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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 Euripides left the text – means that we cannot be certain which tradition Euripides actually chose to follow, sacrifice or rescue. Depicting Iphigenia as a willing victim, however, must have been Euripides’ own innovation. This dissertation explores the ramifications of that self-sacrifice and contextualizes this play within a tradition of mythographic evolution and reception. Chapter 1 surveys the history of criticism of the text, itself a mode of reception, and also examines trends in Euripidean criticism in the modern period, limited until recently by the textual issues. Chapter 2 considers instances of the Iphigenia legend before Euripides’ play. The parodos of Agamemnon, the first source to express the sacrifice in terms of human suffering, receives special attention. Chapter 3 seeks to understand audience reception at the moment of first performance through three different critical lenses: thematic (self-sacrifice was a recurring motif in Euripides’ work), socio-political (by considering the recurring Panhellenic sentiment deployed in the play’s rhetoric), and dramaturgical (by treating the spatial dynamics of the performance as a point of intertextual contact). Chapters 4 and 5 examine reception of the sacrifice story in antiquity (in the Hellenistic and Roman periods), a process which reveals much about the position of Greek tragedy in the popular imagination following the fifth century. The final chapter brings to bear considerations of adaptations of the play into new genres and new media since the advent of the printing press, all of which open up new possibilities for the creators of these adaptations and the story they wish to tell.

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 Euripides left the text – means that we cannot be certain which tradition Euripides actually chose to follow, sacrifice or rescue. Depicting Iphigenia as a willing victim, however, must have been Euripides’ own innovation. This dissertation explores the ramifications of that self-sacrifice and contextualizes this play within a tradition of mythographic evolution and reception. Chapter 1 surveys the history of criticism of the text, itself a mode of reception, and also examines trends in Euripidean criticism in the modern period, limited until recently by the textual issues. Chapter 2 considers instances of the Iphigenia legend before Euripides’ play. The parodos of Agamemnon, the first source to express the sacrifice in terms of human suffering, receives special attention. Chapter 3 seeks to understand audience reception at the moment of first performance through three different critical lenses: thematic (self-sacrifice was a recurring motif in Euripides’ work), socio-political (by considering the recurring Panhellenic sentiment deployed in the play’s rhetoric), and dramaturgical (by treating the spatial dynamics of the performance as a point of intertextual contact). Chapters 4 and 5 examine reception of the sacrifice story in antiquity (in the Hellenistic and Roman periods), a process which reveals much about the position of Greek tragedy in the popular imagination following the fifth century. The final chapter brings to bear considerations of adaptations of the play into new genres and new media since the advent of the printing press, all of which open up new possibilities for the creators of these adaptations and the story they wish to tell.

Inaug.-Diss.--Münster. / Lebenslauf. Includes bibliographical references.

Inaug.-Diss.--Münster. / Lebenslauf. Includes bibliographical references.

A busca desenfreada pelo ouro em Minas Gerais, no século XVIII, resultou na edificação de uma cidade desordenada e sem recursos de abastecimento. Além disso, Portugal, proibindo a instalação das ordens primeiras, delegou às irmandades um papel central no desenvolvimento de uma religiosidade popular. Tendo em vista estas considerações, e partindo de uma leitura indiciária, este trabalho analisou as representações artísticas no interior da Igreja de Santa Ifigênia, em Ouro Preto, destacando a presença da cultura africana. Pois, acreditamos que as condições históricas e sociais favoreceram a instalação dessas representações, sobretudo, em função da consecução dessas congregações religiosas. É nesse cenário, portanto, que a Irmandade de Nossa Senhora do Rosário foi constituída em 1718, abrigando brancos e negros e estabelecendo-se na freguesia de Antônio Dias. Posteriormente, em decorrência de desentendimentos que os apartaram, houve a reforma do estatuto em 1733, originando a Irmandade do Rosário dos Pretos de Santa Ifigênia do Alto da Cruz. Acreditamos que sua ornamentação foi orientada pelos devotos, uma vez que estas instituições, sobretudo, até 1733, possuíam certa autonomia na sua administração. Fato este que sustentou e motivou esta investigação. A presença maciça de africanos, num lugar isolado, exigiu um sistema de poder que era exercido menos pelo uso da violência e, mais, pelo uso e controle de valores religiosos. E é na brecha desse controle, ou seja, entre a norma e o conflito, que acreditamos, puderam surgir espaços de negociação, através dos quais, essas pessoas, em certa medida, mantiveram traços de sua matriz cultural. / The gold rush in Minas Gerais in the 18th century resulted in the construction of a disordered city without supplying resources. Moreover, Portugal prohibited the installation of First Orders, delegating to the brotherhoods a central role in the development of a popular religious conscience. In view of these reflections, and using indicting reading, this work analyzed the artistic representations in the interior of the Church of Saint Iphigenia, in Ouro Preto, highlighting the presence of African culture. For we believe that the historical and social conditions favored the installation of these representations, especially because of the permission of religious congregations. This was the background scenery for the constitution of the Brotherhood of Our Lady of the Rosary in the neighborhood of Antonio Dias in 1718, which sheltered whites and blacks. Later, due to misunderstandings that had separated them, there was a reform of the statute in 1733, originating the Brotherhood of Our Lady of the Rosary of the Black People of Saint Iphigenia from Alto da Cruz. We believe that the church decoration was guided by brotherhood members, once these institutions, mainly until 1733, had relative administrative autonomy, which has supported and motivated this research. The massive presence of Africans in an isolated place demanded a power system less based on violence than the use and control of religious values. And it is in the breach of this control, or, between norm and conflict, that we believe that room for negotiation emerged, through which, these people kept traces of their cultural matrix.

A busca desenfreada pelo ouro em Minas Gerais, no século XVIII, resultou na edificação de uma cidade desordenada e sem recursos de abastecimento. Além disso, Portugal, proibindo a instalação das ordens primeiras, delegou às irmandades um papel central no desenvolvimento de uma religiosidade popular. Tendo em vista estas considerações, e partindo de uma leitura indiciária, este trabalho analisou as representações artísticas no interior da Igreja de Santa Ifigênia, em Ouro Preto, destacando a presença da cultura africana. Pois, acreditamos que as condições históricas e sociais favoreceram a instalação dessas representações, sobretudo, em função da consecução dessas congregações religiosas. É nesse cenário, portanto, que a Irmandade de Nossa Senhora do Rosário foi constituída em 1718, abrigando brancos e negros e estabelecendo-se na freguesia de Antônio Dias. Posteriormente, em decorrência de desentendimentos que os apartaram, houve a reforma do estatuto em 1733, originando a Irmandade do Rosário dos Pretos de Santa Ifigênia do Alto da Cruz. Acreditamos que sua ornamentação foi orientada pelos devotos, uma vez que estas instituições, sobretudo, até 1733, possuíam certa autonomia na sua administração. Fato este que sustentou e motivou esta investigação. A presença maciça de africanos, num lugar isolado, exigiu um sistema de poder que era exercido menos pelo uso da violência e, mais, pelo uso e controle de valores religiosos. E é na brecha desse controle, ou seja, entre a norma e o conflito, que acreditamos, puderam surgir espaços de negociação, através dos quais, essas pessoas, em certa medida, mantiveram traços de sua matriz cultural. / The gold rush in Minas Gerais in the 18th century resulted in the construction of a disordered city without supplying resources. Moreover, Portugal prohibited the installation of First Orders, delegating to the brotherhoods a central role in the development of a popular religious conscience. In view of these reflections, and using indicting reading, this work analyzed the artistic representations in the interior of the Church of Saint Iphigenia, in Ouro Preto, highlighting the presence of African culture. For we believe that the historical and social conditions favored the installation of these representations, especially because of the permission of religious congregations. This was the background scenery for the constitution of the Brotherhood of Our Lady of the Rosary in the neighborhood of Antonio Dias in 1718, which sheltered whites and blacks. Later, due to misunderstandings that had separated them, there was a reform of the statute in 1733, originating the Brotherhood of Our Lady of the Rosary of the Black People of Saint Iphigenia from Alto da Cruz. We believe that the church decoration was guided by brotherhood members, once these institutions, mainly until 1733, had relative administrative autonomy, which has supported and motivated this research. The massive presence of Africans in an isolated place demanded a power system less based on violence than the use and control of religious values. And it is in the breach of this control, or, between norm and conflict, that we believe that room for negotiation emerged, through which, these people kept traces of their cultural matrix.

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 o amadurecimento de suas reflexões poético-filosóficas. A tragédia, embora com características bastante peculiares, insere-se na Grécia como herdeira da tradição poética grega - a épica e a lírica - e da sua missão educadora. Em face das grandes transformações de caráter político, social e cultural ocorridas na Grécia com o desenvolvimento e a consolidação do modelo de pólis democrática - que tem o seu apogeu no século V a.C., um novo perfil de homem, com características bastante diferentes daquelas projetadas em torno da nobreza aristocrática palaciana, vai ser exigido. Reconfigurando as estruturas do mito e valendo-se dos meios expressivos do teatro, a tragédia vai exercer em Atenas, que se tornara, então, o principal pólo cultural, político e econômico da Grécia, o seu ofício poético-pedagógico de direcionar o olhar dos homens para as questões essenciais da vida na pólis. A posição tradicional da arte dramática parece não satisfazer Eurípides. É certo que não lhe faltava a consciência de sua missão pedagógica. Não a exercia, porém, no mesmo sentido de seus antecessores, mas sim mediante a participação apaixonada nos problemas da política e da vida espiritual de seu tempo. A crítica euripidiana, cuja força purificadora reside na negação do convencional e na revelação do problemático, nos faz olhar para as contradições e as idiossincrasias de uma educação em tempos de crise. Na Ifigênia em Áulis, que ora examinamos, Eurípides põe em questão o próprio paradigma heróico, base da educação tradicional aristocrática, suscitando uma reavaliação do conceito de herói e de seu significado na formação do homem grego. Por outro lado, sempre sob o peso artístico de uma erística ousada e vigorosa, a dinâmica dialética desse drama, complexa e tão bem articulada, ilumina a questão dos limites da ação educativa e de seus fundamentos. E o imponderável, que paira sobre a existência do homem, é lembrado, como o grande obstáculo à elaboração de um modelo definitivo e seguro de educação. / This theoretical research, of philosophic-educational nature, aims to analyze the way as Euripides represents, discusses and brings into question, through his work, the intellectual and political debate which marked the cultural life of Athens in the second half of the 5th Century b. C., as well as its effects in the moral and educational field. Due to difficulty of analyzing, in this study, the whole preserved work of Euripides, we emphasize the play Iphigenia in Aulis. This play approaches the subject of the education and is one of the last compositions of the poet, which allows us to analyze the philosophical-poetic maturing of his reflections. The tragedy, although with a sufficient amount of peculiar characteristics, is inserted in Greece as an heiress of the poetical Greek tradition - the epic and the lyrical ones - and its educational mission. Due to great political, social and cultural transformations that occurred in Greece with the development and the consolidation of the model of pólis democratic - that has its highest point in the 5th century b. C. -, a new profile of man, with sufficiently different characteristics of those projected ones around the aristocratic nobility, would be demanded. Reconfiguring the structures of the myth and using the expressive means of the theater, the tragedy would play in Athens, that became, then, the main cultural, political and economical pole of Greece, its poetical-pedagogical role to conduct the attention of the men to the essential questions of the life in the pólis. The traditional position of the dramatic art seems not to satisfy Euripides. It is certain that he did not lack the conscience of a pedagogical mission. He did not practice it, however, in the direction of his predecessors, but by means of the passionate participation in the problems of the politics and the spiritual life. The euripidian criticism, whose purifying force inhabits in the negation of the conventional and in the revelation of the problematic, makes us look at the contradictions and the idiosyncrasies of an education in times of crisis. In the Iphigenia in Aulis, Euripides questions the heroic paradigm, base of the traditional aristocratic education, causing a revaluation of the concept of hero and of his meaning in the formation of the Greek man. However, under the artistic weight of a daring and vigorous eristic, the dialectical dynamic of this drama, complex and articulated, always illuminates the question of the limits of the educative action and of his bases. And the imponderable, which hovers over the existence of the man, is remembered, like the great obstacle to the preparation of a definite and secure model of education.

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 proportion to choral song. The lyric voice of the individual takes on an unprecedented prominence with far-reaching implications for the structure and impact of each play. The monodies of Euripides are a true dramatic innovation: in addition to creating an effect of heightened emotion, monody is used to develop character and shape plot. In Ion, Iphigenia in Tauris, Phoenician Women, and Orestes, Euripides uncouples monody’s traditional and exclusive connection with lament. In contrast to the work of Aeschylus and Sophocles, where actors’ song is always connected with grief and pain, in these four plays monody conveys varied moods and states of mind. Monody expresses joy, hope, anxiety, bewilderment, accusation, and deliberation. Often, and simultaneously, it moves forward narrative exposition. The scope and dramatic function of monody grows and changes: passages of actors’ lyric become longer, more metrically complex, more detached from the other characters onstage, and more intensely focused on the internal experience of the singer. In the four plays under discussion we see a steadily increasing refinement and expansion of the form, a development that rests upon the changes in the style and function of contemporary music in the late fifth century. By 415 B.C., many formal features of tragedy had become highly conventionalized, and determined a set of expectations in the contemporary audience. Reacting against this tradition, Euripides successively redefines monody: each song takes over a traditional Bauform of tragedy, and builds upon it. The playwright uses the paired monodies of Ion to pose a conflict of ideas that might otherwise be conveyed through an agon. In Iphigenia in Tauris the heroine’s crisis and its resolution are presented in lyrics, rather than as a deliberative rhesis. In Phoenician Women, Antigone, Jocasta, and Oedipus replace the Chorus in lamenting the fall of the royal house. Finally, the Phrygian slave in Orestes sings a monody explicitly marked as a messenger speech that inverts the conventions of the form to raise questions about objectivity and truth in a disordered world. In examining these four plays, I hope to show some of the various potentials of this new Euripidean music as a major structural element in tragic drama, insofar as it can heighten emphasis, allow for the development of emotional states both subtle and extreme, reveal and deepen character, and mirror thematic movements. Euripides establishes monody as a dramatic form of considerable versatility and power. The poetry is charged with increased affect and expressivity; at the same time it articulates a new self-consciousness about the reciprocal capacities of form and content to shape one another. Here we may discern the shift of sensibility in Euripides’ late work, which proceeds pari passu with an apparent loosening of structural demands, or what one with equal justice might recognize as an increase in degrees of freedom. As the playwright repeatedly reconfigures the relationship between form and content, the range of what can happen onstage, of what can be said and sung, expands.

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 o amadurecimento de suas reflexões poético-filosóficas. A tragédia, embora com características bastante peculiares, insere-se na Grécia como herdeira da tradição poética grega - a épica e a lírica - e da sua missão educadora. Em face das grandes transformações de caráter político, social e cultural ocorridas na Grécia com o desenvolvimento e a consolidação do modelo de pólis democrática - que tem o seu apogeu no século V a.C., um novo perfil de homem, com características bastante diferentes daquelas projetadas em torno da nobreza aristocrática palaciana, vai ser exigido. Reconfigurando as estruturas do mito e valendo-se dos meios expressivos do teatro, a tragédia vai exercer em Atenas, que se tornara, então, o principal pólo cultural, político e econômico da Grécia, o seu ofício poético-pedagógico de direcionar o olhar dos homens para as questões essenciais da vida na pólis. A posição tradicional da arte dramática parece não satisfazer Eurípides. É certo que não lhe faltava a consciência de sua missão pedagógica. Não a exercia, porém, no mesmo sentido de seus antecessores, mas sim mediante a participação apaixonada nos problemas da política e da vida espiritual de seu tempo. A crítica euripidiana, cuja força purificadora reside na negação do convencional e na revelação do problemático, nos faz olhar para as contradições e as idiossincrasias de uma educação em tempos de crise. Na Ifigênia em Áulis, que ora examinamos, Eurípides põe em questão o próprio paradigma heróico, base da educação tradicional aristocrática, suscitando uma reavaliação do conceito de herói e de seu significado na formação do homem grego. Por outro lado, sempre sob o peso artístico de uma erística ousada e vigorosa, a dinâmica dialética desse drama, complexa e tão bem articulada, ilumina a questão dos limites da ação educativa e de seus fundamentos. E o imponderável, que paira sobre a existência do homem, é lembrado, como o grande obstáculo à elaboração de um modelo definitivo e seguro de educação. / This theoretical research, of philosophic-educational nature, aims to analyze the way as Euripides represents, discusses and brings into question, through his work, the intellectual and political debate which marked the cultural life of Athens in the second half of the 5th Century b. C., as well as its effects in the moral and educational field. Due to difficulty of analyzing, in this study, the whole preserved work of Euripides, we emphasize the play Iphigenia in Aulis. This play approaches the subject of the education and is one of the last compositions of the poet, which allows us to analyze the philosophical-poetic maturing of his reflections. The tragedy, although with a sufficient amount of peculiar characteristics, is inserted in Greece as an heiress of the poetical Greek tradition - the epic and the lyrical ones - and its educational mission. Due to great political, social and cultural transformations that occurred in Greece with the development and the consolidation of the model of pólis democratic - that has its highest point in the 5th century b. C. -, a new profile of man, with sufficiently different characteristics of those projected ones around the aristocratic nobility, would be demanded. Reconfiguring the structures of the myth and using the expressive means of the theater, the tragedy would play in Athens, that became, then, the main cultural, political and economical pole of Greece, its poetical-pedagogical role to conduct the attention of the men to the essential questions of the life in the pólis. The traditional position of the dramatic art seems not to satisfy Euripides. It is certain that he did not lack the conscience of a pedagogical mission. He did not practice it, however, in the direction of his predecessors, but by means of the passionate participation in the problems of the politics and the spiritual life. The euripidian criticism, whose purifying force inhabits in the negation of the conventional and in the revelation of the problematic, makes us look at the contradictions and the idiosyncrasies of an education in times of crisis. In the Iphigenia in Aulis, Euripides questions the heroic paradigm, base of the traditional aristocratic education, causing a revaluation of the concept of hero and of his meaning in the formation of the Greek man. However, under the artistic weight of a daring and vigorous eristic, the dialectical dynamic of this drama, complex and articulated, always illuminates the question of the limits of the educative action and of his bases. And the imponderable, which hovers over the existence of the man, is remembered, like the great obstacle to the preparation of a definite and secure model of education.