Relevant bibliographies by topics / Iphigenia in Aulis (Euripides)

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Academic literature on the topic 'Iphigenia in Aulis (Euripides)'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Iphigenia in Aulis (Euripides)"

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Castrucci, Greta. "L’Euripo sulla rotta di Troia, secondo Euripide. Correnti alterne del destino o venti d’opposte doxai?" ACME - Annali della Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano, no. 03 (December 2012): 243–52. http://dx.doi.org/10.7358/acme-2012-003-cast.

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In his Iphigenia at Aulis, Euripides places his characters on the stage of Euripus, a sea strait which – since ancient times – had had a strong symbolic value: it was crossed by opposing currents and so represented the place of change, also in the metaphorical sense of changes of mind. As J. Morwood remarked in A Note on the Euripus in Euripides’ Iphigenia at Aulis, in this tragedy Euripides appropriates this metaphorical interpretation and uses the geographical and mythical context of the Euripus to emphasize the mental changes his characters go through. This article aims to go more deeply in
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Miola, Robert S. "Early modern receptions of Iphigenia at Aulis." Classical Receptions Journal 12, no. 3 (2020): 279–98. http://dx.doi.org/10.1093/crj/clz031.

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Abstract The sacrifice of Iphigenia, appearing influentially in Euripides’ Iphigenia at Aulis, assumes various forms in early modern translation, reading, and adaptation. Early modern receptions variously constrict, domesticate, Romanize, and Christianize the story. Publication in Latin, especially in Erasmus’ translation (1506) transposes Greek linguistic and cultural referents to later hermeneutics, rendering mysterious ancient elements into familiar Roman analogues — Stoic ideals, fortuna, prudentia, and the like. Caspar Stiblin’s Latin translation (1562) and Gabriel Harvey’s copious margin
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McDonald, Marianne. "Iphigenia's "Philia": Motivation in Euripides "Iphigenia at Aulis"." Quaderni Urbinati di Cultura Classica 34, no. 1 (1990): 69. http://dx.doi.org/10.2307/20547029.

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GURD, SEAN. "On Text-Critical Melancholy." Representations 88, no. 1 (2004): 81–101. http://dx.doi.org/10.1525/rep.2004.88.1.81.

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ABSTRACT This essay discusses a lost chapter in the history of the textual criticism of Euripides' Iphigenia at Aulis: G. Hermann's 1847 De Interpolationibus Euripideae Iphigeniae in Aulide. I argue that this work, like all textual criticisms in classics, aims to represent not the image of a lost original, but rather a singular image of textual history and formal change. This has consequences for the reading of critical texts in general, which do not aim to return us to the past but to provide a charter of history conceived as a temporally heterogeneous textual multiplicity.
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Wickramasinghe, Chandima S. M. "Grief and Stress Communication and Management in Euripides’ Iphigenia in Aulis." KnowEx Social Sciences 1, no. 1 (2021): 01–12. http://dx.doi.org/10.17501/27059901.2020.1101.

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Communication, an essential human trait, is vital to develop a great connectedness among individuals as it helps to understand human mind and emotions. Grief and stress are communicated in different proportions in ancient Greek tragedies, which revolve around a plot that emanates grief. The characters in a Greek tragedy are affected by or are victims of a grieving situation central to the play. Aristotle maintained that tragic action must emanate pity and fear which are connected with grief and stress. Euripides, the revolutionary dramatist of Classical Athens, has empowered his characters to
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Bacalexi, Dina. "Personal, paternal, patriotic: the threefold sacrifice of Iphigenia in Euripides' Iphigenia in Aulis." Humanitas 68 (December 29, 2016): 51–76. http://dx.doi.org/10.14195/2183-1718_68_3.

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In the IA, Iphigenia accepts to be sacrificed. This voluntary sacrifice can be interpreted as a result of her threefold motivation: personal, love for life; paternal, love for her father Agamemnon, the leader of the Greek army which is about to sail to Troy; and patriotic, love for her country, the great Hellas, whose dignity and freedom Agamemnon and the army intend to defend. These three motives are interconnected and should not be considered separately. This is the principal Euripidean innovation, with regard to the mythical and Aeschylean tradition of Iphigenia's sacrifice. It allows us to
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Lush, Brian V. "Popular Authority in Euripides’ Iphigenia in Aulis." American Journal of Philology 136, no. 2 (2015): 207–42. http://dx.doi.org/10.1353/ajp.2015.0032.

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Alves Ribeiro Jr., Wilson. "Os autores da Ifigênia em Áulis de Eurípides." CODEX – Revista de Estudos Clássicos 2, no. 2 (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 retractatore
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Wasdin, Katherine. "CONCEALED KYPRIS IN THE IPHIGENIA AT AULIS." Classical Quarterly 70, no. 1 (2020): 43–50. http://dx.doi.org/10.1017/s0009838820000166.

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In their first stasimon, the chorus of Euripides’ Iphigenia at Aulis (= IA) praises ‘concealed Kypris’ as a marker of virtue for women (568–72):μέγα τι θηρεύειν ἀρετάν,γυναιξὶ μὲν κατὰ Κύ-πριν κρυπτάν, ἐν ἀνδράσι δ᾿ αὖκόσμος ἐνὼν ὁ μυριοπλη-θὴς μείζω πόλιν αὔξει.It is something great to hunt for excellence. For women, it is according to concealed Kypris, and among men in turn manifold order being within makes the city grow greater.
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Lawrence, S. E. "Iphigenia at Aulis: Characterization and Psychology in Euripides." Ramus 17, no. 2 (1988): 91–109. http://dx.doi.org/10.1017/s0048671x00003118.

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Perhaps the most intriguing feature of Euripides'Iphigenia at Aulisis the tendency of the characters to alter their attitudes towards the human sacrifice. Menelaus and Iphigenia (and even Achilles, it would appear) each undergo a single but remarkable change of mind, while Agamemnon displays so much confusion and uncertainty in adjusting his attitudes that it is not perfectly clear just how many times he actually changes his mind. These about-faces are not merely responses to changing circumstances or fresh information; rather they dramatize in an unusually arresting fashion a characteristical
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Dissertations / Theses on the topic "Iphigenia in Aulis (Euripides)"

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Weffort, Luis Fernando. "Poesia, retórica e educação na Ifigênia em Áulis de Eurípides." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-13062008-150901/.

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Trata-se de pesquisa teórica, de cunho filosófico-educacional, sobre o modo como Eurípides retrata, discute e problematiza, em sua obra, o debate intelectual e político que marcou a vida cultural de Atenas na segunda metade do século V a.C., assim como os seus desdobramentos no campo moral e educacional. Em virtude da dificuldade de tomarmos, neste estudo, como objeto de análise o conjunto da obra conservada de Eurípides, damos destaque à peça Ifigênia em Áulis. Além de abordar explicitamente o tema da educação, essa obra consta entre as últimas composições do poeta, o que nos permite analisar
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Kovacs, George Adam. "Iphigenia at Aulis: Myth, Performance, and Reception." Thesis, 2010. http://hdl.handle.net/1807/32938.

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When Euripides wrote his final play, Iphigenia at Aulis, depicting the human sacrifice of Agamemnon’s first child that allowed the sailing of the Greek expedition against Troy, he was faced with several significant mythographic choices. Of primary concern was the outcome of the sacrifice: there existed a strong tradition in early sources that mitigated the sacrifice by affecting a divine rescue by Artemis, usually with a deer being left in her place on the altar. The extremely troubled textual history of our script – the play was first performed posthumously, and we do not know in what state
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HSU, CHAO-TZU, and 許照慈. "Impersonating A “Storyteller” ? : My Journey as The Chorus Leader in Iphigenia in Aulis." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/hbs748.

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碩士<br>國立臺北藝術大學<br>劇場藝術創作研究所<br>107<br>This dissertation focuses on how the author, Chao-Tzu Hsu, impersonated herself as the Chorus Leader in a contemporary theatre perspective. Emerged from the Greek tragedy Iphigenia in Aulis, the role as the story-teller has provided Hsu a rather unpredictable challenge as she sought to elucidate the various images of the Chorus. She tried to make her own path as she plays, and worked on striking balances when conflicting ideas within the production appeared. In this graduation production performed in Taipei National University of the Arts, she explores wha
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Alexander-Lillicrap, Jessica. "Two escape tragedies in translation and performance: Euripides' Iphigenia among the Taurians and Helen." Thesis, 2022. http://hdl.handle.net/1959.13/1451302.

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Research Doctorate - Doctor of Philosophy (PhD)<br>The aim of this study is to approach Euripides’ Iphigenia among the Taurians and Helen as theatre, and so to produce new, accurate and actable translations of these closely related plays. In composing these translations, this thesis also examines the process of physical staging, and how that may influence decisions in translating, drawing on the experience and interpretation of the plays and translation from the perspectives of the director, the actors and the audience. Both plays are unusual in structure and theme; the fantasy element, especi
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Catenaccio, Claire. "Monody and Dramatic Form in Late Euripides." Thesis, 2017. https://doi.org/10.7916/D8G44X64.

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This study sets out to reveal the groundbreaking use of monody in the late plays of Euripides: in his hands, it is shaped into a potent and flexible instrument for representing emotion and establishing new narrative and thematic structures. Engaging with the current scholarly debate on music, affect, and characterization in Greek tragedy, I examine the role that monody plays in the musical design of four plays of Euripides, all produced in the last decade of his career: Ion, Iphigenia in Tauris, Phoenician Women, and Orestes. These plays are marked by the increased presence of actors’ song in
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Books on the topic "Iphigenia in Aulis (Euripides)"

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Douglas, Richardson Scott, and Euripides, eds. Euripides' Iphigenia at Aulis. University Press of America, 1988.

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2

Euripides. Euripides: Iphigenia among the Taurians, Bacchae, Iphigenia at Aulis, Rhesus. Oxford University Press, 1999.

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Teevan, Colin. Iph--: After Euripides' Iphigeneia in Aulis. Nick Hern Books in association with Lyric Theatre, Belfast, 1999.

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Teevan, Colin. Iph--: After Euripides' Iphigeneia in Aulis. Nick Hern Books in association with Lyric Theatre, Belfast, 1999.

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Euripides, ed. Euripides, Iphigenie in Aulis. Verlag der Österreichischen Akademie der Wissenschaften, 1992.

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Holloway, Tom. Love me tender: Inspired by Euripides' Iphigenia in Aulis. Currency Press, 2010.

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Euripides. Bacchae: Iphigenia at Aulis ; Rhesus. Harvard University Press, 2002.

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Ziosi, Antonio. Troiane classiche e contemporanee. Georg Olms Verlag, 2017.

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Euripides. Iphigenia among the Taurians: Bacchae ; Iphigenia at Aulis ; Rhesus / Euripides ; translated and edited by James Morwood ; introduction by Edith Hall. Oxford University Press, 2000.

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Coursen, Herbert R. Five plays of Euripides: Iphigenia at Aulus and others. Just Write Books, 2010.

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Book chapters on the topic "Iphigenia in Aulis (Euripides)"

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Torrance, Isabelle. "Iphigenia at Aulis." In A Companion to Euripides. John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119257530.ch20.

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Aretz, Susanne. "Euripides’ Iphigeneia in Aulis." In Die Opferung der Iphigeneia in Aulis. Vieweg+Teubner Verlag, 1999. http://dx.doi.org/10.1007/978-3-663-12046-9_5.

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Manolopoulos, Sotiris. "Euripides' Iphigeneia in Aulis." In Understanding Human Life through Psychoanalysis and Ancient Greek Tragedy. Routledge, 2024. http://dx.doi.org/10.4324/9781032712864-9.

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Aretz, Susanne. "Die Opferung der Iphigeneia von Homer bis Euripides." In Die Opferung der Iphigeneia in Aulis. Vieweg+Teubner Verlag, 1999. http://dx.doi.org/10.1007/978-3-663-12046-9_3.

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Peek, Philip S. "Module 56". У Αncient Greek II. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0441.26.

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Module 56 teaches students about time with a focus on analepsis (flashbacks), prolepsis (foreshadowing), frequency (events told repeatedly), and omnitemporality (truisms and general truths). In Ancient Greek students read a selection from Euripides’ Iphigeneia at Aulis (Ἰφιγένεια ἐν Αὐλίδι). Students practice parsing, practice identifying clitics and full words, and learn new vocabulary. James Patterson’s Reading Morphologically covers the imperative.
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Peek, Philip S. "Module 57". У Αncient Greek II. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0441.27.

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Module 57 teaches students more about time with a focus on story-time as it occurs in Homer’s Iliad, Thoukydides’ History, Euripides’ Iphigeneia at Aulis, and Liu’s Dandelion Dynasty series. In Ancient Greek students read Heliodoros’ Aithiopika (Αἰθιοπικά). Students practice parsing, practice identifying clitics and full words, and learn new vocabulary. James Patterson’s Reading Morphologically covers deponent verbs.
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Peek, Philip S. "Module 55". У Αncient Greek II. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0441.25.

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Module 55 continues teaching students about the narratological principle of focalization and examines instances where it occurs in complex narrator-text. In Ancient Greek students read a selection from Euripides’ Iphigeneia at Aulis (Ἰφιγένεια ἐν Αὐλίδι). Students practice parsing, practice identifying clitics and full words, and learn new vocabulary. James Patterson’s Reading Morphologically covers the optative.
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Peek, Philip S. "Module 54". У Αncient Greek II. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0441.24.

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Module 54 teaches students the narratological principle of focalization and examines instances where it occurs in simple narrator-text and character-text. In Ancient Greek students read a selection from Euripides’ Iphigeneia at Aulis (Ἰφιγένεια ἐν Αὐλίδι). Students practice parsing, practice identifying clitics and full words, and learn new vocabulary. James Patterson’s Reading Morphologically covers the subjunctive.
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Peek, Philip S. "Module 52". У Αncient Greek II. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0441.22.

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Module 52 teaches students how word order can create tension and consider possible tension in poems of Anakreon, Meleagros, and Homer. In Ancient Greek students read a selection from Euripides’ Iphigeneia at Aulis (Ἰφιγένεια ἐν Αὐλίδι). Students practice parsing, practice identifying clitics and full words, and learn new vocabulary. James Patterson’s Reading Morphologically continues covering verb formation.
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Peek, Philip S. "Module 53". У Αncient Greek II. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0441.23.

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Module 53 teaches students narratological principles for interpreting texts, including information on authors and narrators, audiences and narratees, levels of narration, reception, materials, texts, and stories. In Ancient Greek students read a selection from Euripides’ Iphigeneia at Aulis (Ἰφιγένεια ἐν Αὐλίδι). Students practice parsing, practice identifying clitics and full words, and learn new vocabulary. James Patterson’s Reading Morphologically covers the infinitive.
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