Leyla Ozbek
My research interest are, among others, Greek tragedy and fragments, Greek epic, Greek literature of the Imperial period, cultural and literary contacts between Greek and Latin traditions, women studies, digital humanities, papyrology, and the study of ancient manuscripts transmission.
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Dall'esperienza del Gruppo Teatrale della Normale, nuove traduzioni italiane originali delle tragedie di Sofocle, specificamente pensate per la messa in scena. Nel primo volume, Elettra e Filottete.
Papers
By showing their actions and inner connection with their female relative, the dramatists aim to enhance the portrayal of the motivations, grief and, in some cases, the justifications of the protagonist of these plays: the mother.
The aim of this study is to show how these male characters play the role of sounding boards for the female protagonists’ guilt and sorrow: they magnify the characterisations of the mothers, and, above all, their grieving solitude.
The audience, however, have already heard Tiresias’ prophecy, and thus know that the σκῆπτρον will also be the staff that Oedipus will use once blind. By means of its polysemy, then, the same word is associated with the three crucial moments of Oedipus’ life as it is laid out throughout the play: the past, with the killing of Laius; the present, with his position of king; the future, with the atonement for his crimes. Although recurring only twice in the drama, σκῆπτρον is set at the crossroads of Oedipus’ life, and has therefore a remarkable significance for the whole meaning of the play. What is more, Sophocles seems to bear this association in mind when actually staging the ‘sequel’ of Oedipus Rex, Oedipus Coloneus. By playing again on the different meanings of σκῆπτρον (both the blind man’s walking-stick and his former sceptre), the poet revives the ambiguity he had already created in Oedipus Rex, and confirms the associations of the term with each stage of Oedipus’ life.
This article will deal with the literary and cultural-historical aspects of the depiction of Aeneas, aiming to demonstrate how Quintus deals with these patterns against the background of the cultural negotiation between Greek identity and the Roman Empire.
Dall'esperienza del Gruppo Teatrale della Normale, nuove traduzioni italiane originali delle tragedie di Sofocle, specificamente pensate per la messa in scena. Nel primo volume, Elettra e Filottete.
By showing their actions and inner connection with their female relative, the dramatists aim to enhance the portrayal of the motivations, grief and, in some cases, the justifications of the protagonist of these plays: the mother.
The aim of this study is to show how these male characters play the role of sounding boards for the female protagonists’ guilt and sorrow: they magnify the characterisations of the mothers, and, above all, their grieving solitude.
The audience, however, have already heard Tiresias’ prophecy, and thus know that the σκῆπτρον will also be the staff that Oedipus will use once blind. By means of its polysemy, then, the same word is associated with the three crucial moments of Oedipus’ life as it is laid out throughout the play: the past, with the killing of Laius; the present, with his position of king; the future, with the atonement for his crimes. Although recurring only twice in the drama, σκῆπτρον is set at the crossroads of Oedipus’ life, and has therefore a remarkable significance for the whole meaning of the play. What is more, Sophocles seems to bear this association in mind when actually staging the ‘sequel’ of Oedipus Rex, Oedipus Coloneus. By playing again on the different meanings of σκῆπτρον (both the blind man’s walking-stick and his former sceptre), the poet revives the ambiguity he had already created in Oedipus Rex, and confirms the associations of the term with each stage of Oedipus’ life.
This article will deal with the literary and cultural-historical aspects of the depiction of Aeneas, aiming to demonstrate how Quintus deals with these patterns against the background of the cultural negotiation between Greek identity and the Roman Empire.
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Registration is free but compulsory. Please complete the form on www.teatroclassico.unito.it (deadline 25th Nov. 2018).
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Download the PROGRAMME here: http://www.teatroclassico.unito.it/it/content/annuale-convegno-internazionale-«-forgotten-theatre»
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