Αυτό το άρθρο παρουσιάζει τα αποτελέσματα μιας λεπτομερούς μελέτης των μυκηναϊκών ελεφαντουργημάτων από το Αρτεμίσιον της Δήλου, και περιλαμβάνει όλα τα αποσπασματικά κομ- μάτια που φυλάσσονται στις αποθήκες του Μουσείου. Ο βασικός στόχος της μελέτης ήταν να καθοριστεί ο χαρακτήρας αυτού του υλικού, μέσα από τον προσδιορισμό του σταδίου κατεργασίας στο οποίο βρίσκεται το μεγαλύτερο μέρος των αντικειμένων, καθώς και από το ποσοστό των ατελείωτων ή μερικά κατεργασμένων αντικειμένων. Ένας άλλος στόχος ήταν ο προσδιορισμός της προέλευσης του υλικού. Παρόλο που (...) ο χαρακτήρας του υλικού αυτού δεν παραπέμπει άμεσα σε ένα μεγάλο πρωτογενές εργαστήριο ελεφαντουργίας, υπάρχουν αρκετοί παράγοντες οι οποίοι δείχνουν ότι ένα τμήμα του τουλάχιστον ήταν μέρος εργαστηριακού συνόλου, πιθανώς επαρχιακού, το οποίο θα συνδύαζε τόσο πρωτογενή, όσο και δευτερογενή κατεργασία του ελεφαντοστού. Όσον αφορά την προέλευση του υλικού, ένα μικρό ποσοστό είχε προφανώς εισαχθεί από την Ανατολή, περιλαμβανομένης και της Κύπρου, ενώ η πλειονότητα αποτελείται από τυπικά προϊόντα ελεφαντουργίας της ηπειρωτικής Ελλάδας. Η τοποθέτηση του εργαστηρίου αυτού στην ίδια την Δήλο είναι πολύ πιθανή. (shrink)

Le temple hellénistique (J.‑Ch. Moretti) Le travail sur l’Artémision s’est poursuivi avec Ph. Fraisse du 27 avril au 8 mai. Il a surtout consisté à relire le texte et à vérifier des dessins pour la publication du temple hellénistique. Nous avons aussi identifié à cette occasion un orthostate (no 240, fig. 14) qui apporte des informations nouvelles sur la configuration de l’édifice. Il a les mêmes dimensions et présente les mêmes types de mortaises de scellement que les autres blocs de (...) cette s... (shrink)

Based on architectural projects which interpret literature as program we discuss design reasoning when no routine models of problem solving apply. We address three aspects of formulation: defining the design charge so that it can be retrospectively stated independent of the actual proposal; defining a language of formal operations; and defining the intrinsic aims of design that are only intimated through the proposal itself. The coherence of the project is a function of the way in which formal properties interact, and (...) the way in which they sustain analogical or metaphorical relationships to text: how the patterns of subdivision, connection, differentiation, positioning, movement or perception associated with built space relate to textual figures, concepts, structure, or narrative. The possibility of constructing architectural meaning in this way implies an underlying model of space as a morphic language which works primarily through the constitution of generic and significant relationships rather than the combination of previously objectified elements. The gradual articulation of the design charge is mediated by a process of diagramming. Diagrams express as spatial constructions the conditions and concepts abstracted from text; also, they act as notations of constructive operations which are themselves spatial. Diagrams can be abstractive or pictorial, dense or discrete. They document two aspects of an integral process of reasoning: First, an exploration of how concepts, whether directly, analogically or metaphorically transferred from text to shape, may relate to produce a more complex idea; second, how formal properties co-vary and how an emergent design proposal engages and activates a field of formal possibility. (shrink)

The story of the binding of Isaac, also known as the akedah, has been the subject of many important philosophical commentaries and discussions. One of these is Kierkegaard’s Fear and Trembling, first published in 1843. Comparing Kierkegaard’s characterization of Abraham as the paradigm of the knight of faith with the character of Iphigenia from Euripides’s Iphigenia at Aulis, it becomes apparent that Iphigenia exhibits characteristics that make her fit the same paradigm. In order to account for the (...) behavior of both Abraham and Iphigenia, I use Aristotle’s notion of ἕξις as it appears in Nicomachean Ethics II.5. (shrink)

Iphigenia Aulidensis was produced after the poet's death, probably in 405 BC. The aim of this paper is to recover the text of this production, which I call FP for First Performance. Probably Euripides left behind an incomplete draft, which was finished by Euripides Minor, the poet's son or nephew. The text we have contains, as Page showed in 1934, material added for a fourth-century revival and other still later interpolations. Diggle's edition tries to separate original Euripides from all (...) later hands on the basis of style. But if we want to recover the amalgam that was FP we need to be attentive to the plot that is implied by the most clearly genuine portions: we can't confine ourselves to what appears to be Euripidean since more than one hand contributed to FP. A discovery about the plot gives us some objective basis for reconstructing FP. Our transmitted text contains two different conceptions of Calchas' prophecy, only one of which belonged to FP. Several passages scattered throughout the play imply that it was public, made to the entire army, but other passages say that it was private, restricted to Agamemnon's inner circle, with the army left in the dark. The secret prophecy motif, I argue, is the work of a fourth century producer, whom I call the Reviser. Its purpose was to introduce into the play scenes where Greek soldiers, ignorant of the real reason for Iphigenia's coming to Aulis, might make naive comments or ask questions that are highly ironic in view of the actual situation, this being an emotional effect he found congenial. We find two such passages in places that are under grave suspicion: the entrance of Clytaemestra, where there is a chorus of Argives who felicitate Iphigenia on her wonderful prospects, and the first messenger, who reports naive questions from the soldiery. Both these passages have linguistic and dramaturgical features that make it virtually certain that neither Euripides nor Euripides Minor wrote them. Working from these we can detect the Reviser's hand at other places in the play and reconstruct its original lineaments. One satisfying result is that the business of baby Orestes, played by a doll, can be shown to be the work of the Reviser. The play ended with Iphigenia's departure for the altar, and there was no substitution of a stag. Like Menoeceus, Macaria and their kin, Iphigenia pays for the victory of her country with her blood, and there is no happy ending. (shrink)

Iphigenia at aulis presents many problems to the literary and textual critic. Among these the problem of the prologue is as clear-cut as it is controversial. It may be summarized as follows: Our text opens abruptly with an anapaestic dialogue between Agamemnon and the Retainer , instead of the usual monologue in trimeters. In reply to a question from the Retainer, Agamemnon launches into a long iambic narrative , describing much that the Retainer must know already, and with no (...) sign, for more than sixty lines, that the Retainer is being addressed. Moreover 49 {γνοντο ۸ήδαι…) reads like the first line of a conventional opening monologue. (shrink)

Iphigenia at aulis presents many problems to the literary and textual critic. Among these the problem of the prologue is as clear-cut as it is controversial. It may be summarized as follows: Our text opens abruptly with an anapaestic dialogue between Agamemnon and the Retainer, instead of the usual monologue in trimeters.In reply to a question from the Retainer, Agamemnon launches into a long iambic narrative, describing much that the Retainer must know already, and with no sign, for more (...) than sixty lines, that the Retainer is being addressed. Moreover 49 {Ἐγ⋯νοντο ۸ήδαι…) reads like the first line of a conventional opening monologue. (shrink)

In their first stasimon, the chorus of Euripides’Iphigenia at Aulis(=IA) praises ‘concealed Kypris’ as a marker of virtue for women (568–72):μέγα τι θηρεύειν ἀρετάν,γυναιξὶ μὲν κατὰ Κύ-πριν κρυπτάν, ἐν ἀνδράσι δ᾿ αὖκόσμος ἐνὼν ὁ μυριοπλη-θὴς μείζω πόλιν αὔξει.It is something great to hunt for excellence. For women, it is according to concealed Kypris, and among men in turn manifold order being within makes the city grow greater.

The plot of Iphigenia in Tauris is usually thought to be Euripides' own invention. Its basic assumption can be found in Proclus' summary of the Cypria, viz. that a deer was substituted for Iphigenia during the sacrifice at Aulis and that she herself was removed to the land of the Tauri. Her later rescue by Orestes and Pylades, however, cannot be traced with probability to any work of art or literature earlier than Euripides' play. In this play, in (...) which Orestes recognizes and then saves the sister whom he had long thought dead, it is assumed that her replacement by a deer went unseen by those present at the sacrifice. The sequel which this assumption allowed Euripides to invent is original only in a limited sense, since it bears the imprint of several familiar story types. These types include the following: the murder of a kinsman is narrowly averted by a recognition; a reunion is followed by an intrigue; and a maiden is rescued. Each is used elsewhere by Euripides. The first two, for example, are found in Cresphontes, the second in Electra, and the third in Andromeda. Correspondences of this sort, based on plot patterns, will naturally gain in interest if it can be shown that they throw light on a play's meaning or on the process that led to its creation. The student of dramatic plots, however, soon discovers that analogies between them are easy to draw and can be quickly multiplied. (shrink)

The plot of Iphigenia in Tauris is usually thought to be Euripides' own invention. Its basic assumption can be found in Proclus' summary of the Cypria, viz. that a deer was substituted for Iphigenia during the sacrifice at Aulis and that she herself was removed to the land of the Tauri. Her later rescue by Orestes and Pylades, however, cannot be traced with probability to any work of art or literature earlier than Euripides' play. In this play, in (...) which Orestes recognizes and then saves the sister whom he had long thought dead, it is assumed that her replacement by a deer went unseen by those present at the sacrifice. The sequel which this assumption allowed Euripides to invent is original only in a limited sense, since it bears the imprint of several familiar story types. These types include the following: the murder of a kinsman is narrowly averted by a recognition; a reunion is followed by an intrigue; and a maiden is rescued. Each is used elsewhere by Euripides. The first two, for example, are found in Cresphontes, the second in Electra, and the third in Andromeda. Correspondences of this sort, based on plot patterns, will naturally gain in interest if it can be shown that they throw light on a play's meaning or on the process that led to its creation. The student of dramatic plots, however, soon discovers that analogies between them are easy to draw and can be quickly multiplied. (shrink)

This essay examines Aristotle's discussion of the recognition scenes in Euripides' Iphigenia in Tauris and in Polyidus' alternative scenario. It suggests that Aristotle might show interest in Polyidus because he intuits the significance of the timing of the recognition scenes within the plot. Gluck's eighteen-century opera, Iphigénie en Tauride, maintains the general structure of Euripides' play but borrows Polyidus' recognition scene. The operatic recognition provides a clear dramatic frame to the brief references to Polyidus in the Poetics and facilitates (...) an analysis of the differences between Euripides and Polyidus. (shrink)