GREEKS, BARBARIANS AND AESCHYLUS' SUPPLIANTS

Abstract

Ten years after producing the Persians in 472 BC, in which Greeks and barbarians are locked in conflict with each other, Aeschylus in the Suppliants explores the inextricable intertwining of Greekness and barbarity. While even in the Persians Aeschylus recognizes the ultimate ‘kinship' between Greek and barbarian (the women of Atossa's dream – one wearing Persian robes, the other Dorian – are described as ‘sisters of one race': Aesch. Pers. 180–7), in the Suppliants the poet develops this theme and casts it in sharper relief. In this later play, now generally accepted (despite archaic or archaizing elements) to have been produced in the late 460s, Aeschylus is more actively interested in the ways in which kinship both intersects with and is complicated by cultural polarity, and at the same time undercuts and complicates ‘Otherness'.

Uma invenção helenística: a construção da ideia de judaísmo em oposição ao helenismo no livro de '2 Macabeus'

“…A respeito desta questão na obra Suplicantes de Ésquilo, cf. Mitchell (2006); na obra Os Persas de Ésquilo, cf. Goldhill (2002); nas tragédias de Eurípides, cf.…”

Deber Hacer, Poder Hacer: Los Dilemas De Pelasgo en Suplicantes De Esquilo

“…Este aspecto tiene una fuerte repercusión escénica, como señala Morin (2005: 112): le metteur en scène des Suppliantes avait pourvu les choreutes de masques sombres, au lieu des masques blancs habituellement attribués aux femmes. La compleja relación entre griegos y bárbaros que se propone en la obra ha sido especialmente estudiada por Mitchell (2006). No obstante, la autora propone una interpretación extradramática (2006: 206): this revision not only reflects the political situation in the mid fifth century, but also helps to open the way for a new political relationship for the Athenians and the Persian empire.…”

La condición de ser "otro" en Suplicantes de Esquilo: un análisis (comparativo) de la escena del heraldo de los egipcios

“…Este aspecto tiene una fuerte repercusión escénica, como señala Morin (2005, p. 112): "le metteur en scène des Suppliantes avait pourvu les choreutes de masques sombres, au lieu des masques blancs habituellement attribués aux femmes." La compleja relación entre griegos y bárbaros que se propone en la obra ha sido especialmente estudiada por Mitchell (2006). No obstante, la autora propone una interpretación extradramática (MITCHELL, 2006, p. 206): "this revision not only reflects the political situation in the mid fifth century, but also helps to open the way for a new political relationship for the Athenians and the Persian empire."…”