The Greek myth of Niobe was known in the ancient world both by literary sources and visual representations. Both in Ancient Greece and in Ancient Rome, the myth was represented, alongside a variety forms of art, in funerary art, but in a different manner during each period of time. In Ancient Greece, the myth was represented on Apulian and Sout...h Italian vases, portraying the finale scene of the myth: Niobe’s petrification. In Ancient Rome, a shift is visible: the portrayal of the scene of the killing of Niobe’s children on sarcophagi reliefs. The aim of this paper is to follow the iconography of each culture and to understand the reason for the shift in representation, while comparing the two main media forms.
In Sophocles’ tragedies the interweaving of medicine, religion and magic produces a lot of meanings and concepts that show the complexity of the Greek thought of the Fifth century. In his tragedies, Sophocles shows his interest both in the magical and religious medicine and in the new Hippocratic medical science. The aim of this paper is to a...nalyze the conceptual and lexical intertwining that reflects this interest, focusing on the character of Oedipus. In fact, Oedipus is the hero who best embodies this duplicity. At the beginning of the drama he assumes a rational investigation method through which he tries to discover Laius’ murderer and then to heal Thebes from the plague that afflicts it. However, his responsibility emerges during the tragedy; Oedipus’ fault has divine origin and makes him the first cause of the evil of the city. In the Oedipus at Colonus, Oedipus’ body is released from the contamination that had made him the origin of the plague and the hero’s body turns into a sort of magic amulet to protect the polis that will guard it when he will be dead.
The purpose of the following study is to decode the semantic layers of ancient Greek texts and scripts introducing the well-defined “General Theory of Verbal Humour”. Classical tragedies, the parodoi of the texts used by Aristophanes and the dialogues following them, are all formed according to a (more or less standardised) script.... Via putting frogs on the stage, Aristophanes parodies the patterns of the chorus songs and agons in Greek tragedies. Although the setting – the River Styx – could not be more sublime, and the winner of the debate is Dionysus himself, his adversaries are “only” frogs. The Frog Song reveals that the unity of content and form is not to be broken up without serious damage to the effect, as their separation from each other results in the reverse of the original catharsis. This parody, however, does not only refer to the emptiness and anachronistic quality of certain forms, that is, it does not only ridicule the genre, but can also function as the continual self-correction of Aristotelian mimesis. Aristophanes’ parody of a parodos is a meticulously constructed text, a faithful image of the prototypical scripts functioning as source texts, and abundant in humorous effects. Parody is enjoyable in itself, however as any good parody works with the mechanisms creating the parent text; it can only appear comic if it really reveals the patterns underlying the original, and it can only reach its aim if these patterns really bring the original work of art to the recipient’s mind.