Aufgrund der Vorstellungen der ‚fränkischen Völkertafel‘ erlaubte die Gleichung Wenden = Vandalen die Einordnung der Slawen in die anerkannten Völkergenealogien. Die Gleichsetzung Wenden = Vandalen zeugt von den Schwierigkeiten, die ethnische Landschaft Osteuropas im Frühmittelalter zu klassifizieren. Diese Gleichsetzung wurde vor dem Stadium…[Read more]

Zusammenfassung: Aus der schriftlichen Überlieferung der antiken Ethnographie kennen wir ethnische Bezeichnungen oder Gentilnamen, deren Bedeutungen und Bedeutungskontinuitäten oft nur schwer zu fassen sind. In den Peripherieräumen des Imperiums agierten gentes bzw. ἔθνη. Die römische und griechische Literatur bietet diesbezüglich aber keine…[Read more]

For more than four hundred years, up to the accession of the present king Carl XVI Gustaf in 1973, did the Swedish monarchs hold the title “King of the Wends“. The first evidence of this claim dates from the reign of Gustav I Vasa (1523-1560), who adopted the title Sveriges, Göthes och Wendes Konung in official sources around the year 1540. In L…[Read more]

This essay will show, however, that the text is not linked to diplomas, but belonged to an African version of Prosper’s chronicle. I will propose a new edition, which will put the text back in its original context. Rather than looking for ‘good’ and ‘bad’ texts according to 19th-century categories, I will try to analyze the specific character…[Read more]

In this article Stephe Harrop combines theatre history and performance analysis with contemporary agonistic theory to re-conceptualize Greek tragedy’s contested spaces as key to the political potentials of the form. She focuses on Athenian tragedy’s competitive and conflictual negotiation of performance space, understood in relation to the…[Read more]

This chapter examines the impact of a putative oral Homer upon the work of recent performance-makers. The influence of oral-poetic theories is (as yet) an under-explored area of study, neglected by scholars whose literary expertise leads them to focus on dramatic texts and production histories, with each revisionary text or production regarded as…[Read more]

This essay examines Giambattista Vico’s philology as a contribution to democratic legitimacy. I outline three steps in Vico’s account of the historical and political development of philological knowledge: first, his merger of philosophy and philology, and the effects of that merger on the relative claims of reason and authority; second, his use…[Read more]

The Middle Commentary on Aristotle’s Poetics by the Andalusian philosopher Ibn Rushd (d. 1198) has been treated by commentators as wide-ranging as Borges, Renan, and Kilito as an exemplary case of the failure of translation. Critics who presume Ibn Rushd’s failure often concentrate on his rendering of Aristotle’s tragedy and comedy by praise…[Read more]

This paper has two parts. First, I examine Basil of Caesarea’s theological anthropology and show how he understands the human being as a body-soul unity. The body is the good instrument of the soul. It is marvelous because it has been molded by God’s own hands. In the second part, I examine what I call Basil’s theological physiology, which flows…[Read more]

Basil of Caesarea, in his polemic against astrology (Homiliae in hexaemeron 6,5−7), makes direct, creative uses of Origen’s anti-astrological treatise (Philocalia 23). My argument is based on an identical context, namely the interpretation of Gen 1:14b, and five close similarities in content, some verbatim, between Basil’s sermon and Orige…[Read more]

This extended review highlights an increasingly important aspect of the contemporary performance reception of the Odyssey in the UK, with growing numbers of practitioners and companies moving away from the straightforward dramatisation (or revisionist dramatic contestation) of Homer’s epic tale, and towards a deepening engagement with epic s…[Read more]

Our lack of reliable information concerning the physical and choreographic aspects of ancient tragic performance permits modern writers to construct their own imaginative re-creations of the ancient text/body relationship in a wide variety of modes. The range of ways in which texts translated or adapted from ancient tragedy are capable of…[Read more]

The translation of ancient tragedy is often considered at a linguistic level, as if the drama consisted simply of words being written, spoken and heard. This article contends that translation for the stage is a process in which literary decisions have physical, as well as verbal, outcomes. It traces existing formulations concerning the links…[Read more]

Alice Oswald’s recitation of her 2011 poem Memorial is an intensely modest, self-effacing performance. Yet it is also one which invites us to consider key questions about the ancient practice, and modern re-performance, of epic poetry. Oswald explicitly cites the antiphonal lament of Homeric funerary ritual as an influence upon her r…[Read more]

Ted Hughes’ version of Euripides’ Alcestis (1999) is a play which diverges significantly from its ancient source-text, most notably in an interpolated sequence during which the drunken Heracles re-enacts his own labours, before experiencing traumatic visions. This article identifies this un-Euripidean interlude as a characteristic instance of int…[Read more]

This review-essay discusses George Brant’s play Grounded (2013) in the context of its production at the Gate Theatre (London). It begins with a critical examination of my own “mis-seeing” of the play’s protagonist as a version of the tragic Heracles. The analysis which follows compares key aspects of The Pilot’s narrative with Euripides’ Heracles…[Read more]