the protagonist of both plays cannot be dissociated from his function as representative of two antagonistic conceptions of theater. These are expressed in particular by means of transvestism in the initiatory scenarios that conclude the Bacchae and open the Frogs.

En este trabajo, el simposiarca pone a consideración del auditorio una aproximación a las sombras creadas por los efectos de luz, de las mímicas y representaciones de lo sagrado, comenzando por el propio nombre del dios invitado, y una narrativa del mythos, que habla de la genealogía, diáspora, epidemias y epifanías y el calendario festivo de Dionisos; segundo, una descripción, análisis de las fiestas y misterios dionisiacos y tercero, una etiología de las necesidades socio-políticas vinculadas al culto y de los posibles enteógenos responsables de las experiencias místico-milagrosas de las bacantes extáticas. ; In this work, the symposiarch first submits to the audience a likeness of the shadows created by light effects, by mimes and by representations of the sacred. He begins with the name itself of the invited god, and with a narrative of the myths referring to the genealogy, diaspora, epidemics and epiphanies and the Dionysius's festival calendar; secondly, he continues with a description and analysis of the Dionysian festivals and mysteries and thirdly, he ends with an etiology of the socio-political needs linked to the cult and to the possible entheogens responsible for mystic-religious experiences of the ecstatic bacchantes

"Bonnie Honig invigorates debate over the politics of refusal by insisting that withdrawal from unjust political systems be matched with collective action to change them. Historical and fictional characters from Muhammad Ali to the Bacchants of ancient Greek tragedy teach us how to turn rejection into transformative efforts toward self-governance"--

Trois lectures du mythe d'Orphée dans la poésie latine humaniste (résumé de la conférence tenue à Málaga le 9 mai 2014) Le mythe d'Orphée nourrit toute la poésie humaniste, latine comme vernaculaire. On a choisi trois des plus grands poètes latins du Quattrocento italien en choisissant une ou deux de leurs œuvres latines et sans exclure des parallèles avec leurs œuvres vernaculaires : Francesco Petrarca (Bucolicum carmen et Triumphi). Angelo Poliziano (Siluae e Favola d'Orfeo) et Giovanni Pontano (Urania et Eclogae). Dans la première églogue du Bucolicum carmen (v. 122-123), Orphée apparaît comme le poète par antonomase. Dans la dixième (v. 147-156), Pétrarque lui donne une place de choix, avec ses attributs traditionnels, dans son catalogue des poètes ; mais, contrairement à la tradition, il le présente comme âgé et il loue en particulier sa justice, sans référence à Eurydice, alors qu'Eurydice est le point focal des vers consacrés à Orphée dans le Triumphus Cupidinis (v. 13-15), mais à côté de son "frère" Linus et de son "fils" Musée : Pétrarque associe les trois poètes théologiens pour affirmer le pouvoir de la poésie. Dans la Favola d'Orfeo, Politien fait chanter à Orphée deux distiques élégiaques, sorte de centon d'Ovide. Dans la praefatio de la silve Manto, écrite à l'imitation des préfaces allégoriques de Claudien (v. 14-30), Orphée apparaît dans le banquet des Argonautes pour charmer la nature entière par son chant, mais le topos traditionnel est renouvelé par l'audace du jeune Achille, qui s'empare de sa lyre pour produire un chant grossier dont se moquent les convives (transposition d'un épisode rapporté par Lucien) : derrière Orphée et Achille se cachent Virgile et Politien. Dans la silve Nutricia, Politien évoque d'abord (v. 124-131) la puissance du chant d'Orphée, qui dompte les fauves et même Cerbère ; puis il revient, en l'associant à Amphion, Musée et Linus, sur le pouvoir magique de son verbe poétique, jusqu'à son démembrement par les Bacchantes et à la navigation de sa tête et de sa lyre ...

The aim of the present dissertation is to discuss the religious aspect of Aristophanes' criticism of Euripidean tragedy as found in Thesmophoriazusae and Frogs and to provide a comparative study of Aristophanes' and Euripides' religiosity. Aristophanes, it is argued, has a specific target, in that the tragedies he parodies (or simply hints at) seem to be all especially representative of Euripides' thoughts about religion. Plays such as Hippolytus, Cretans, Helen, Antiope, Hypsipyle, Bacchants (but also other fragmentary plays), share a peculiar interest in foreign cults: the 'Oriental' (and Cretan) cults of the Mother of Gods and Dionysus (conceived as a foreign god), not to mention a number of Orphic influences. Apparently, Euripides is keen on replacing important civic Athenian cults, such as the Mysteries of Eleusis, with these more exotic forms of religiosity. Contrary to scholarly consensus, then, Aristophanes' Euripides is not an atheist imbued with sophistic theories. Rather, he emerges as the champion of an alternative form of religiosity. Against the backdrop of Euripides' strange cults, Aristophanes emphasizes his own religiosity, deeply rooted in the traditions of the Athenian πόλις. On the one hand, Thesmophoriazusae exposes the corrosive effects of Euripides' tragedies on Athenian cults (the Thesmophoria in this case); on the other hand, Frogs provides Aristophanes' own view: the couple Demeter-Iacchus is in fact the Athenian version of Euripides' 'barbaric' couple Mother of gods-Dionysus. Aristophanes' reconfiguration of Euripides' cults is especially relevant for the god of theatre: not only do the civic cults of Demeter (Thesmophoria and Eleusinian Mysteries) play a crucial role for Athenian religious life; more specifically, they are also integral to Aristophanes' definition of Dionysus as a quintessentially Athenian deity. As it should be expected, all of this is especially prominent in Aristophanes' metatheatrical scenes. Owing to their religious (but also literary, social and political) views, Euripides' plays are exposed as dangerous for the πόλις, especially in such a dramatic year as 405 BCE, when the Frogs was staged. By contrast, Aristophanes' comedy is credited with salvific qualities: Aeschylus' victory in the poetic agon of the Frogs is not only the victory of old over modern theatre, but also of civic Athenian religion over Euripides' exotic and unorthodox beliefs.