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Doctrine of music's Ethos is a phenomenon of musicalphilosophical thought of Antiquity, which combined such concepts as music and morality. Their interaction and mutual influence was examined by the Greek philosophy thoroughly and in detail. All known then music categories -- rhythms, music instruments and modes were divided on beneficial and harmful, depending on their influence on a psychological state of a person. Historical development of these ideas could be quite easily traced back to their first appearance in mythological form. Turning in the future from the religious and magical formulation to the philosophical ones, these ideas have acquired quite secular features. This evolution did not affect the basic ideas and even formal categories and attributes, which remained identical to their prototypes, set out in mythology. Despite this evidence of ancient Greek origin of the teaching of Ethos, versions of its foreign origin were put forward by some historians. The basis for this kind of speculations was the conviction of number of historians of foreign, mainly "Egyptian" origin of ancient Greek philosophy in general. Without going into detail on the issue of the source of ancient Greek philosophy, in this paper the question of the origin of the doctrine of music Ethos is considered. First of all -- the premises of the doctrine's emergence, caused by the existing problems in the life of Greek society and state, resulting in utilitarian character of the doctrine. The mythological sources, which had laid the theory's ideological foundation and which later would receive a philosophical form, are also discussed in detail. [ABSTRACT FROM AUTHOR]

Ancient Greek theatre and theatre in general, offering a special experience of reality, uses body as its medium to a great extent. At the same time, body is the sovereign of the stage, it benefits from its own possibilities and the possibilities of the text, scene, tendance of the audience. When it comes to tragedy, paradoxically enough, it possesses the greatest power and attracts the highest attention when it reaches the limits of its strength, when it walks on the edge, when it experiences labor, pain, suffering, and even death. Female body has been, and not only in ancient times, perceived as more fragile, open, susceptible to influences, more prone and inclined to experiences such as pleasure and pain. This perception is one of dimensions of a complex polarity in which woman takes place of the other. The conflict between male and female character is in the focus of dramatic action very often: in the opus of Euripides in a way which is maybe the closest to the contemporary audience and readers. This paper has taken as its case study Euripides' drama Hippolitus, which characterizes a woman as a d?st??p?? á?µ???a. This „reversed, disonant harmony" is placed within a female body. Biological limitations force a female being to adapt, mutate, to be at odds with her very self - that is how her inner conflict and ambiguity appear. In reading the chosen tragedy, philological and anthropological will encounter together with the perspectives of gender and culture studies. The here offered reading of Hippolitus is given with the awareness of the struggle for body (or against it) in the XXI century. Contemporary anthropology, other social sciences and humanities prominently aim their attention towards social and cultural dimensions of the body's existence. Medicine and sport vest in the body a media dimension, being concern with its limitations. On the other hand, the today body has increasingly been an object of interpretations, decoding, studying, virtualization, reading and re-reading, and decreasingly an object (and even subject) of reception and experience by the means of sences. On the trail of "somatosophic" thought that the body is an agent for accomplishing interchange, communication, dialog, that eros beholds a dialogical nature as its most distinctive feature, and that there is a desire for dialog in the essence of an erotic desire, it could be said that Euripides' Phaedra longed for interchange and communication, for understanding and empathy - for eros as dialog. This cry and this desire were placed within a female body which witnessed, with its condition, decadent process and finally dissolution, a non-fulfillment of the essential need. [ABSTRACT FROM AUTHOR]