Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine?
| Autor(a) principal: | |
|---|---|
| Data de Publicação: | 2019 |
| Tipo de documento: | Artigo |
| Idioma: | eng |
| Título da fonte: | Codex : Revista de Estudos Clássicos |
| Texto Completo: | https://revistas.ufrj.br/index.php/CODEX/article/view/30457 |
Resumo: | In his Poetics Aristotle dismisses Iphigenia’s characterisation as inconsistent. Why does the eponymous heroine of Iphigenia at Aulis change her mind and decide to die willingly? This central question has preoccupied not only classical scholars, but receiving artists, too. How Iphigenia’s change of heart in portrayed on stage and screen affects the audience’s response to the character. Is Iphigenia a victim or a heroine (or a mixture of both)? The Greek-Cypriot filmmaker Michael Cacoyannis believed he enjoyed a special relationship with Euripides, but his interpretation was shaped by political events in Modern Greece and Cyprus in the 1960s and 70s. In his film Iphigenia (1977) the ancient tragic heroine was recast as a young girl who sacrifices herself for Greece. In Cacoyannis’ anti-war interpretation of Iphigenia’s choice she is both heroic, and the victim of male power games and irredentist ambition. Cacoyannis’ Iphigenia is a heroine of her time, as much as she is a refraction of her ancient predecessor. |
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Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine?Classical StudiesClassical Reception; Iphigenia; tragic heroines; Modern Greece; Michael CacoyannisIn his Poetics Aristotle dismisses Iphigenia’s characterisation as inconsistent. Why does the eponymous heroine of Iphigenia at Aulis change her mind and decide to die willingly? This central question has preoccupied not only classical scholars, but receiving artists, too. How Iphigenia’s change of heart in portrayed on stage and screen affects the audience’s response to the character. Is Iphigenia a victim or a heroine (or a mixture of both)? The Greek-Cypriot filmmaker Michael Cacoyannis believed he enjoyed a special relationship with Euripides, but his interpretation was shaped by political events in Modern Greece and Cyprus in the 1960s and 70s. In his film Iphigenia (1977) the ancient tragic heroine was recast as a young girl who sacrifices herself for Greece. In Cacoyannis’ anti-war interpretation of Iphigenia’s choice she is both heroic, and the victim of male power games and irredentist ambition. Cacoyannis’ Iphigenia is a heroine of her time, as much as she is a refraction of her ancient predecessor.Proaera-UFRJBakogianni, Anastasia2019-12-31info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.ufrj.br/index.php/CODEX/article/view/3045710.25187/codex.v7i2.30457CODEX -- Revista de Estudos Clássicos; v. 7, n. 2 (2019); 10-26CODEX - Revista de Estudos Clássicos; v. 7, n. 2 (2019); 10-262176-177910.25187/codex.v7i2reponame:Codex : Revista de Estudos Clássicosinstname:Universidade Federal do Rio de Janeiro (UFRJ)instacron:UFRJenghttps://revistas.ufrj.br/index.php/CODEX/article/view/30457/17843/*ref*/Filmography/*ref*/CACOYANNIS, M. (2006) Trilogy: Iphigenia, The Trojan Women, Electra, Collector’s Deluxe Edition, Greece: Audio Visual Enterprises, S.A./*ref*/Bibliography/*ref*/ARROWSMITH, W. (1978) ‘Editor’s Foreword’, in Euripides Iphigeneia at Aulis, ed. W. Arrowshith, trans. W. S. Merwin and G. E. Dimock, Jr., New York: Oxford University Press, v-xiii. BAKOGIANNI, A. (2009) Voices of Resistance: Michael Cacoyannis’ The Trojan Women (1971)’, The Bulletin of the Institute of Classical Studies 52, 45-68. __________ (2013a) ‘Annihilating Clytemnestra: The Severing of the Mother-Daughter Bond in Michael Cacoyannis’ Iphigenia (1977)’, in Ancient Greek Women in Film, ed. K.P. Nikoloutsos, Oxford: Oxford University Press, 207-33. ___________. (2013b) ‘Who Rules this Nation? (Ποιός κυβερνά αυτόν τον τόπο;): Political Intrigue and the Struggle for Power in Michael Cacoyannis’ Iphigenia (1977)’, in Dialogues with the Past: Classical Reception Theory and Practice, ed. A. Bakogianni, London: Institute of Classical Studies, 225-49. ___________. (2015) ‘The Anti-War Spectacle: Denouncing War in Michael Cacoyannis’ Euripidean Trilogy’, in War as Spectacle: Ancient and Modern Perspectives on the Display of Armed Conflict, ed. A. Bakogianni and V. M. Hope, London: Bloomsbury Academic, 291-311. ____________. (2017a) ‘Hollywood Meets Art-House Cinema: Michael Cacoyannis’ “Hybrid” Euripidean Trilogy’, in A Companion to Ancient Greece and Rome on Screen, ed. A. J. Pomeroy, Malden, MA: Wiley-Blackwell, 163-81. ____________. (2017b) ‘The Ancient World is Part of Us: Classical Tragedy in Modern Film’, in A Companion to Ancient Greece and Rome on Screen, ed. A. J. Pomeroy, Malden, MA: Wiley-Blackwell, 467-90. BAKOGIANNI, A. and APOSTOL, R. (2018) ‘Introduction: Face to Face - Locating Classical Receptions on Screen’, in Locating Classical Receptions on Screen: Masks, Echoes, Shadows, ed. R. Apostol and A. Bakogianni, New York: Palgrave, 1-16. BRIDGES, E., HALL, E. and RHODES, P. J. (eds) (2007), Cultural Responses to the Persian Wars: Antiquity to the Third Millennium, Oxford: Oxford University Press. CARTER, D. M (2007) The Politics of Greek Tragedy, Exeter: Bristol Phoenix. CONACHER, D. J (1967) Euripidean Drama: Myth, Theme and Structure, Toronto: University of Toronto Press. GAMEL, M. K. (1999) ‘Introduction to Iphigenia at Aulis’, in Women on the Edge: Four Plays by Euripides, ed. and trans. R. Blondell, M. K. Gamel, N. Sorkin Rabinowitz, B. Zweig, New York and London: Routledge, 305-26. GURD, S. A. (2005) Iphigenias at Aulis: Textual Multiplicity, Radical Philology, Ithaca and London: Cornell University Press. HALL, E. (2004) ‘Introduction: Why Greek Tragedy in the Late Twentieth-Century?’, in Dionysus Since 69: Greek Tragedy at the Dawn of the Third Millennium, Oxford: Oxford University Press, 1-46. HARDWICK, L. (2003) Reception Studies, Greece and Rome: New Surveys in the Classics 33, Oxford: Oxford University Press. HOLMBERG LÜBECK, M. (1993) Iphigenia Agamemnon’s Daughter: A Study of Ancient Conceptions in Greek Myth and Literature Associated with the Atrides, Stockholm: Almqvist & Wiksell International. HOSE, M. (2008) Euripides: Der Dichter der Leidenschaften, München: C. H. Beck. KARALIS, V. (2012). A History of Greek Cinema. New York: Continuum. KOLIOPOULOS, J. S. and VEREMIS, T. M. (2002) Greece: The Modern Sequel. From 1821 to the Present, London: Hurst & Company. KOVACS, D. (2002) ‘Introduction’, in Euripides, Bacchae, Iphigenia at Aulis, Rhesus, ed. D. Kovacs, Cambridge, Mass. and London: Harvard University Press. ________. (2003) ‘Towards a Reconstruction of Iphigenia Aulidensis’, JHS 123, 77-103. LUSCHNIG, C. A. E. (1988) Tragic Aporia: A Study of Euripides’ Iphigenia at Aulis, Ramus monographs 3, Berwick, Victoria: Aureal Publications. MCDONALD, M. (1983) Euripides in Cinema: The Heart Made Visible, Philadelphia: Centrum. MACKINNON, K. (1986) Greek Tragedy into Film, London: Croom Helm. MICHELAKIS, P. (2006) Euripides: Iphigenia at Aulis, London: Duckworth. __________. (2013) Greek Tragedy on Screen, Oxford: Oxford University Press. MICHELINI, A. N. (1999-2000) ‘The Expansion of Myth in Late Euripides: Iphigeneia at Aulis’, Illinois Classical Studies 24-25: Euripides and Tragic Theatre in the Late Fifth Century, 41-57. MILLS, S. (2010) ‘Affirming Athenian Action: Euripides’ Portrayal of Military Activity and the Limits of Tragic Instruction’, in War, Democracy and Culture in Classical Athens, ed. D. M. Pritchard, Cambridge: Cambridge University Press, 163-83. RIBEIRO, Jr., W. A. (2010) ‘The Authors of Euripides’ Iphigenia at Aulis’, Codex: Revista de Estudos Clássicos 2.2., 57-91. SIAFKOS, C. (2009) Michael Cacoyannis: In a First Appearance, Athens: Psichogios Publications S. A. SORKIN RABINOWITZ, N. (1993) Anxiety Veiled: Euripides and the Traffic in Women, Ithaca and London: Cornell University Press. TRYPANIS, K. et al. (1984) Le Théatre Antique De Nos Jours: Symposium International à Delphes (18-22 août 1981), Athens: Centre Culturel Européen de Delphes. VOSKARIDOU, S. (2013) ‘Cacoyannis’ Trilogy: Out of the Spirit of Music’, in Dialogues with the Past: Classical Reception Theory and Practice, ed. A. Bakogianni, London: Institute of Classical Studies, 251-73. WALTON, J. M. (2009) Euripides Our Contemporary, London: Methuen Drama. WILKINS, J. (1990) ‘The State and the Individual: Euripides’ Plays of Voluntary Self-Sacrifice’, in Euripides, Women and Sexuality, ed. A. Powell, London and New York: Routledge, 177-94. ZEITLIN, F. I. (1995), ‘Art, Memory and Kleos in Euripides’ Iphigenia in Aulis’, in History, Tragedy, Theory: Dialogues on Athenian Drama, ed. B. Goff, Austin: University of Texas Press.Direitos autorais 2019 Anastasia Bakogiannihttp://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccess2019-12-31T13:54:21Zoai:www.revistas.ufrj.br:article/30457Revistahttps://revistas.ufrj.br/index.php/CODEX/indexPUBhttps://revistas.ufrj.br/index.php/CODEX/oaicodex@letras.ufrj.br||codex@letras.ufrj.br||biadipaoli@gmail.com2176-17792176-1779opendoar:2019-12-31T13:54:21Codex : Revista de Estudos Clássicos - Universidade Federal do Rio de Janeiro (UFRJ)false |
| dc.title.none.fl_str_mv |
Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine? |
| title |
Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine? |
| spellingShingle |
Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine? Bakogianni, Anastasia Classical Studies Classical Reception; Iphigenia; tragic heroines; Modern Greece; Michael Cacoyannis |
| title_short |
Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine? |
| title_full |
Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine? |
| title_fullStr |
Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine? |
| title_full_unstemmed |
Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine? |
| title_sort |
Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine? |
| author |
Bakogianni, Anastasia |
| author_facet |
Bakogianni, Anastasia |
| author_role |
author |
| dc.contributor.none.fl_str_mv |
|
| dc.contributor.author.fl_str_mv |
Bakogianni, Anastasia |
| dc.subject.por.fl_str_mv |
Classical Studies Classical Reception; Iphigenia; tragic heroines; Modern Greece; Michael Cacoyannis |
| topic |
Classical Studies Classical Reception; Iphigenia; tragic heroines; Modern Greece; Michael Cacoyannis |
| description |
In his Poetics Aristotle dismisses Iphigenia’s characterisation as inconsistent. Why does the eponymous heroine of Iphigenia at Aulis change her mind and decide to die willingly? This central question has preoccupied not only classical scholars, but receiving artists, too. How Iphigenia’s change of heart in portrayed on stage and screen affects the audience’s response to the character. Is Iphigenia a victim or a heroine (or a mixture of both)? The Greek-Cypriot filmmaker Michael Cacoyannis believed he enjoyed a special relationship with Euripides, but his interpretation was shaped by political events in Modern Greece and Cyprus in the 1960s and 70s. In his film Iphigenia (1977) the ancient tragic heroine was recast as a young girl who sacrifices herself for Greece. In Cacoyannis’ anti-war interpretation of Iphigenia’s choice she is both heroic, and the victim of male power games and irredentist ambition. Cacoyannis’ Iphigenia is a heroine of her time, as much as she is a refraction of her ancient predecessor. |
| publishDate |
2019 |
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2019-12-31 |
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|
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info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
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article |
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publishedVersion |
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https://revistas.ufrj.br/index.php/CODEX/article/view/30457 10.25187/codex.v7i2.30457 |
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https://revistas.ufrj.br/index.php/CODEX/article/view/30457 |
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10.25187/codex.v7i2.30457 |
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eng |
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eng |
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https://revistas.ufrj.br/index.php/CODEX/article/view/30457/17843 /*ref*/Filmography /*ref*/CACOYANNIS, M. (2006) Trilogy: Iphigenia, The Trojan Women, Electra, Collector’s Deluxe Edition, Greece: Audio Visual Enterprises, S.A. /*ref*/Bibliography /*ref*/ARROWSMITH, W. (1978) ‘Editor’s Foreword’, in Euripides Iphigeneia at Aulis, ed. W. Arrowshith, trans. W. S. Merwin and G. E. Dimock, Jr., New York: Oxford University Press, v-xiii. BAKOGIANNI, A. (2009) Voices of Resistance: Michael Cacoyannis’ The Trojan Women (1971)’, The Bulletin of the Institute of Classical Studies 52, 45-68. __________ (2013a) ‘Annihilating Clytemnestra: The Severing of the Mother-Daughter Bond in Michael Cacoyannis’ Iphigenia (1977)’, in Ancient Greek Women in Film, ed. K.P. Nikoloutsos, Oxford: Oxford University Press, 207-33. ___________. (2013b) ‘Who Rules this Nation? (Ποιός κυβερνά αυτόν τον τόπο;): Political Intrigue and the Struggle for Power in Michael Cacoyannis’ Iphigenia (1977)’, in Dialogues with the Past: Classical Reception Theory and Practice, ed. A. Bakogianni, London: Institute of Classical Studies, 225-49. ___________. (2015) ‘The Anti-War Spectacle: Denouncing War in Michael Cacoyannis’ Euripidean Trilogy’, in War as Spectacle: Ancient and Modern Perspectives on the Display of Armed Conflict, ed. A. Bakogianni and V. M. Hope, London: Bloomsbury Academic, 291-311. ____________. (2017a) ‘Hollywood Meets Art-House Cinema: Michael Cacoyannis’ “Hybrid” Euripidean Trilogy’, in A Companion to Ancient Greece and Rome on Screen, ed. A. J. Pomeroy, Malden, MA: Wiley-Blackwell, 163-81. ____________. (2017b) ‘The Ancient World is Part of Us: Classical Tragedy in Modern Film’, in A Companion to Ancient Greece and Rome on Screen, ed. A. J. Pomeroy, Malden, MA: Wiley-Blackwell, 467-90. BAKOGIANNI, A. and APOSTOL, R. (2018) ‘Introduction: Face to Face - Locating Classical Receptions on Screen’, in Locating Classical Receptions on Screen: Masks, Echoes, Shadows, ed. R. Apostol and A. Bakogianni, New York: Palgrave, 1-16. BRIDGES, E., HALL, E. and RHODES, P. J. (eds) (2007), Cultural Responses to the Persian Wars: Antiquity to the Third Millennium, Oxford: Oxford University Press. CARTER, D. M (2007) The Politics of Greek Tragedy, Exeter: Bristol Phoenix. CONACHER, D. J (1967) Euripidean Drama: Myth, Theme and Structure, Toronto: University of Toronto Press. GAMEL, M. K. (1999) ‘Introduction to Iphigenia at Aulis’, in Women on the Edge: Four Plays by Euripides, ed. and trans. R. Blondell, M. K. Gamel, N. Sorkin Rabinowitz, B. Zweig, New York and London: Routledge, 305-26. GURD, S. A. (2005) Iphigenias at Aulis: Textual Multiplicity, Radical Philology, Ithaca and London: Cornell University Press. HALL, E. (2004) ‘Introduction: Why Greek Tragedy in the Late Twentieth-Century?’, in Dionysus Since 69: Greek Tragedy at the Dawn of the Third Millennium, Oxford: Oxford University Press, 1-46. HARDWICK, L. (2003) Reception Studies, Greece and Rome: New Surveys in the Classics 33, Oxford: Oxford University Press. HOLMBERG LÜBECK, M. (1993) Iphigenia Agamemnon’s Daughter: A Study of Ancient Conceptions in Greek Myth and Literature Associated with the Atrides, Stockholm: Almqvist & Wiksell International. HOSE, M. (2008) Euripides: Der Dichter der Leidenschaften, München: C. H. Beck. KARALIS, V. (2012). A History of Greek Cinema. New York: Continuum. KOLIOPOULOS, J. S. and VEREMIS, T. M. (2002) Greece: The Modern Sequel. From 1821 to the Present, London: Hurst & Company. KOVACS, D. (2002) ‘Introduction’, in Euripides, Bacchae, Iphigenia at Aulis, Rhesus, ed. D. Kovacs, Cambridge, Mass. and London: Harvard University Press. ________. (2003) ‘Towards a Reconstruction of Iphigenia Aulidensis’, JHS 123, 77-103. LUSCHNIG, C. A. E. (1988) Tragic Aporia: A Study of Euripides’ Iphigenia at Aulis, Ramus monographs 3, Berwick, Victoria: Aureal Publications. MCDONALD, M. (1983) Euripides in Cinema: The Heart Made Visible, Philadelphia: Centrum. MACKINNON, K. (1986) Greek Tragedy into Film, London: Croom Helm. MICHELAKIS, P. (2006) Euripides: Iphigenia at Aulis, London: Duckworth. __________. (2013) Greek Tragedy on Screen, Oxford: Oxford University Press. MICHELINI, A. N. (1999-2000) ‘The Expansion of Myth in Late Euripides: Iphigeneia at Aulis’, Illinois Classical Studies 24-25: Euripides and Tragic Theatre in the Late Fifth Century, 41-57. MILLS, S. (2010) ‘Affirming Athenian Action: Euripides’ Portrayal of Military Activity and the Limits of Tragic Instruction’, in War, Democracy and Culture in Classical Athens, ed. D. M. Pritchard, Cambridge: Cambridge University Press, 163-83. RIBEIRO, Jr., W. A. (2010) ‘The Authors of Euripides’ Iphigenia at Aulis’, Codex: Revista de Estudos Clássicos 2.2., 57-91. SIAFKOS, C. (2009) Michael Cacoyannis: In a First Appearance, Athens: Psichogios Publications S. A. SORKIN RABINOWITZ, N. (1993) Anxiety Veiled: Euripides and the Traffic in Women, Ithaca and London: Cornell University Press. TRYPANIS, K. et al. (1984) Le Théatre Antique De Nos Jours: Symposium International à Delphes (18-22 août 1981), Athens: Centre Culturel Européen de Delphes. VOSKARIDOU, S. (2013) ‘Cacoyannis’ Trilogy: Out of the Spirit of Music’, in Dialogues with the Past: Classical Reception Theory and Practice, ed. A. Bakogianni, London: Institute of Classical Studies, 251-73. WALTON, J. M. (2009) Euripides Our Contemporary, London: Methuen Drama. WILKINS, J. (1990) ‘The State and the Individual: Euripides’ Plays of Voluntary Self-Sacrifice’, in Euripides, Women and Sexuality, ed. A. Powell, London and New York: Routledge, 177-94. ZEITLIN, F. I. (1995), ‘Art, Memory and Kleos in Euripides’ Iphigenia in Aulis’, in History, Tragedy, Theory: Dialogues on Athenian Drama, ed. B. Goff, Austin: University of Texas Press. |
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