Papers by IOANNA PAPADOPOULOU
Διεθνές Συνέδριο για την Ανοικτή και εξ Αποστάσεως Εκπαίδευση, Jun 9, 2016
Η εξ αποστάσεως διδασκαλία του ελληνορωμαϊκού θεάτρου και η αξιοποίηση της πλατφόρμας eClass: Μια... more Η εξ αποστάσεως διδασκαλία του ελληνορωμαϊκού θεάτρου και η αξιοποίηση της πλατφόρμας eClass: Μια σχέση «αγάπης και μίσους»;
Gender and the letter in Soph. I.A.
Διεθνές Συνέδριο για την Ανοικτή & εξ Αποστάσεως Εκπαίδευση, 2016
Η εξ αποστάσεως διδασκαλία του ελληνορωμαϊκού θεάτρου και η αξιοποίηση της πλατφόρμας eClass: Μια... more Η εξ αποστάσεως διδασκαλία του ελληνορωμαϊκού θεάτρου και η αξιοποίηση της πλατφόρμας eClass: Μια σχέση «αγάπης και μίσους»;
Θεολογία 91.1 (2020), 185-194, 2020
This paper is more an attempt to gather and comment on the sources
regarding two ‘instruments’ of... more This paper is more an attempt to gather and comment on the sources
regarding two ‘instruments’ of the ancient Theatre: the ekkyklema and
the machine, in order to point out the use of contemporary technology
in the dramatic plays. As few, partly contradictable and synoptic these
references may be, the aesthetic result was an attempt to render to the
plays a touch of realism and sensible, though symbolic, representation
of mythical (in tragedy) and imaginative (in comedy) acts.
I.N. Παπαδοπούλου, «Ο Αριστοφάνης (ως) ο Διόνυσος, οι Βάτραχοι και το δυσοίωνο μέλλον της τραγική... more I.N. Παπαδοπούλου, «Ο Αριστοφάνης (ως) ο Διόνυσος, οι Βάτραχοι και το δυσοίωνο μέλλον της τραγικής ποίησης» στο Ντ. Λεμπέση (επιμ.), Βάτραχοι του Αριστοφάνη, Φεστιβάλ Αθηνών-Επιδαύρου 2018, σσ. 8-11.
In the classical era, wise Euripides, despite the dominant belief that he was a fanatic misogynis... more In the classical era, wise Euripides, despite the dominant belief that he was a fanatic misogynist, admires Phaedra’s fiery emotions. In the tragedy “Hippolytus Crowned” (428 BC), he masterfully manages the dramatic heroine, whilst through her vulnerable psyche, he displays a disastrous transformation from a naïve emotion to a self-destructive passion.
In bloodstained Europe, which has been destroyed by unrestrained Nazi brutality, the progressive Marina Tsvetaeva climbs her own rock of Sisyphus: she grieves, but she refuses a compromise with passive futility; she isn’t humiliated by the slow death that the moral system of totalitarianism has so cruelly imposed. Her driving force is based on the myth of Phaedra, while in the titular poem (1923) she succeeds in uniting her extramarital quests with the real achievement of intellectual creativity.
Imitating the tragic end of the legendary Phaedra and the romantic Tsvetaeva, Sarah Kane, the controversial author of the theatrical work „Phaedra’s Love” (1996), ends her short life by hanging. Besides, by adopting Brecht’s authentic attitude, he irritates the impressed viewers in a constructive way; he doesn’t manipulate them passively, but she attacks the false moral values, while he engages in multidimensional politics and sharp feminist criticism.
Περίληψη: Στο 7 ο βιβλίο των Γεωγραφικών του Στράβωνα, ενός πολύπλευρου περιηγητή της ρωμαϊκής αρ... more Περίληψη: Στο 7 ο βιβλίο των Γεωγραφικών του Στράβωνα, ενός πολύπλευρου περιηγητή της ρωμαϊκής αρχαιότητας, διασώζονται πληροφορίες σχετικά με την αρχαία Θράκη, τα όρια της, τις φυλές που την κατοικούσαν, τα ήθη και τα έθιμα τους, όλα υπό το πρίσμα της σταθερής προσπάθειας του συγγραφέα να αποδείξει την ορθότητα των ομηρικών περιγραφών και παράλληλα να δώσει τα στοιχεία που συνθέτουν τη φυσιογνωμία, γεωφυσική και ανθρωπολογική, των κατοίκων της περιοχής. Ως ένα από τα χαρακτηριστικά γνωρίσματα των Θρακών αναδύεται η απλή δίαιτά τους, η πολυγαμία τους και μια ιδιαίτερη σχέση τους με τη θρησκεία, ενώ τονίζεται ο νομαδικός και δίκαιος βίος τους.
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Papers by IOANNA PAPADOPOULOU
regarding two ‘instruments’ of the ancient Theatre: the ekkyklema and
the machine, in order to point out the use of contemporary technology
in the dramatic plays. As few, partly contradictable and synoptic these
references may be, the aesthetic result was an attempt to render to the
plays a touch of realism and sensible, though symbolic, representation
of mythical (in tragedy) and imaginative (in comedy) acts.
In bloodstained Europe, which has been destroyed by unrestrained Nazi brutality, the progressive Marina Tsvetaeva climbs her own rock of Sisyphus: she grieves, but she refuses a compromise with passive futility; she isn’t humiliated by the slow death that the moral system of totalitarianism has so cruelly imposed. Her driving force is based on the myth of Phaedra, while in the titular poem (1923) she succeeds in uniting her extramarital quests with the real achievement of intellectual creativity.
Imitating the tragic end of the legendary Phaedra and the romantic Tsvetaeva, Sarah Kane, the controversial author of the theatrical work „Phaedra’s Love” (1996), ends her short life by hanging. Besides, by adopting Brecht’s authentic attitude, he irritates the impressed viewers in a constructive way; he doesn’t manipulate them passively, but she attacks the false moral values, while he engages in multidimensional politics and sharp feminist criticism.
regarding two ‘instruments’ of the ancient Theatre: the ekkyklema and
the machine, in order to point out the use of contemporary technology
in the dramatic plays. As few, partly contradictable and synoptic these
references may be, the aesthetic result was an attempt to render to the
plays a touch of realism and sensible, though symbolic, representation
of mythical (in tragedy) and imaginative (in comedy) acts.
In bloodstained Europe, which has been destroyed by unrestrained Nazi brutality, the progressive Marina Tsvetaeva climbs her own rock of Sisyphus: she grieves, but she refuses a compromise with passive futility; she isn’t humiliated by the slow death that the moral system of totalitarianism has so cruelly imposed. Her driving force is based on the myth of Phaedra, while in the titular poem (1923) she succeeds in uniting her extramarital quests with the real achievement of intellectual creativity.
Imitating the tragic end of the legendary Phaedra and the romantic Tsvetaeva, Sarah Kane, the controversial author of the theatrical work „Phaedra’s Love” (1996), ends her short life by hanging. Besides, by adopting Brecht’s authentic attitude, he irritates the impressed viewers in a constructive way; he doesn’t manipulate them passively, but she attacks the false moral values, while he engages in multidimensional politics and sharp feminist criticism.