This paper examines the representation of the Queen’s grief and of the chorus’lament in the Persae of Aeschylus. Section 1 (by Paola Volpe) focuses on the Queen’s expression of grief in the dialogues with the Chorus, the Messenger and Darius, with special emphasis on the lexicon. Section 2 (by Giovanna Pace) focuses on the main functions of the chorus’lament (communication of information and expression of mourning), on its antiphonal structure and on its two different levels: the direct expression of sorrow and the description of the lament of entities and groups that are not in the scene
Tear-stained cheeks, dishevelled hair, bloodied breasts and dark clothing transformed the body to gi...
Nell’Agamennone di Eschilo e nelle Troiane di Euripide Cassandra è eroina tragica, sottoposta alla m...
El artículo analiza el coro de Suplicantes de Esquilo en el marco de los debates en torno al denomin...
This paper examines the representation of the Queen’s grief and of the chorus’lament in the Persae o...
The object of this thesis is to describe the features of laments in Aeschylus, Sophocles and Euripid...
Análisis de la identidad, función y uso del coro en las tragedias fragmentarias de Esquilo.A study o...
Análisis de la identidad, función y uso del coro en las tragedias fragmentarias de Esquilo.A study o...
The lyrical section of the Aeschylus\u2019 Persae parodos (at ll. 65-139) is very expressive both in...
The chorus in Greek tragedy has always been considered an important element of dramatic composition....
Abstract: This paper examines two scenes of Aeschylus’ Supplices (825-910 and 1019-73) where the pre...
The article investigates the relationship between tragedy and the hymenaios, the lyrical wedding-son...
The focus of this paper is on three different aspects of the first stasimon of Trojan Women. While t...
The lament of Juturna at the end of the Aeneid (12,869–886) shows the features of a real funeral com...
VOICES FROM CAPTIVE WOMEN : CHORAL DRAMA AS AN EXPRESSION OF THE TRAGIC ESSENCE Euripides’ play Tr...
The musical analysis of Greek tragedy has traditionally been limited to studies of meter and metathe...
Tear-stained cheeks, dishevelled hair, bloodied breasts and dark clothing transformed the body to gi...
Nell’Agamennone di Eschilo e nelle Troiane di Euripide Cassandra è eroina tragica, sottoposta alla m...
El artículo analiza el coro de Suplicantes de Esquilo en el marco de los debates en torno al denomin...
This paper examines the representation of the Queen’s grief and of the chorus’lament in the Persae o...
The object of this thesis is to describe the features of laments in Aeschylus, Sophocles and Euripid...
Análisis de la identidad, función y uso del coro en las tragedias fragmentarias de Esquilo.A study o...
Análisis de la identidad, función y uso del coro en las tragedias fragmentarias de Esquilo.A study o...
The lyrical section of the Aeschylus\u2019 Persae parodos (at ll. 65-139) is very expressive both in...
The chorus in Greek tragedy has always been considered an important element of dramatic composition....
Abstract: This paper examines two scenes of Aeschylus’ Supplices (825-910 and 1019-73) where the pre...
The article investigates the relationship between tragedy and the hymenaios, the lyrical wedding-son...
The focus of this paper is on three different aspects of the first stasimon of Trojan Women. While t...
The lament of Juturna at the end of the Aeneid (12,869–886) shows the features of a real funeral com...
VOICES FROM CAPTIVE WOMEN : CHORAL DRAMA AS AN EXPRESSION OF THE TRAGIC ESSENCE Euripides’ play Tr...
The musical analysis of Greek tragedy has traditionally been limited to studies of meter and metathe...
Tear-stained cheeks, dishevelled hair, bloodied breasts and dark clothing transformed the body to gi...
Nell’Agamennone di Eschilo e nelle Troiane di Euripide Cassandra è eroina tragica, sottoposta alla m...
El artículo analiza el coro de Suplicantes de Esquilo en el marco de los debates en torno al denomin...