Journal articles: 'Bacchae (Euripides)'

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Whiteman, Bruce. "Bacchae by Euripides." Pleiades: Literature in Context 36, no. 2S (2016): 42–44. http://dx.doi.org/10.1353/plc.2016.0136.

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Markantonatos, Andreas. "Euripides’ Bacchae and Athenian Democratic Ideology: An Interpretation." CONCEPT 27, no. 2 (July 15, 2024): 3–13. http://dx.doi.org/10.37130/jpmdme23.

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In this article, I argue that in Bacchae, Euripides masterfully attempts to combine the essential qualities of the Dionysian cult, which seek to temporarily alleviate human suffering and drastically alleviate mental anguish, with the fundamental principles and values of the Athenian democratic city-state. These principles prioritise, inter alia, every possible celebratory occasion for the emotional relief and moral fortification of citizens. The gruesome dismemberment of Pentheus illustrates, in the most shocking way possible, the disastrous consequences that could arise in a city where, in the name of egocentric intellectuality and inflated narcissism, the ruling class stubbornly denies the populace’s inalienable right to enjoy the uplifting effect of religious enthusiasm and festive frivolity, including the subversive, prima facie, but essentially therapeutic Bacchic relaxation, which can sometimes culminate in celebratory defiance and dreamlike illusion.

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Perris, Simon. "Perspectives on Violence in Euripides’ Bacchae." Mnemosyne 64, no. 1 (2011): 37–57. http://dx.doi.org/10.1163/156852511x505024.

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Abstract This paper examines the treatment of violence in Euripides’ Bacchae, particularly in spoken narrative. Bacchae is essentially a drama about violence, and the messenger-speeches establish a dialectic between spectacle and suffering as different conceptions of, and reactions to, violence. The ironic deployment of imagery and allusion, particularly concerning Pentheus’ body and head, presents violence as ambiguous. The exodos then provides a model of compassion, in which knowledge of guilt does not preclude sympathy, nor does ambivalence towards violence. Finally, it is concluded that the paradoxical humanitas of this Dionysiac tragedy is grounded in its presentation of violence as a source first of pleasure, then of pain, allowing spectators to be both entertained and shocked.

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Moorton,, Richard F., and Francis Blessington. "Euripides/Aristophanes: "The Bacchae"/"The Frogs"." Classical World 88, no. 2 (1994): 142. http://dx.doi.org/10.2307/4351666.

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Davidson, John. "Euripides' Bacchae in New Zealand Dress." Antichthon 41 (2007): 97–108. http://dx.doi.org/10.1017/s0066477400001775.

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Euripides' Bacchae is a play which has intrigued, disturbed and challenged many spectators, readers, theatre practitioners and interpreters. Its spectacular and gruesome aspects in particular have also given rise over the years to notable anecdotes, such as that recorded by Plutarch (Crassus 33) to the effect mat the Roman general's severed head was carried by the Agave actor in a performance of the play at the Parthian court in 53 BC. At times, moreover, arguably on account of such a graphic portrayal of the elemental and destructive forces unleashed by the Dionysus principle, it has been regarded as ‘too hot to handle’. Thus, for example, as Karelisa Hartigan points out, it appears to have made no appearance on the American commercial stage during the first 60 years of the twentieth century.

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Fitzgerald, Gerald. "Textual Practices and Euripidean Productions." Theatre Survey 33, no. 1 (May 1992): 5–22. http://dx.doi.org/10.1017/s0040557400009571.

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This paper has two principal, though interrelated, objectives: to survey issues concerning the status of the texts of Greek Tragedy, particularly with respect to specific distinctions between a play as text-based and as audience experienced, between the “eye” of the reader of a play text and the eye of the theatrical spectator; and to consider some implications of these distinctions for Euripidean drama, above all with respect to The Bacchae, since its procedures, albeit more developed or extravagant than elsewhere, may be construed as characteristic for this drama. Much of what I shall say has reference also to the other—Aeschylean, Sophoclean—texts that we have of Greek Tragedy. But it is with Euripides that the terms of the relationship of text and play are most explicit, and controversial, and, it seems to me, most dislocated. We have “read’ Euripides sometimes very wrongly because we have been reading Euripidean texts.

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Anaya Ferreira, Nair María. "Wole Soyinka y Eurípides: una tumultosa celebración de la vida." Anuario de Letras Modernas 14 (July 31, 2009): 153–68. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.683.

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This essay explores Soyinka’s social, political and cultural concerns taking as point of departure his exploration of the role of myth in Yoruba culture and its repercussions in contemporary Nigerian society. In his rewriting of Euripides’ best known tragedy, Bacchae, Soyinka reflects on the impact of the colonial process and on the role of modernday dictatorship in many Third-World countries. Interestingly called The Bacchae of Euripides. A Communion Rite, Soyinka’s play takes the effects of intertextuality to the extreme, not only by taking the Greek tragedy as hypotext, but by relating Euripides’ subversive criticism of Greek imperialism to his own denunciation of colonization and tyranny. Because of its radical use of imagery —such as the fact that the blood which emanates from Pentheus’ head at the end of the play becomes wine and everybody drinks from it—the play was not well received in London in the 1970s, but has been recognized as one of Soyinka’s masterpieces after that.

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Friedrich, Enno. "Day and Night, Light and Darkness in the Bacchae of Euripides." ARYS. Antigüedad: Religiones y Sociedades, no. 21 (October 10, 2023): 15–40. http://dx.doi.org/10.20318/arys.2023.7511.

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In my paper, I am following the theme of light and darkness in the Bacchae of Euripides. Light and darkness is one of many threads of meaning in the Bacchae. It runs alongside the overall interpretation of the play. Light and darkness are present in the characterisations of Dionysus and Pentheus. More than that, the characterisations through light and darkness change in accordance with the story of the play. A close reading of Bacchae along the lines of light and darkness can, thus, help to determine which evaluations of Pentheus and Dionysus are inscribed in the play. The drama of light and darkness suggests an interpretation of the sparagmos as an expiating sacrifice and the restoration of harmony at the end of the play.

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Nikolopoulou, Kalliopi. "Parrhesia as Tragic Structure in Euripides’ Bacchae." Epoché 15, no. 2 (2011): 249–61. http://dx.doi.org/10.5840/epoche201015227.

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10

Barrett, James. "Pentheus and the Spectator in Euripides' Bacchae." American Journal of Philology 119, no. 3 (1998): 337–60. http://dx.doi.org/10.1353/ajp.1998.0029.

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11

Gregory, Justina. "Some Aspects of Seeing in Euripides‘ Bacchae." Greece and Rome 32, no. 1 (April 1985): 23–31. http://dx.doi.org/10.1017/s0017383500030102.

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Absent from Thebes at the first outbreak of Bacchic excitement, King Pentheus returns in haste, deeply troubled by reports of revelry on Mount Cithaeron and accounts of the captivating stranger who has led the Theban women astray (Ba. 212–38). When he meets the stranger he asks him about the appearance of the god (469,477) and the features of the rites (471) and complains that he cannot see the divinity who, the stranger assures him, is right at hand (500,502). Pentheus manifests great eagerness to see the Bacchantes with his own eyes, and it is by playing on this desire that the stranger lures him to Cithaeron and his death (810ff.)

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Mazzaro, Jerome. "Mnema and Forgetting in Euripides' The Bacchae." Comparative Drama 27, no. 3 (1993): 286–305. http://dx.doi.org/10.1353/cdr.1993.0028.

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Lane, Nicholas. "CROWN OF SNAKES: EURIPIDES, BACCHAE 101-2." Classical Quarterly 66, no. 1 (May 2016): 75–83. http://dx.doi.org/10.1017/s0009838816000355.

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ἔτεκεν δ᾽, ἁνίκα Μοῖραιτέλεϲαν, ταυρόκερων θεὸν 100ϲτεφάνωϲέν τε δρακόντωνϲτεφάνοιϲ, ἔνθεν ἄγραν θηρότροφον μαι-νάδεϲ ἀμφιβάλλονται πλοκάμοιϲ.102-3 θηρότροφον praeeunte Musgrave (-τρόφον) Allen : -τρόφοι ‹L›P The subject of ἔτεκεν (99) and ϲτεφάνωϲεν (101) is Zeus (95). If the text is right, Zeus gave birth to Dionysus, and Zeus then crowned him with snakes. This note argues that the text is corrupt because (i) vase painting shows Dionysus born already crowned, and (ii) the notion that Zeus should crown anyone is quite exceptional. I conclude that in 101 Euripides probably wrote ϲτεφανωθέντα, not ϲτεφάνωϲέν τε.

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14

Tulin, Alexander. "A Note On Euripides' Bacchae 39-42." Mnemosyne 47, no. 2 (1994): 221–24. http://dx.doi.org/10.1163/156852594x00735.

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Gregory, Justina. "Non Secus in Iugis : Horace Reads Euripides' Bacchae." Phoenix 77, no. 1-2 (March 2023): 14–22. http://dx.doi.org/10.1353/phx.2023.a926361.

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Abstract: In Odes 3.25 Horace draws on Euripides' Bacchae as an intertext to strengthen the poem's associative links. Through intertextuality, Horace implicitly contrasts the resistance of Euripides' Pentheus to Dionysus' divinity with his own celebration of Augustus' apotheosis, while salient details bring the poem's representation of the god into sharper focus. Réesumé: Dans Odes 3.25, Horace s'inspire des Bacchantes d'Euripide afin de renforcer les diverses associations établies par le poème. Jouant de l'intertextualité, Horace oppose implicitement la résistance du Penthée d'Euripide envers la divinité de Dionysos à sa propre célébration de l'apothéose d'Auguste, tandis que certains détails donnent davantage de relief à la représentation du dieu dans le poème.

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16

Zerhoch, Sebastian. "THE POLITICS OF RELIGION: LIBATION AND TRUCE IN EURIPIDES’ BACCHAE." Classical Quarterly 70, no. 1 (April 29, 2020): 51–67. http://dx.doi.org/10.1017/s0009838820000154.

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Euripides’ Bacchae is one of the most intensively studied Greek tragedies. Generations of scholars have explored the play from different perspectives and offered fascinating insights. But there are still aspects that have not received the attention they deserve. One such aspect is Euripides’ use of libation as a dramatic motif. Even though this motif relates directly to the question of the tragic conflict between Dionysus and Pentheus, it has never been discussed in detail and its dramatic impact has not been fully acknowledged.

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17

Halleran, Michael R. "Bacchae 773–4 And Mimnermus Fr. 1." Classical Quarterly 38, no. 2 (December 1988): 559–60. http://dx.doi.org/10.1017/s0009838800037198.

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The messenger who reports the miracles from the mountains in Euripides' Bacchae (677–774) concludes with an injunction to Pentheus that he accept this god into the city (769–74):τóν δαíμον' ούν τóνδ' ἂστισ ἔστ', ῶ δἑσποτα,δἐχον πóλει τἦδ'-ὰσ τὰ τ' άλλ' ἐστíν μὰγασ,κάκεíνó φασιν αύτóν, ἑγὡ κλύω.

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18

Mills, Sophie. "“Look At It Carefully Now”: Athenian Tragedy And The “Talking Cure”." Transcultural Psychiatry 57, no. 6 (November 24, 2020): 753–62. http://dx.doi.org/10.1177/1363461520970678.

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It is often suggested that the Greek tragedians present clinically credible pictures of mental disturbance. For instance, some modern interpreters have compared the process by which Cadmus brings Agave back to sanity in Euripides’ Bacchae with modern psychotherapy. But a reading of medical writers’ views on the psychological dimension of medicine offers little evidence for believing that these scenes reflect the practices of late fifth-century Athenian doctors, for whom verbal cures are associated with older traditions of non-rational thought, and thus are scorned in favor of more “scientific cures” based on diet or medication. This paper will argue that Athenian tragedians, working from older traditions that advocated verbal cures for some mental ailments, do understand the potential psychological effects that their work can have on audiences, since tragedy requires psychological interaction with its audience in order to be effective. From a close reading of select scenes in Euripidean tragedy, this paper suggests that the experiences of the characters who experience suffering in Euripides’ Heracles and Bacchae are analogues of the experiences undergone by the spectators of tragedy at large. Parallels are made between the way that Agave and Heracles are both talked back to sanity by looking upon what has happened, and the way that tragedians make their audiences observe lamentations and meditations that follow the central tragic act, to help them return from the intense emotion provoked, perhaps, by the violence they have seen.

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19

Lozzi, Giuliano. "Dalle Baccanti all’Ibiza-Gate. «Schwarzwasser» di Elfriede Jelinek." Studia austriaca 30 (June 8, 2022): 121–44. http://dx.doi.org/10.54103/1593-2508/18016.

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Taking studies on deconstruction, performance theories, and pragmatics as my point of departure, I investigate Elfriede Jelinek’s last political play Schwarzwasser (2020), where the so-called Ibiza-gate – which in 2018 involved the former Vice Chancellor of Austria – is represented. In her interpretation, Jelinek refers to René Girard’s Violence and the Sacred and Euripides’ Bacchae in an intertextual dialogue. This contribution aims to show how and why Jelinek recalls and employs The Bacchae in her play and to establish a connection between the political function of Greek theatre and Jelinek’s view of Austrian populism.

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20

SAXONHOUSE, ARLENE W. "Freedom, Form, and Formlessness: Euripides’ Bacchae and Plato's Republic." American Political Science Review 108, no. 1 (January 17, 2014): 88–99. http://dx.doi.org/10.1017/s0003055413000610.

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Liberalism begins with the free individual; the liberal state comes into being in order to preserve that freedom. Part of that freedom, to use the language of John Stuart Mill, is choosing one's own life plan, escaping the forms and lifestyles imposed on us by history or nature. Two texts from ancient Athens—Euripides’ Bacchae and Plato's Republic—explore the challenge posed by what I call “the escape from form.” The Bacchae, while capturing our longing for a freedom from form, portrays the devastation of a city invaded by just that freedom; the Republic, while capturing the epistemological and political need for form, portrays a frightening vision of a city so bound by form that it becomes immobile. Socrates’ self-critique in his reconsideration of the artisan in Republic 10, however, unites the forms his Callipolis demands with the multiplicity of human identities that the god Dionysus brings to Thebes in Euripides’ tragedy.

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21

Fisher, Raymond K. "The "Palace Miracles" in Euripides' Bacchae: A Reconsideration." American Journal of Philology 113, no. 2 (1992): 179. http://dx.doi.org/10.2307/295556.

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David, Julian. "The Bacchae of Euripides: A Very Modern Play." Psychological Perspectives 45, no. 1 (January 2003): 62–85. http://dx.doi.org/10.1080/00332920308403041.

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23

Reynolds-Warnhoff, Patricia. "The Role of τὸ σοφόν in Euripides' "Bacchae"." Quaderni Urbinati di Cultura Classica 57, no. 3 (1997): 77. http://dx.doi.org/10.2307/20546515.

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24

Neuburg, Matt. "Two Remarks on the Text of Euripides' Bacchae." American Journal of Philology 107, no. 2 (1986): 248. http://dx.doi.org/10.2307/294608.

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Conybeare, Catherine. "Honig’s Bacchae / Euripides’ Theory of Refusal." Classical Antiquity 41, no. 2 (October 1, 2022): 1–3. http://dx.doi.org/10.1525/ca.2022.41.2.1.

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Siegel, Janice. "Tennessee Williams’ Suddenly Last Summer and Euripides’ Bacchae." International Journal of the Classical Tradition 11, no. 4 (December 2005): 538–70. http://dx.doi.org/10.1007/s12138-005-0018-z.

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Καλαμαρά, Π. Σ., and Κ. Θ. Φραντζή. "Euripides and divine madness in Bacchae and Hippolytus." Kathedra, no. 16(3) (September 21, 2023): 121–39. http://dx.doi.org/10.52607/26587157_2023_16_121.

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Αντικείμενο της εργασίας είναι η θεϊκή μανία στα έργα του Ευριπίδη, Βάκχες και Ιππόλυτος, με στόχο τη διερεύνηση της θέσης της όπως αυτή πραγματώνεται μέσα από τον λόγο των τραγωδιών. Η επιλογή των συγκεκριμένων έργων έγινε με κριτήριο τον μεγάλο αριθμό ομοιοτήτων που παρουσιάζουν. Τα ερευνητικά ερωτήματα αφορούν στη μελέτη της χρήσης των λημμάτων μανία και θεός αλλά και άλλων σχετικών με αυτά εννοιών. Οι τραγωδίες ανακτήθηκαν από τον Πόρο Αρχαία Ελληνική Δραματουργία της Εθνικής Υποδομής Γλωσσικών Πόρων και Τεχνολογιών CLARIN:EL [http://clarin.gr/el], Αποθετήριο του Πανεπιστημίου Αιγαίου, και η γλωσσική τους επεξεργασία υλοποιήθηκε με εργαλεία της μεθοδολογίας σωμάτων κειμένων. Η μελέτη αναδεικνύει τη σύνδεση της θεϊκής μανίας με το κοινωνικό και πολιτικό περιβάλλον της συγκεκριμένης εποχής και του συγκεκριμένου χώρου, της Αθήνας του 5ουπ.Χ. αιώνα. The subject of the study is the divine madness in the works of Euripides, Bacchae and Hippolytus, with the aim of investigating its position as it is realized through the discourse of tragedies. The selection of these works was based on the large number of similarities they show. The questions concern the study of the use of the lemmas mania and god as well as other concepts related to them. The tragedies were retrieved from the Resource Ancient Greek Drama of the National Infrastructure of Linguistic Resources and Technologies CLARIN:EL [http://clarin.gr/el], Repository of the University of the Aegean, and their linguistic processing was implemented with tools of corpus methodology. The study highlights the connection of the divine madness with the social and political environment of the specific era and the specific place, Athens of the 5th century BC.

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Ferreira, Vania Maria Moragas. "Relações intertextuais entre As Bacantes de Eurípides e Senhora dos Afogados de Nelson Rodrigues." Nuntius Antiquus 4 (December 31, 2009): 198. http://dx.doi.org/10.17851/1983-3636.4.0.198-211.

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<p>ABSTRACT</p><p>This article’s focus consists on the study of Two tragedies Euripides’ <em>Bacchae </em>and Nelson Rodrigues’ <em>Senhora dos Afogados</em>. Despite the long period which separate these two works and authors, one will notice that there are similarities and analogies which can be traced between the two “tragedies”, indicating that a more detailed study of them is worthwhile and can shed a new light in our understanding of them as single pieces. Throughout this work it will be discussed how Nelson Rodrigues appropriates Euripides’ text in <em>Senhora dos Afogados</em>. We realize that the appropriation of the Greek text was done through analogies, inversions and/ or dislocations, and we see that there is not a copy of the Greeks tragic model, but, on the contrary, that there are coincidences. Nelson Rodrigues aims not to sacralize the classic model, but searches for a new reality, which causes ruptures with the tradition.</p><p>KEYWORDS: tragedy; <em>Bacchae</em>; Euripides; <em>Senhora dos Afogados</em>; Nelson Rodrigues.</p>

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Bridges, Emma, and Joanna Paul. "Reception." Greece and Rome 66, no. 1 (March 11, 2019): 159–63. http://dx.doi.org/10.1017/s0017383518000402.

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Newly available in paperback in 2018, Simon Perris’ The Gentle, Jealous God. Reading Euripides’ Bacchae in English, sets out to ‘adumbrate a new cultural history for this classic play’ (20). While, as the author points out, the Bacchae has received attention in recent years from reception scholars interested in its performance history – including Erika Fischer-Lichte's 2014 Dionysus Resurrected – less has been written on translated versions or adaptations which are intended primarily for reading rather than performance. Perris’ work moves the conversation forward by examining in detail a series of case studies, while touching on many more examples in the course of his discussion.

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Kamińska, Aleksandra. "Politicising Euripides: A Mouthful of Birds by Caryl Churchill and David Lan." Anglica Wratislaviensia 54 (November 15, 2016): 23–32. http://dx.doi.org/10.19195/0301-7966.54.2.

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The article discusses A Mouthful of Birds by Caryl Churchill and David Lan in terms of its relation to its Greek inspiration: Euripides’ Bacchae. Contrary to Michael Billington’s opinion that the fascination with the classics which dominated the 1980s theatre in Britain led to the emergence of an ‘interpretative culture’ motivated by artists’ inability to address current political issues, the article analyses a 1980s play that uses its classical source precisely to make political statements. In the course of the article the intertextual links between A Mouthful of Birds and The Bacchae are analysed with special focus on the politics motivating the modern text. Julie Sanders’ theory of literary appropriation is used to discuss selected themes addressing feminist, postcolonial and gender politics.

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van Schoor, David. "Καὶ καταψεύδου καλῶς: Wagering on divinity in Euripides' Bacchae." Acta Classica 64, no. 1 (2021): 237–62. http://dx.doi.org/10.1353/acl.2021.0020.

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Van Schoor, David. "Eti zosa phlox: Inferring divine presence in Euripides� Bacchae." Acta Classica 61, annual (2018): 158–89. http://dx.doi.org/10.15731/aclass.061.08.

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Datan, Nancy. "Androgyny and the Life Cycle: The Bacchae of Euripides." Imagination, Cognition and Personality 4, no. 4 (June 1985): 405–13. http://dx.doi.org/10.2190/t8fc-uj0f-pk01-hp64.

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The concept of androgyny appears in social psychology as an adaptive mixture of masculine and feminine traits unlinked to any age-specific schedule of development. The life cycle developmental view of androgyny is that sex-typed behavior is found early in the life cycle, in response to the “chronic emergency of parenthood,” but that in later life each sex recaptures the prerogatives surrendered earlier in adulthood—women recovering managerial, assertive traits, and men becoming more responsive to their needs for nurturance and dependency. This article proposes a reconciliation of social and developmental models of androgyny based on an analysis of Greek tragedy. The Bacchae, written by Euripides in his old age, suggests that the androgynous individual is advantaged throughout the life cycle, as social psychologists would claim today. However, the fate of Pentheus at the hands of Dionysus suggests that anxieties over the androgynous potential of the self may be heightened in young adulthood and ebb later in life, consistent with developmental observations of sex-typed behavior in young adulthood which gives way to the “normal unisex of later life.” A review of androgyny in psychoanalytic theory and literary criticism shows that recognition of androgyny is not new, but that each recognition has been short-lived—a problem in the sociology of knowledge which suggests that the fear of androgyny reaches into the scientific community.

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34

Verdenius, W. J. "Cadmus, Tiresias, Pentheus Notes On Euripides' Bacchae 170-369." Mnemosyne 41, no. 3-4 (1988): 241–68. http://dx.doi.org/10.1163/156852588x00543.

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35

Conradie, P. J. "SYNCRETISM IN WOLE SOYINKA'S PLAY “THE BACCHAE OF EURIPIDES”." South African Theatre Journal 4, no. 1 (January 1990): 61–74. http://dx.doi.org/10.1080/10137548.1990.9687995.

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36

van Schoor, David. "Eti zōsa phlox: Inferring Divine Presence in Euripides’ Bacchae." Acta Classica 61, no. 1 (2018): 158–89. http://dx.doi.org/10.1353/acl.2018.0007.

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37

Semenzato, Camille. "Alala ou ololugē." Greek and Roman Musical Studies 9, no. 2 (August 20, 2021): 241–57. http://dx.doi.org/10.1163/22129758-bja10023.

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Abstract On the basis of a controversial passage from Euripides’ Bacchae, this paper raises again the question to what extent the two onomatopoeias ἀλαλά and ὀλολυγή are strictly related to one or the other sex. The valorization of the sound meanings of these cries as they emerge from the contexts in which they are used opens up new perspectives of interpretation.

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Lacore, Michelle. "Étude comparée de deux récits des Bacchantes." Kentron 14, no. 1 (1998): 47–61. http://dx.doi.org/10.3406/kent.1998.1590.

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In the Bacchae, Euripides twice uses the highly codified form of the messenger's speech. These two speeches, not only symmetrical but bound together, contain the fable's setting and by their power of suggestion (by means of rythm and all-encompassing vision), erase the borderline between narrative and drama, undermining all monovalent exegesis of the dionysism, here made a matter of pure poetry.

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Perczyk, Cecilia J. "La representación de Dioniso en los fragmentos de la Licurgía de Esquilo." Nova Tellus 40, no. 2 (June 28, 2022): 11–35. http://dx.doi.org/10.19130/iifl.nt.2022.40.2.0021x51.

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My purpose in this paper is to analize the trilogy Lycurgeia of Aeschylus in order to provide an insight into the characterization of Dionysus in the tragic genre. The extant fragments describe his androgynous appearance and the effects of his arrival in Thracia. Other sources on the same myth will be included; particularly I will focus on Euripides’ Bacchae, because of its links with the myth of Pentheus.

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Wesołowska, Monika. "Recepcja mitu o córkach Minyasa w powieści "Frenzy" Percivala Everetta." Collectanea Philologica, no. 24 (December 28, 2021): 197–202. http://dx.doi.org/10.18778/1733-0319.24.13.

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This paper deals with the myth of Minyas’ daughters in the novel Frenzy by Percival Everett, a Distinguished Professor of English at the University of Southern California. He has brought forward a new interpretation of that myth in his book. The main theme is the story of god Dionysus based on Euripides’ Bacchae to which the author adds other mythes. References to Ovid, Aelian and Antoninus Liberalis can also be found.

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Damen, Mark L., and Rebecca A. Richards. "“Sing the Dionysus”: Euripides’ Bacchae as Dramatic Hymn." American Journal of Philology 133, no. 3 (2012): 343–69. http://dx.doi.org/10.1353/ajp.2012.0022.

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Battezzato, Luigi. "Migrant Refusals: The Inoperativity of the Asian Bacchae in Euripides." Classical Antiquity 41, no. 2 (October 1, 2022): 4–15. http://dx.doi.org/10.1525/ca.2022.40.2.4.

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Schironi, Francesca. "Staging, Interpreting, Speaking Through Euripides: Ingmar Bergman Directs the Bacchae." International Journal of the Classical Tradition 23, no. 2 (January 19, 2016): 127–57. http://dx.doi.org/10.1007/s12138-015-0383-1.

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Pilipovic, Jelena. "A twice-born God. Reimagining the myth in Euripides’ Bacchae." Bulletin de l'Institut etnographique 71, no. 1 (2023): 21–44. http://dx.doi.org/10.2298/gei2301021p.

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The paper examines the myth of Dionysus's double birth as a hidden semantic axis of the Bacchae, starting from the hypothesis that the importance of this narrative goes beyond the poetic context in which it is found and that it represents an important step in the reimagining of the concept of myth, which occurs at the height of the polis culture. Having come to Thebes to prove his divine nature and Zeus? paternity, Dionysus, in the incipit, before saying his name, defines himself as ?the child of Zeus?, while in the final epiphany he defines himself as ?divine offspring?. Neither the divine nature of Dionysus, nor the fatherhood of Zeus in the tragedy are proven explicitly, but only implicitly - through the ability of the young god to dissect the human mind, reason, rational will, thus confirming and strengthening the sphere of the irrational, to which the myth remains firmly attached. The paper aims at proving the hypothesis that this attachment of the myth to the sphere of the non-rational is the Euripides? decisive contribution to the transformation of the concept of myth.

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Hilton, Ita. "Reimagining the Prophet: Teiresias as Comedian and Sophist in Euripides’ Bacchae." Philologia Classica 14, no. 1 (2022): 4–21. http://dx.doi.org/10.21638/spbu20.2022.101.

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This article analyses the role of the prophet Teiresias in the Bacchae of Euripides in the particular context of sophistic influence. It views the originality of the prophet’s depiction as reflective of Euripides’ creative self-consciousness within an agonistic genre that relied on the malleability of ancient myth, particularly towards the end of tragedy’s “golden era”. Our particular aim is to present the prophet independently of the Sophoсlean background against which Teiresias is often viewed, and as a more complex figure than a (not especially satisfactory) radicalization of his earlier incarnations. The prophet in Bacchae is a liminal figure poised between tragedy and comedy, man and god, male and female, tradition and innovation. As such he parallelsmany of the “doublings” characteristic of Dionysus himself. The analysis re-examines the extent and nature of the comedy in the early Teiresias–Cadmus–Pentheus scene (170–369) in the context of the most recent scholarship. It then offers a close examination of the so-called sophistic speech by the prophet (266–327) within the framework of contemporary attitudes to sophism and how this has unfairly influenced scholarly perception of Teiresias’s authority as a dramatic character. The argument aims to establish Teiresias’s incarnation as both fifth-century intellectual and representative of traditional values. He thus reflects the tension between old and new in the integration of Dionysiac religion in mythical Thebes.

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Alves Ribeiro Jr., Wilson. "Os autores da Ifigênia em Áulis de Eurípides." CODEX – Revista de Estudos Clássicos 2, no. 2 (December 5, 2010): 57. http://dx.doi.org/10.25187/codex.v2i2.2811.

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<div class="page" title="Page 57"><div class="layoutArea"><div class="column"><p><span>O texto da <em>Ifigênia em Áulis</em>, tragédia de Eurípides encenada pela primeira vez em 405 a.C., juntamente com <em>Bacchae</em> e <em>Alcmeon</em>, chegou até nós com inegáveis sinais de adulteração e de interpolações. No presente trabalho são discutidos os elementos mais importantes para a moderna abordagem do texto legado pela tradição medieval e para a identificação das passagens que podem ser atribuídas a Eurípides ou aos retractatores da <em>Ifigênia em Áulis</em>. </span></p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>The authors of Euripides’ Iphigenia at Aulis </strong></p><p><span><strong>Abstract</strong> </span></p><p><span> The text of Iphigenia at Aulis</span><span>, Euripides’ tragedy staged for the first time in 405 a.C. t</span><span>o- gether with Bacchae and Alcmeon, reached us with undeniable signs of adulteration and interpolations. This work presents and discuss the most important elements for a modern approach of the text received from medieval tradition and for identification of passages that can be ascribed to Euripides or to Iphigenia in Aulis retractatores. </span></p><p><span><strong>Keywords:</strong> Iphigenia at Aulis; Euripides; Greek tragedy; manuscripts </span></p></div></div></div><p><span><br /></span></p></div></div></div>

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Anicet Odilon, Matongo Nkouka. "MYTHS IN WOLE SOYINKA’S THE BACCHAE OF EURIPIDES AND TOM OMARA’S THE EXODUS." International Journal of Language, Linguistics, Literature, and Culture 03, no. 01 (2024): 01–18. http://dx.doi.org/10.59009/ijlllc.2024.0050.

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This paper explores the role of myths in both Yoruba and Acholi cultures, and their repercussions in contemporary Nigerian and Ugandan societies. Data drive from The Bacchae of Euripides and The Exodus, and fall in the Psychoanalytic Literary Criticism, New Historicism framework and Post-colonial approach. Soyinka reflects on the impact of the colonial process and on the role of modern day dictatorship in many Third-World countries. His play takes the effects of intertextuality to the extreme, not only by taking the Greek tragedy as hypotext, but by relating Euripides’ subversive criticism of Greek imperialism to his own denunciation of colonization and tyranny. Tom Omara portrays the struggles and conflicts of the Acholi people in their quest for unity and self-determination, as well as the challenges they face in dealing with the colonial powers that seek to control and exploit their land and resources. Specifically, myths in the plays feature themes of migration, conflict, leadership, identity, and resistance to imperialism. Myths are seen as important elements that explain the significance of human existence.

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Remshardt, Ralf Erik. "Dionysus in Deutschland: Nietzsche, Grüber, and The Bacchae." Theatre Survey 40, no. 1 (May 1999): 31–49. http://dx.doi.org/10.1017/s0040557400003264.

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In 1974, the maverick German director Klaus-Michael Grüber created a remarkable (and much remarked-upon) production of Die Bakchen (The Bacchae) at Berlin's Schaubühne theatre. It was then, and remains to date, the most significant German-language production of, and indeed one of the very few attempts to stage, Euripides' final play in Germany. This essay will attempt to trace the history of German abstention fromthe play and analyze how Grüber's Bacchae responded to that history of ambivalence and neglect, for what was played out in Grüber's mise-en-scène was not only the conflict between Pentheus and Dionysus for the soul of Thebes, but indeed, upon the rapidly shifting cultural and political ground of West Germany, a deeper conflict between mimesis and authenticity, presence and representation, and the soul of the theatre. The first volley in this conflict had been fired more than one hundred years before by Friedrich Nietzsche.

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Smith, Helaine L. "“Preacher 'D'” Comes to Harlem: A Review of Euripides' The Bacchae." Arion: A Journal of the Humanities and the Classics 27, no. 3 (2019): 179–88. http://dx.doi.org/10.1353/arn.2019.0008.

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Marshall, C. W., Euripidea, James Diggle, Euripidea, and James Diggle. "Euripides: "Fabulae." Vol. 3. Helena, Phoenissae, Orestes, Bacchae, Iphigenia Aulidensis, Rhesus." Classical World 91, no. 5 (1998): 448. http://dx.doi.org/10.2307/4352149.

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Journal articles on the topic 'Bacchae (Euripides)'

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