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- La Agathonszene: una teoría poética en Tesmoforiantes de Aristófanes(2013) Navarro Martínez, Vivian LorenaLa escena en que el tragico Agaton hace su aparicion dentro de las Tesmoforiantes de Aristofanes (vv. 95-265) no ha pasado desapercibida para los estudiosos por diversas cuestiones. El presente articulo pretende indagar en dichas cuestiones, destacando la teoria de la 'Ê.'Ê'Å'Ð'Ç. que viene enunciada en este pasaje y que es el primer testimonio en la literatura en que aparece formulada manifiestamente. Ademas, se insiste tambien en el motivo de las innovaciones musicales que introdujeron las nuevas generaciones de poetas y que la Comedia Antigua observaba no sin preocupacion y chanza.
- Helena en la tragedia griega(2013) Oliver Sánchez, LauraThis article analyses the myth of Helen in Greek tragedy, particularly in Aeschylus, Sophocles and Euripides. Either directly or indirectly, Helen is always referred to in the tragedies related to Troy, yet the portrayal of the myth does not follow the same pattern as she is not always considered responsible for the war. As I shall contend, it is worthy of notice how Euripides exonerates Helen from all blame in the homonymous tragedy and the arguments for and against her exposed in Trojan Women.
- Hypsipyle from Lemnos to Vienna: an Approach to the Metastasian Heroine(2013) Ferri-Benedetti, FlavioMetastasio's Issipile (1732) is not among the poet's most discussed libretti. Apart from the beautiful music written by Conti for its premiere in Vienna, the interest resides in its operatic mechanisms and its deep bonds with classical tradition, in an intricate mixture of Greek and Latin sources, both adopted and adapted by Metastasio. Originating from the research done for my Masterarbeit at the Schola Cantorum Basiliensis and in the view of our future research on Metastasio and classical tradition, the article introduces the libretto, an overview on the classical sources of the myth and the main musical and literary features of the work.
- El lenguaje de Clitemnestra en el Agamenón de Esquilo(2013) Rodríguez Carmona, Ana BelénThis article analyzes the female language in the classical tragedy of the 5th century BC studying its keys and its main verbal modes (such as song, plea or silence). Particularly, I shall focus on the study of one of the most popular female characters in classical tragedy, the Aeschylean Clytemnestra, whose paradigmatic staging, including issues of gender, has survived over the centuries.
- Medea: Befreiung durch Kindsmord(2013) Trost, Ana-LiThis article focuses on the rewriting of the myth of Medea by two important German dramatists, Heiner Müller in Medeamaterial. Landschaft mit Argonauten, and Dea Loher's Manhattan Medea. The two playwrights use the myth to criticize and denounce the situation of women in the German society of their times and to analyze their disadvantage compared to that of men, especially when they are mothers. Müller and Loher follow Euripides' version in which infanticide is defined as a solution for the previous problems and not as an awful act, as Seneca did. In these works infanticide is shown as the result and outcome of past events; it is not condemned but comes understood as a desperate action. I shall explain how Heiner Müller and Dea Loher first describe women in a less favourable social position than men and then claim that this situation is exacerbated when they become mothers. Both describe maternity as undesirable, so women are forced to decide against it in order to live in a society which turns them into victims.
- El mito de Orestes en la escena española contemporánea: Orestíada. Cenizas de Troya, de Diana de Paco y Alquibla Teatro(2013) Martínez Martínez, José ManuelThis article analyzes the complexity of the reception of one of the most significant Attic tragedies, Aeschylus' Orestea. To this purpose I shall focus on the version written by the classicist and playwright Diana de Paco, Orestíada. Cenizas de Troya, which was put on stage in the season 2006/2008 by the theatre company Alquibla Teatro, directed by Antonio Saura.
