Search Results (6)

In the Prometheus trilogy, fate dictates critical actions taken by Prometheus, such as forming alliances, stealing fire, facing punishment, and eventual liberation. This trajectory gradually aligns with the divine will of Zeus, reflecting the theological framework of early Greek religion. Within the play, Prometheus’s rebellion against the established order of distribution determines his “unlawful act”, which brings about retributive justice—a theological necessity for restoring the balance between human advancement and divine sovereignty. In essence, Prometheus’s punishment results from the interplay between fate and Zeus’s rule, yet this suffering is essential for the harmonization of the cosmic order. Consequently, throughout this process, Zeus’s divine justice undergoes continuous evolution, ultimately establishing the foundation for the legitimacy of civic ethics and providing a theological justification for the justice of human suffering. Ultimately, Aeschylus traces civic ethical norms to Zeus’s justice, demonstrating how democracy gains legitimacy through theological discourse, which highlights the intricate connections among Greek religion, democracy, and tragedy. Full article

This essay proposes a new interpretation of the Pauline expression to “clothe” (ἐνδύω) oneself in Christ (Rom 13:14; Gal 3:27; Eph 4:24; Col 3:10). The phrase has been understood in terms of putting on virtues and godly characteristics. Other understandings of this phrase appear in terms of a new identity (Gal 3:27). There has been relatively limited study, however, on the significance of clothing and how different racial groups were known and characterized by their dress. Clothing was not just something that one “puts on” to protect the body from the elements or analogously understood in terms of adopting virtues. Clothing was a racial signifier, and the putting on or taking off of clothing signaled a racial transformation. The ability to “put on clothes” would have been understood in terms of the malleable nature of racial identity. By drawing on the insights of Herodotus, Aeschylus, Plutarch, and other Greek and Roman writers, this reading proposes a racial interpretation of Paul’s “clothing” phrases in Romans 13:14, Galatians 3:27, Ephesians 4:24, and Colossians 3:10. This essay explores the interpretation of these Pauline passages in contemporary scholarship, describes how the changing of clothing also signified a change of racial identity, and lastly, demonstrates how these insights can impact our understanding of the Pauline expression to “clothe oneself in Christ”. Full article

Within the ancient corpus we find depictions of people seeking refuge and protection: in works of fiction, drama and poetry; on wall paintings and vases, they cluster at protective altars and cling to statues of gods who seemingly look on. Yet the ancient evidence does not lend itself easily to exploring attitudes to refugees or asylum seekers. Hence, the question that begins this investigation is, representation of whom? Through a focus on the Greco-Roman material of the Mediterranean region, drawing on select representations, such as the tragedies Medea and Suppliant Women, the historical failed plea of the Plataeans and pictorial imagery of supplication, the goal of the exploration below is not to shape into existence an ancient refugee or asylum seeker experience. Rather, it is to highlight the multiplicity of experiences within narratives of victimhood and the confines of such labels as refugee and asylum seeker. The absence of ancient representations of a generic figure or group of the ‘displaced’, broadly defined, precludes any exceptionalising or homogenising of people in such contexts. Remaining depictions are of named, recognisable protagonists, whose stories are known. There is no ‘mass’ of refuge seekers, to whom a single set of rules could apply across time and space. Given these diverse stories of negotiation for refuge, another aim is to illustrate the ways such experience does not come to define the entirety of who a person is or encompass the complete life and its many layers. This paper addresses the challenges of representation that are exposed by, among others, thinkers such as Hannah Arendt, Liisa Malkki and Gerawork Gizaw. Full article

The late Emanuele Severino (1929–2020) was an Italian philosopher whose work on Aeschylus has not yet been made available in English. In Il giogo: alle origini della ragione: Eschilo (The Yoke: At the Origins of Reason: Aeschylus, 1989), Severino seeks to demonstrate that Aeschylus belongs amongst the founders of philosophy, i.e., that Aeschylus was the first to set down some of philosophy’s most fundamental principles, including that ontological becoming produces unbearable suffering and that the only remedy to suffering is knowledge of the truth. Thus, by introducing readers to Severino’s interpretation, and by translating various passages of his work, this article aims to enlarge Severino’s readership and spread his argument for the philosophical stature of Aeschylus. Full article

This article looks at the ‘public’ ‘place’ of drama in Britain at present by offering an analysis of a contemporary version of an ancient Greek play by Aeschylus, entitled The Suppliant Women, written by David Greig, directed by Ramin Gray, and first performed at the Royal Lyceum Theatre Edinburgh in 2016. Following an agonistic (Chantal Mouffe), rather than a consensual (Jürgen Habermas) model of the public sphere, it argues that under globalisation, three cumulative and interwoven senses of the public sphere, the discursive, the spatial, and the individual and his/her/their relation to a larger form of organisation, despite persisting hegemonic structures that perpetuate their containment, have become undone. This is the kind of unbounded model of public sphere Greig’s version of Aeschylus’ The Suppliant Women seems to suggest by precisely offering undoings of discourses, spaces, and individualisations. In order to frame the first kind of undoing, that is, the unmarking of theatre as contained, the article uses Christopher Balme’s notion of ‘open theatrical public sphere’, and in order to frame the second, that is, the undoing of elements ‘in’ Greig’s version, the article utilises Greig’s concept of ‘constructed space’. The article arrives then at the notion of the open constructed public sphere in relation to The Suppliant Women. By engaging with this porous model of the public sphere, The Suppliant Women enacts a protest against exclusionary, reductive models of exchange and organisation, political engagement, and belonging under globalisation. Full article

This essay examines the representation of the sacrifice of Iphigenia in the fresco by Gian Battista Tiepolo, located in Villa Valmarana near Vicenza. It explores the origins of the myth, beginning with the tragedy of Aeschylus, and continues to explore interpretations in the Latin literature until the Baroque period. The essay focuses especially on the patriarchal figure of Agamemnon, and the meaning of his hidden face. Full article