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

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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Pereplotchykova, Svitlana. "YORGOS LANTHIMOS’ THE KILLING OF A SACRED DEER: CONTEMPORARY RECEPTION OF EURIPIDES’ IPHIGENIA IN AULIS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 33 (2023): 101–6. http://dx.doi.org/10.17721/1728-2659.2023.33.17.

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Ancient Greek subjects preserve their relevance in our times through their timeless, profound and comprehensive consideration of the human soul and interpersonal relations, which remain unchanged throughout the centuries in accordance with human nature. Euripides’ tragedy Iphigenia in Aulis has not been exploited often by later writers and film makers who have focused mainly on the murder of the King of Mycenae, Agamemnon, and the destiny of the dynasty of the Atreidae in accordance with Aeschylus’ trilogy. Nevertheless, one of the main reasons for the murder of Agamemnon by his wife Clytemnes

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12

Leroux, Virginie. "Les premières traductions de l’Iphigénie à Aulis d’Euripide, d’Érasme à Thomas Sébillet." Renaissance and Reformation 40, no. 3 (2017): 243–64. http://dx.doi.org/10.33137/rr.v40i3.28743.

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En 1506, Érasme est le premier à traduire en latin des tragédies grecques entières, en l’occurrence deux tragédies d’Euripide, Hécube et Iphigénie à Aulis. S’il adopte pour l’Hécube une traduction vers à vers, il opte dans l’Iphigénie pour une traduction plus détaillée en veillant à produire dans la langue cible les effets de l’original. Dans son ouvrage sur L’Hécube d’Euripide en France, Bruno Garnier a montré comment la traduction latine d’Érasme a influencé la première traduction française de l’Hécube, attribuée à Guillaume Bochetel (1544). Cet article est consacré aux premières traductions

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13

Sorum, Christina Elliott. "Myth, Choice, and Meaning in Euripides' Iphigenia at Aulis." American Journal of Philology 113, no. 4 (1992): 527. http://dx.doi.org/10.2307/295538.

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Pottakis, Andreas. "GREECE In Search of a Modern Deus ex Machina: Towards an Orderly Bankruptcy of European Legal Orders." European Public Law 17, Issue 2 (2011): 181–96. http://dx.doi.org/10.54648/euro2011014.

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'O my father, here am I to do thy bidding; freely I offer this body of mine for my country and all Hellas, that ye may lead me to the altar of the goddess and sacrifice me, since this is Heaven's ordinance. Good luck be yours for any help that I afford! and may ye obtain the victor's gift and come again to the land of your fathers. So then let none of the Argives lay hands on me, for I will bravely yield my neck without a word.' Iphigenia, in Euripides' Iphigenia at Aulis

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15

Griffith, Mark. "AESCHYLUS’, EURIPIDES’, CACOYANNIS'S—AND SHORTER-SPALDING'S IPHIGENIAS." Ramus 52, no. 1 (2023): 40–44. http://dx.doi.org/10.1017/rmu.2023.5.

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Like Euripides’ play, Iphigenia at Aulis, the Shorter-spalding opera is open-ended and unresolved—partly because, again like the Euripidean version, it is multi-authored and somewhat incomplete. Euripides’ play, in the form(s) in which we possess it, presents at least three different endings, none of which is likely to come from Euripides’ own pen; other authors certainly contributed to various sections of the final scene. Euripides himself also had a musical collaborator, Cephisophon, who presumably continued to work on finishing and rehearsing the play after Euripides himself died, up to its

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Morwood, James. "A Note on the Euripus in Euripides’ Iphigenia at Aulis." Classical Quarterly 51, no. 2 (2001): 607–8. http://dx.doi.org/10.1093/cq/51.2.607.

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17

Ryzman, Marlene. "The reversal of Agamemnon and Menelaus in Euripides’ Iphigenia at Aulis." Emerita 57, no. 1 (1989): 111–18. http://dx.doi.org/10.3989/emerita.1989.v57.i1.581.

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18

Willink, C. W. "The goddess ΕΥΛΑΒΕΙΑ and pseudo-Euripides in Euripides' Phoenissae". Proceedings of the Cambridge Philological Society 36 (1990): 182–201. http://dx.doi.org/10.1017/s0068673500005277.

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Few, if any, Euripidean plays are altogether free from interpolation. The Phoenician Women, apart from the posthumous Iphigenia at Aulis, has incurred more suspicion than any other. No reputable scholar now doubts that this play contains numerous intrusive verses; and few would deny, though there is almost infinite room for disagreement in detail, that some of these intrusions are of passages rather than odd lines.More controversial, but also more important, are the related issues, whether it contains longer or otherwise structurally significant interpolations that affect the play's essential

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Vasileiou, Fotis. "“No one can escape God”. A filicidal beneficial tale from early Byzantium." Byzantinische Zeitschrift 111, no. 1 (2018): 135–56. http://dx.doi.org/10.1515/bz-2018-0006.

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Abstract John Moschos includes the story of a female filicide in his Spiritual Meadow. After exploring the authorial self of Moschos, this article discusses the relation between this beneficial story and the biblical book of Jonah on the one hand, and Euripides’ Iphigenia at Aulis and Medea on the other. Finally, the story is examined in the wider framework of the seventh century, in an attempt to understand John Moschos’ viewpoint on his own time.

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20

Kovacs, David. "Toward a reconstruction ofIphigenia Aulidensis." Journal of Hellenic Studies 123 (November 2003): 77–103. http://dx.doi.org/10.2307/3246261.

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AbstractIphigenia Aulidensiswas produced after the poet's death, probably in 405 BC. The aim of this paper is to recover the text of this production, which I call FP for First Performance. Probably Euripides left behind an incomplete draft, which was finished by Euripides Minor, the poet's son or nephew. The text we have contains, as Page showed in 1934, material added for a fourth-century revival and other still later interpolations. Diggle's edition tries to separate original Euripides from all later hands on the basis of style. But if we want to recover the amalgam that was FP we need to be

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Bolton Bonnici, Kate. "Death, Love, and the Long Repeat: Repetition’s Burden in Lady Jane Lumley’s The Tragedie of Euripides called Iphigenia translated out of Greake into Englisshe." Philosophy & Rhetoric 57, no. 4 (2024): 435–61. https://doi.org/10.5325/philrhet.57.4.0435.

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ABSTRACT This interdisciplinary article brings continental philosophy and rhetorical theory to an exploration of crucial scenes between Iphigenia and her mother Clytemnestra in Lady Jane Lumley’s sixteenth-century manuscript translation of Euripides’s Iphigenia at Aulis. In Lumley’s translation, mother and daughter model—through listening to each other, through repetition, and through their ineffective and yet constitutive arguments as Iphigenia approaches death—how the living may allow the dying to become dead, each opening toward the other without closure even as they separate. The article a

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BAL, Metin. "THE PHILOSOPHICAL MEANING OF THE KILLING OF A SACRED DEER AS A CONTEMPORARY INTERPRETATION OF TRAGEDY IPHIGENIA AT AULIS." IEDSR Association 6, no. 15 (2021): 491–508. http://dx.doi.org/10.46872/pj.399.

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With the movie The Killing of a Sacred Deer , Jorgos Lanthimos takes the value sacred from superhuman powers and makes it mundane. It is claimed that queen Clytemnestra, one of the heroes of Euripides’ tragedy Iphigenia at Aulis, does not believe in superhuman powers. This is because Clytemnestra considers the event of killing of her own daughter Iphigenia a murder rather than a sacrifice. In The Killing of a Sacred Deer, Lanthimos interprets the killing of Iphigenia as a “sacrifice” by her own father, King Agamemnon, to question the relations between the people of the contemporary world. Are

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Kostyleva, Tatiana V. "Arist. Poet. 1454a31–33 Again." Philologia Classica 15, no. 2 (2020): 411–15. http://dx.doi.org/10.21638/spbu20.2020.214.

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Among the examples on how not to portray a character in tragedy, Aristotle names the female protagonist of the Iphigenia in Aulis, claiming that she is drawn in violation of the principle of consistency: begging to spare her life she is much unlike her later self. Philologists stood for Euripides, charging Aristotle with a lack of intuitive understanding. Moreover, as has been pointed out, the unaffected character of Iphigenia’s behaviour could find a footing in the ample observations on human psychology Aristotle himself made elsewhere in the Ethics and Rhethoric. Certain modern scholars, ho

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Jones, Richard. "Iph. .. (After Euripides' Iphigeneia in Aulis) (review)." Theatre Journal 51, no. 3 (1999): 334–36. http://dx.doi.org/10.1353/tj.1999.0060.

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Raissi, Poya, and Morteza Ghaffari. "Ancient Telling, Contemporary Showing: A Reading of The Killing of a Sacred Deer (2017) As Film Adaptation." CINEJ Cinema Journal 11, no. 1 (2023): 216–39. http://dx.doi.org/10.5195/cinej.2023.465.

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This article aims to investigate the contemporary aspects of adaptation from ancient plays, presenting a reading of The Killing of a Sacred Deer (2017). A comparative view towards Iphigenia at Aulis by Euripides (405 BC) raises the question of how story elements of that play are recreated within the film adaptation. Also, it seeks to explore the relationship between the type of engagement, from hypotext (play) “telling” to hypertext (film) “showing”. The theoretical framework of the article utilized theories of Gerard Genette’s “hypertextuality” and Linda Hutcheon’s “adaptation”. The results i

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Kozak, Lynn. "Searching for Homeric Fandom in Greek Tragedy." Yearbook of Ancient Greek Epic Online 2, no. 1 (2018): 118–50. http://dx.doi.org/10.1163/24688487-00201004.

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Abstract This article proposes an application of fan studies, and particularly a refined model of Suzanne Scott’s “fanboy auteur,” to reconsider Homeric creative response, with a special focus on the parodos of Euripides’s Iphigenia in Aulis.

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Pavlou, Maria. "Clytemnestra's letter in Iakovos Kambanellis’ Letter to Orestes." Byzantine and Modern Greek Studies 40, no. 2 (2016): 283–97. http://dx.doi.org/10.1017/byz.2016.8.

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Kambanellis’ Letter to Orestes constitutes Clytemnestra's apologia for the murder of Agamemnon and is addressed to her estranged son Orestes. Until now, research has concentrated mainly on the content, verbal message and metatheatrical dimension of Clytemnestra's letter, laying emphasis upon Kambanellis’ intertextual links with the ancient Greek tragedies revolving around the Atreid myth. This article focuses attention on the dramatic form of the letter, examining it as a physical object with social connotations and as an active agent in the development of the events. It is argued that in emph

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Demers, Patricia. "On First Looking into Lumley's Euripides." Renaissance and Reformation 35, no. 1 (1999): 25–42. http://dx.doi.org/10.33137/rr.v35i1.10678.

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This essay explores the text of Lady Jane Lumley's Tudor translation of Iphigeneia at Aulis in an attempt to see the mind of an erudite, privileged young woman at work. By braiding domestic and political contexts in Lumley's adroitly oblique allusions to her time, it attends to her interest in the moral issues of government and authority. The translation subtly subverts commonplaces about a woman's negligible worth.

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O'Brien, Michael J. "Pelopid History and the Plot ofIphigenia in Tauris." Classical Quarterly 38, no. 1 (1988): 98–115. http://dx.doi.org/10.1017/s0009838800031311.

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The plot ofIphigenia in Taurisis usually thought to be Euripides' own invention. Its basic assumption can be found in Proclus' summary of theCypria, viz. that a deer was substituted for Iphigenia during the sacrifice at Aulis and that she herself was removed to the land of the Tauri. Her later rescue by Orestes and Pylades, however, cannot be traced with probability to any work of art or literature earlier than Euripides' play. In this play, in which Orestes recognizes and then saves the sister whom he had long thought dead, it is assumed that her replacement by a deer went unseen by those pre

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Пичугина, В. К. "A new hero for a new world: The disciple’s path of Odyssey in Ancient Greek tragedies." Диалог со временем, no. 87(87) (June 15, 2024): 115–33. http://dx.doi.org/10.21267/aquilo.2024.87.87.006.

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В статье рассмотрены образы Одиссея в древнегреческих трагедиях и определены причины его представления на афинской сцене V в. до н.э. не только как положительного героя. Во многом благодаря Гомеру в античной литературной традиции Одиссей стал героем с особым складом ума. У Софокла и Еврипида Одиссей представлен в ряде статусов, среди которых есть и статус ученика. Сохранившиеся трагедии с участием Одиссея можно разделить на две группы: трагедии, в которых он действует в Трое, и трагедии, где он также является участником троянского похода, но находится за ее пределами (Авлида и Лемнос). В траге

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Vasiliu, Laura Otilia. "Ancient Greek Myths in Romanian Opera. Pascal Bentoiu’s Jertfirea Ifigeniei [The Sacrifice of Iphigenia]." Artes. Journal of Musicology 19, no. 1 (2019): 108–23. http://dx.doi.org/10.2478/ajm-2019-0006.

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Abstract Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poe

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SHAUGHNESSY, LORNA. "The Absence of Tragedy in Ifigenia (1950) by Gonzalo Torrente Ballester." Bulletin of Hispanic Studies: Volume 98, Issue 2 98, no. 2 (2021): 123–41. http://dx.doi.org/10.3828/bhs.2021.8.

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Gonzalo Torrente Ballester’s novella, Ifigenia (1950) has been read consistently as a critique of the consolidating Francoist state of the 1940s and an early example of his ‘demythologizing’ technique. This article seeks to open discussion on aspects of the text that have not attracted critical attention to date. It traces the unacknowledged legacies of Euripides’ Iphigenia in Aulis in the text, most visible in both authors’ emphasis on the capacity of language for deceit. Drawing on Hannah Arendt’s The Origins of Totalitarianism, it argues that Torrente’s Ifigenia should be read not only in t

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Gualberto, Rebeca. "Adaptation against Myth: Gary Owen’s Iphigenia in Splott and the Violence of Austerity." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 119. http://dx.doi.org/10.14198/raei.2021.35.06.

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This article explores, from the standpoint of socio-political myth-criticism, the processes of revision and adaptation carried out in Gary Owen’s 2015 play Iphigenia in Splott. The play, a dramatic monologue composed in the rhythms of slam poetry, rewrites the classical Greek myth of Iphigenia in order to denounce the profound injustice of the sacrifices demanded by austerity policies in Europe—and more specifically, in Britain—in the recession following the financial crash of 2008. Reassessing contemporary social, economic and political issues that have resulted in the marginalisation and deh

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Habash, Nicolas Lema. "Lawlessness Controls the Laws: Nomos, “The Ethical,” and the (Im)possibilities of Anarchia in Euripides’ Iphigenia at Aulis." Arethusa 50, no. 2 (2017): 169–92. http://dx.doi.org/10.1353/are.2017.0006.

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Zoe, Siouli-Kataki. "Θεϊκή επενέργεια και θεϊκή παρέμβαση στον Ευριπίδη". Archive 5 (4 вересня 2009): 28–32. https://doi.org/10.5281/zenodo.4561730.

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The themes of the ancient tragedy were drawn from the rich legacy of Greek mythology and concerned the achievements of gods and heroes of prehistoric times. In particular, a large part of Greek mythology concerned the relationship between gods and heroes and their action, offering indirect reasons for the origin of religious rituals. The central theme of Greek mythology was the action of humans in relation to the gods. The object of this paper is the function of the divine influence in the work of Euripides and the way in which the tragic heroes deal with the divine intervention. First, using

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Diggle, James. "The Teubner Iphigenia at Aulis H. C. Günther (ed.): Euripides, Iphigenia Aulidensis. (Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana.) Pp. xxi + 68. Leipzig: Teubner, 1988. DM 28.50." Classical Review 42, no. 01 (1992): 9–14. http://dx.doi.org/10.1017/s0009840x00281961.

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37

Chant, Dale. "Role Inversion and Its Function in the Iphigeneia at Aulis." Ramus 15, no. 2 (1986): 83–92. http://dx.doi.org/10.1017/s0048671x00003350.

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In the Iphigeneia at Aulis role and role inversion are paramount concerns. Indeed it could be contended that in this play we find Euripides' clearest and best defined account of human (and divine) variability. Agamemnon, Menelaos, Achilleus, Iphigeneia, and even, in the final analysis, Artemis, all take positions and attitudes diametrically opposed to those initially adopted. Moreover, the basic thrust behind these movements in position and attitude is the same for each of these characters. All are concerned, in one way or another, with the saving or destruction of Iphigeneia, a situation whic

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Siapatori, Katerina. "“For I Am Nothing without You”: Fragmentariness and the Transformability of Archetypal Identity in David Rabe’s The Orphan." FOCUS: Papers in English Literary and Cultural Studies 12, no. 1 (2020): 93–104. http://dx.doi.org/10.15170/focus/12.2020.6.93-104.

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In the fi eld of literary refashioning and adaptation studies, ancient Greek drama has constituted an inexhaustible source of inspiration for artistic creation and production. When it comes to drama and theatrical performance, David Rabe’s The Orphan, the third play in his Vietnam-themed tetralogy, falls precisely in this category, as it is a revised and “extensive transposition” (Hutcheon 7) of two classical works: Aeschylus’s The Oresteia, the only surviving Greek trilogy, as well as Euripides’s Iphigenia at Aulis. In adapting these tragedies, the playwright chooses to juxtapose them onstage

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39

Siapatori, Katerina. "“For I Am Nothing without You”: Fragmentariness and the Transformability of Archetypal Identity in David Rabe’s The Orphan." FOCUS: Papers in English Literary and Cultural Studies 12, no. 1 (2023): 93–104. http://dx.doi.org/10.15170/focus/10.2020.6.93-104.

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In the fi eld of literary refashioning and adaptation studies, ancient Greek drama has constituted an inexhaustible source of inspiration for artistic creation and production. When it comes to drama and theatrical performance, David Rabe’s The Orphan, the third play in his Vietnam-themed tetralogy, falls precisely in this category, as it is a revised and “extensive transposition” (Hutcheon 7) of two classical works: Aeschylus’s The Oresteia, the only surviving Greek trilogy, as well as Euripides’s Iphigenia at Aulis. In adapting these tragedies, the playwright chooses to juxtapose them onstage

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40

Lloyd, Michael. "J. Morwood (trans.): Euripides: Iphigenia among the Taurians, Bacchae, Iphigenia at Aulis, Rhesus. With introduction by Edith Hall. Pp. liii + 227, 2 maps. Oxford: Oxford University Press, 1999. Cased, £45. ISBN: 0-19-815094-6." Classical Review 50, no. 2 (2000): 576. http://dx.doi.org/10.1017/s0009840x00310058.

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Collard, Christopher. "W. Stockert: Euripides. Iphigenie in Aulis. (Wiener Studien, Beiheft, 16.1/2.) Pp. xxi + 152, 155–654. Vienna: Die Österreichischen Akademie der Wissenschaften, 1992. Paper." Classical Review 49, no. 1 (1999): 251–52. http://dx.doi.org/10.1093/cr/49.1.251.

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Ward, Marchella. "(A.) Hinds (trans.) Euripides’ Iphigenia in Aulis. Two versions of Euripides’ masterpiece. With Martine Cuypers. Pp. 187. London: Oberon Books, 2017. Paper, £14.99. ISBN: 978-1-78682-135-5. - (A.) Hinds (trans.) Aeschylus’ The Oresteia. With Martine Cuypers. Pp. 238. London: Oberon Books, 2017. Paper, £14.99. ISBN: 978-1-78682-133-1." Classical Review 69, no. 2 (2019): 673–75. http://dx.doi.org/10.1017/s0009840x19000817.

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Voisine, Connie. "Iphigenia After Aulis, and: Dystopia." Pleiades: Literature in Context 41, no. 2 (2021): 27–29. http://dx.doi.org/10.1353/plc.2021.0051.

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Euripides, Ariane Mnouchkine, Ingmar Bergman, and Edward W. Soid. "Iphigenia at Aulis the Bacchae." Grand Street, no. 42 (1992): 151. http://dx.doi.org/10.2307/25007569.

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Kasimis, Demetra. "(C.E.) Luschnig, (P.) Woodruff (trans.) Euripides: Electra, Phoenician Women, Bacchae, Iphigenia at Aulis. Pp. xl + 286, map. Indianapolis and Cambridge: Hackett Publishing Company, Inc, 2011. Paper, £8.95, US$11.95 (Cased, £26.95, US$37.95). ISBN: 978-1-60384-460-4 (978-1-60384-461-1 hbk)." Classical Review 62, no. 2 (2012): 662–63. http://dx.doi.org/10.1017/s0009840x12001539.

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van Erp Taalman Kip, Maria. "WALTER STOCKERT, Euripides, Iphigenie in Aulis, Band 1: Einleitung und Text; Band 2: Detailkommentar (Wiener Studien, Beiheft 16/2). Wien, Verlag der Österreichischen Akademie der Wissenschaften, 1992. 674 p. Pr. ÖS 674." Mnemosyne 50, no. 4 (1997): 495–500. http://dx.doi.org/10.1163/1568525972652403.

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Mastronarde, Donald J., Euripides, and M. J. Cropp. "Euripides: Iphigenia in Tauris." Phoenix 55, no. 3/4 (2001): 429. http://dx.doi.org/10.2307/1089134.

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Chong-Gossard, J. H. Kim On. "The Silence of the Virgins: Comparing Euripides' Hippolytus and Theonoe." Antichthon 38 (2004): 10–28. http://dx.doi.org/10.1017/s0066477400001477.

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One of the most pleasurable features of the plays of Euripides is his exploration of a wide range of character types, each of whom has the potential to be more exciting than the previous one. The fictional Aeschylus in the underworld of Aristophanes'Frogs(1043) remembers in particular the wicked women (Stheneboea, Phaedra), but Euripides also had his share of pious and self-sacrificing virgins (Macaria, Polyxena, Iphigenia), faithful wives (Helen in her name play, Andromache, Alcestis, Evadne), shrewd matriarchs (Hecuba, Jocasta, Aethra, Alcmene), and priestesses (Cassandra, Iphigenia inI. T.,

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WILLINK, C. W. "EURIPIDES, IPHIGENIA IN TAURIS 392–455." Classical Quarterly 56, no. 2 (2006): 404–13. http://dx.doi.org/10.1017/s0009838806000413.

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WILLINK, C. W. "EURIPIDES, IPHIGENIA IN TAURIS 123–36." Classical Quarterly 57, no. 2 (2007): 746–49. http://dx.doi.org/10.1017/s0009838807000675.

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