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The purpose of this paper is, first, to evaluate the elements of Epeus myth that Euripides may have used for the plot of the eponymous drama; secondly to translate, with a brief commentary, the only possible source of this mysterious drama, lost perhaps before preservation in the Alexandrian Library; and finally to discuss its possibilities of being one of the few satyric dramas created by Euripides during the second half of the fifth century BC.

A presente dissertação se compõe de um estudo crítico e comparativo entre a Medeia de Eurípedes e a Medeia de Sêneca. Buscamos refletir sobre os modos como as diferentes formas de misoginia se articulam em ambas as obras. Realizamos um trajeto investigativo que se inicia ao problematizarmos o que seria a literatura e o drama. Seguindo adiante, procuramos entender melhor o lugar dos estudos comparados no momento atual. Depois, analisamos as duas peças separadamente para, enfim, contrastarmos uma obra com a outra. Para o estudo da misoginia, convocamos teóricos e estudiosos da história e dos estudos de gênero. Para a investigação literária das duas obras dramáticas, utilizamos críticos e teóricos dos estudos literários. O que fica claro, para nós, é que a misoginia em Eurípedes se apoia na xenofobia e no medo do estrangeiro, enquanto a misoginia em Sêneca se alicerça no repúdio à imoralidade e à irracionalidade. Procuramos ilustrar o modo como os dois dramaturgos lidam com a personagem Medeia e, de um geral modo, com os discursos sobre as mulheres e com os discursos misóginos. The present thesis is composed of a critical and comparative study of Euripides’s Medea and Seneca’s Medea. We seek to reflect in the ways in which the different forms of misogyny are articulated in both works. We follow an investigative trail that begins by problematizing what is literature and what is drama. Moving forward, we seek to better understand the place of comparative studies in the current moment. After that, we analyze both plays separately to, finally, contrast one work with the other. For the study of misogyny, we invoke history and gender studies theorists and scholars. For the literary investigation of both dramatic works, we utilize critics and theorists of literary studies. What becomes clear, to us, is that misogyny in Euripides is supported on xenophobia and fear of the foreign, while in Seneca it is founded in the repudiation of immorality and irrationality. We seek to illustrate how both playwrights deal with the character Medea and, in a general way, with the discourses about women and the misogynistic discourses. Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES

The purpose of this paper is, first, to evaluate the elements of Epeus myth that Euripides may have used for the plot of the eponymous drama; secondly to translate, with a brief commentary, the only possible source of this mysterious drama, lost perhaps before preservation in the Alexandrian Library; and finally to discuss its possibilities of being one of the few satyric dramas created by Euripides during the second half of the fifth century BC. O objetivo deste artigo é, primeiro, avaliar os elementos do mito de Epeu que Eurípides pode ter utilizado para o enredo do drama homônimo; segundo, traduzir e comentar brevemente a única possível fonte desse misterioso drama, perdido possivelmente antes de ser preservado na Biblioteca de Alexandria; e, finalmente, discutir a possibilidade de se tratar de um dos poucos dramas satíricos criados por Eurípides durante a segunda metade do século V a.C. Abstract The purpose of this paper is, first, to evaluate the elements of Epeus myth that Euripides may have used for the plot of the eponymous drama; secondly to translate, with a brief commentary, the only possible source of this mysterious drama, lost perhaps before preservation in the Alexandrian Library; and finally to discuss its possibilities of being one of the few satyric dramas created by Euripides during the second half of the fifth century BC. Keywords: Euripides; satyric drama; Greek theatre; Epeius; fragments

Este artigo, inspirado na leitura lacaniana da Antígona de Sófocles, tenta ler a Medéia de Eurípides, visando delimitar, a partir de alguns significantes gregos do texto, aquilo que chamaremos de "o campo do trágico", isto é, o que Lacan chamou de o campo da ética enquanto o campo do real.

Tradução da tragédia Édipo, de Eurípides.

Este artigo versa sobre a passagem do mundo mítico e agrícola para o mundo prático e objetivo da cidade em suas dimensões de violência e desagregação social, como se apresentam na tragédia Medeia, de Eurípedes, e no filme do mesmo nome, de Pier Paolo Pasolini. Essa passagem é representada pela aliança social dos personagens Medeia e Jasão e pela quebra dessa aliança. A educação dos personagens, o poder econômico, a perspectiva de miséria e desagregação da família conduzem os interesses e a violência das relações afetivas e sociais. This article discusses the transition from the ancient peasant and mythical world to the objective and practical world of the city in its dimensions of violence and social disruption, as found in Euripides' tragedy Medea and in the movie of the same name by Pier Paolo Pasolini. This passage is represented by the social alliance of the characters Medea and Jason and the breaking of this alliance. The education of the characters, the economic power, the expectancy of poverty and family breakdown drive the interests and the violence of affective and social relationships.

Η περίπτωση του συγκεκριμένου σκηνοθέτη κεντρίζει το ερευνητικό ενδιαφέρον κυρίως λόγω της διπλής ταυτότητάς του, ως πανεπιστημιακού δασκάλου και θεατρανθρώπου ταυτόχρονα, γεγονός που επηρεάζει σημαντικά και τη σκηνική μέθοδο και τον τρόπο προσέγγισης που χρησιμοποιεί στο εκάστοτε ανέβασμα έργου της αττικής δραματουργίας. Συνεπώς ένας από τους στόχους της παρούσας μεταπτυχιακής διπλωματικής εργασίας ήταν η ανίχνευση αυτού του ιδιαίτερου τρόπου σκηνικής αναβίωσης του αρχαίου δράματος που βασίζεται στη διπλή προσέγγιση: του ακαδημαϊκού που μελετά σε βάθος όλες τις πτυχές του κειμένου, και του σκηνοθέτη που κατέχει την τέχνη και το όραμα του καλλιτέχνη. Παράλληλα, εξαρχής στην παρούσα εργασία η αφετηρία και το βάρος της έρευνας, της μελέτης και της αποτίμησης-αξιολόγησης επικεντρώθηκε στη σκηνική προσέγγιση των τεσσάρων ευριπίδειων έργων από τον Ευαγγελάτο, και όχι σε μια εμβριθή φιλολογική ανάλυσή τους. Βασικότερος στόχος υπήρξε η εξαγωγή γενικότερων συμπερασμάτων για τον τρόπο που αντιμετωπίζει σκηνικά ο Ευαγγελάτος το ανέβασμα της αρχαίας τραγωδίας με αφορμή το παράδειγμα τεσσάρων έργων του Ευριπίδη. Οι παραστάσεις του Ευαγγελάτου που μελετήθηκαν και αναλύονται εδώ προκάλεσαν κάποιες φορές διφορούμενα σχόλια κριτικών και κοινού και αυτός ήταν ένας από τους λόγους για τους οποίους επιλέχτηκαν. Η εργασία δομείται με τον ακόλουθο τρόπο: Η κάθε τραγωδία προσεγγίζεται χωριστά (με βάση τη χρονολογική σειρά με την οποία παρουσιάστηκε το κάθε έργο ξεκινώντας από το 1993) με έμφαση τόσο σε επιμέρους στοιχεία (π.χ. ερμηνεία πρωταγωνιστικών προσώπων και χορού, σκηνογραφική και ενδυματολογική προσέγγιση, μουσική, μετάφραση) όσο και στη γενικότερη μελέτη της αντίληψης του σκηνοθέτη. Επίσης εξετάζεται και η συμβολή όλων των παραγόντων στην επίτευξη των σκηνοθετικών στόχων. Ουσιαστικό τμήμα της εργασίας αποτελεί η αποτίμηση της σκηνικής προσέγγισης του κάθε έργου, όπως προκύπτει από την παρακολούθηση των βιντεοσκοπημένων παραστάσεων και την κριτική υποδοχή των εν λόγω σκηνοθεσιών. Στο τελευταίο κεφάλαιο καταγράφονται τα συμπεράσματα για τα χαρακτηριστικά της σκηνικής προσέγγισης του Ευαγγελάτου στην αρχαία τραγωδία. The particular director’s case rouses the researching interest mainly due to his double identity, as a university teacher and a drama person simultaneously, a fact which greatly affects both his stage method and the approach he uses every time he mounts a play of the ancient drama. Consequently, one of the aims of the present dissertation was to trace this special way of reviving on stage the ancient drama which is based on the double approach: the one of the academic who studies in depth all the aspects of the text, and the one of the director who masters the art and the artist’s vision. In parallel to that, from the very beginning in the present project, the starting point and the weight of the research, the study and the assessment-evaluation was focused on the stage approach of the four Euripidean plays by Evangelatos and not on a complete literary analysis. The main aim has been to reach general conclusions on the way that Evangelatos, with regard to stage, deals with putting on the ancient tragedy by reason of the four Euripidean plays. Evangelatos’s performances, which were studied and are being analyzed here, sometimes caused ambiguous comments by critics and the public and this was one of the reasons for which they have been chosen. The project is structured as follows: Each tragedy is approached separately (according to the chronological order in which every play was presented, starting 1993) with the emphasis on parts (ex. the protagonists and the chorus’s interpretation, scene and costumes approach, music, translation) as well as the overall study of the director’s perception. In addition, the contribution of all the factors to the achievement of the director’s aims is being examined. An essential part of the project constitutes the assessment of the stage approach of each play, as it results from watching the recorded performances and the critical reception of the directions in question. In the last chapter, the conclusions about the characteristics of Evangelatos’s stage approach to ancient drama are being written down.

Resumo 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. Abstract 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.