... of Aeschylus’ Agamemnon, which Humboldt describes as ‘untranslatable’ while translating it, and relies on the notion of energeia, the importance of which is also underlined by Heidegger. The article argues that philosophy has to become aware that it takes place not in concepts, but in words...

... in classical texts, mainly Homer and Aeschylus, which he encountered in translations. Born in Bristol in 1890, he was the son of poor Jewish immigrants. His cultural heritage was supplemented by a limited school education and by his study of art (at the Slade) and of English literature (at Birbeck College...

... rites Hardy Thomas intertexts classical intertexts post classical love elegy Latin McCrae John mourning and commemoration Troy Vandiver Elizabeth Western Front Aeschylus Crethon Dryden John elders Iphition Orsilochus Scamander river afterlife Bainbrigge Philip Christianity...

... and motifs in classical texts, mainly Homer and Aeschylus, which he encountered in translations. The son of poor Jewish immigrants, his cultural heritage was supplemented by a limited school education and by his study of art (at the Slade) and English literature (at Birbeck College). The extant paramaterial...

.... Aeschylus and Euripides, for all their differences, seem in interesting ways to stand rather closer to one another than either does to Sophocles. It is argued that Sophocles does not share the Aeschylean preoccupation with doubly motivated action and its bearing on mortal decisions. At the same time, he...

... with the provoking and exciting of emotion, neither of which can be ignored if the texts are to be fully understood. It pays particular attention to Aeschylus' Seven against Thebes and the Phoenician Women of Euripides, both of which dramatize the sorrows of the later generations...

... as the ‘Archilochus’, but also as the ‘Aeschylus’ of comedy (fr. 342). The chapter goes on to show that poetic voice was much more extensively diffused in old comedy than a straightforward reading of extant Aristophanes might alone suggest. By discussing plays such as Boukoloi, Plutoi, Pytine...

... an intertextual relationship with Prometheus Lyomenos and the Prometheus trilogy (which has survived under the name of Aeschylus) more generally, as well as with Aeschylus' Oresteia, especially as far as the characterization of their choruses is concerned...

...This essay focuses on the third play in the Oresteia trilogy, the Eumenides. Telech provides a compelling reinterpretation of Nietzsche’s reading of Aeschylus's masterpiece, saving the reading from the complaint that it oversimplifies and sentimentalizes...

... of matriarchy remains in force at the play's comic conclusion, but in its outline, it bears a striking resemblance to Aeschylus' Eumenides, where, by the machinations of Athena, the myth is overcome in favor of masculine rule. Ecclesiazousae Old Comedy Aristophanes cross dressing Praxagora...

...This chapter, noting that different versions of the story of Oedipus' sons Eteokles and Polyneikes make different assumptions about their relative age, seeks evidence bearing on this question in Aeschylus' Seven against Thebes. It finds that while Eteokles must be very young...

...This chapter — following Wofgang Rösler's view that Aeschylus' Suppliants was the second (not the first) play of his Danaid trilogy and that the trilogy's action turned on an oracle given to Danaos that his daughter's bedfellow would kill him — argues, firstly, that the oracle came...

... male population re-experienced its foundational cultural myths and rededicated itself to its norms of belief and action. The works of Aeschylus and Sophocles in particular provide Nietzsche with examples of the culture-making power of the thinker/maker, with Prometheus being the paradigm figure: his...

... at a range of particular texts and occasions on which oaths and their breach come to the centre of attention, including the crucial thematic role of oaths in Aeschylus's Oresteia. Part III analyses the connections between Greek oath phenomena and those of other cultures such as the Near East...

... ignores Theseus’ abduction of Antiope and depicts the Athenians as righteous punishers of the hubristic Amazons. Aeschylus’ Eumenides states that the Amazons invaded Athens out of phthonos (meaning either envy or rightful indignation) for Theseus. The dramatic festival...

...This chapter examines the stylistic evidence concerning the Supplices by challenging the validity of the scholars' interpretation that it was the earliest extant play of Aeschylus. Drawing attention to a number of peculiarities in Prometheus, it argues...

... have been written in the same period. It begins by considering Aeschylus's treatment of Argos as a constitutional monarchy and whether to grant asylum to the Danaids, along with the relationship between tragedy and democratic civic ideology at Athens. It rejects the notion that Aeschylus was using...

... be used for the reconstruction of Aeschylus's trilogy; that Aeschylus must have used more than one source that he probably adapted to suit his own dramatic purpose; and that the Supplices itself contains hints of coming events that can be used for the reconstruction of the lost plays...

...This chapter discusses Cuban playwright Antón Arrufat’s adaptation of Aeschylus’ Seven against Thebes. Although Arrufat’s play was awarded the prize for drama by the Union of Cuban Artists and Writers when it was first performed in 1968, it was subsequently banned in Castro’s Cuba...

... in the play, which themselves expressed a cultural moment in which the notion of individuality – and the means for conceiving it – were elusive and often contradictory. Beginning with a description of the civic importance of tragedies that includes a reading of Aeschylus's Eumenides...