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Dopo aver esaminato le posizioni dei principali studiosi in relazione alla constitutio textus di Soph. OT. 511-2, il presente articolo mira a dimostrare la genuinité della variante [phrase omitted], attestata dalla minoranza della tradizione manoscritta.

The second strophic pair of Oedipus the King's Fourth Stasimon presents a metrical scheme that functions as a ritornello all through the songs, closing every [phrase omitted]. It has five elements (- [??] - [??] -) and appears as a part of iambic [phrase omitted] in the first three lines, closes a dochmius plus a iambic metron in the fourth, and stays by itself in the three next lines as a hypodochmius, where the stanzas reach their climax at their centre. In the next lines the scheme gets increased its elements at the beginning, showing a kaibelian dochmius and then iambo-choriambic [phrase omitted]. The poet has assessed in a pentasyllable scheme the horror of the Chorus before Oedipus, a ritornello that reappears in all the [phrase omitted], and that synthesizes the message in the center of each song: the incest / the rejection.

This paper is product of an investigation carried out by the analysis of literary texts, which aimed to discover the factors that intervene in the strength of fraternal ties either in its destructive sense or in its capability to become the main source of security in the self-realization of brothers and sisters. In this case, the study of the conformation of Antigone's phratry in the Greek literature demonstrated the influence of past circumstances in fraternal bonds, but it also made evident the virtues necessary to overcome the designs of destiny in a heroic way.

In this paper we analyze the first stasimon of the tragedy Oedipus at Colonus of Sophocles based on the verses 16 to 18 of the prologue. The comparison between both passages may be important in the extent that the [phrase omitted] described in the prologue is introduced like a place, significant from a dramatic point of view, which is developed poetically in the first stasimon. Both descriptions have several aspects in common that may help us to understand better the nature of this sacred forest and the dramatic purpose of the verses 16-18 of the prologue, which tend to schedule the description of the first stasimon.

En este estudio se analizan los términos [phrase omitted] en las tragedias de Esquilo, Sófocles y Eurípides, con el objetivo de identificar las diferencias semánticas entre estos términos y determinar las razones que llevan a seleccionar un término u otro en un determinado contexto. En efecto, las diferencias semánticas entre [phrase omitted] se encuentran bien representadas en el uso que los tragediógrafos hicieron de estos términos en sus obras, donde sirven para clasificar implícitamente el tipo de pretexto, excusa o coartada empleado y dan información adicional sobre las verdaderas razones que mueven la trama dramática. Terminamos el estudio con un breve apéndice sobre el uso de estos términos en las comedias de Aristófanes.

The work of Sophocles shows the human suffering which might be caused by evil without the presence of guilt. Within the historic confrontation of the Athenian political stage, the presentation of the tragic conflict opposes the illustrated omnipotence: to present that what is divine as incomprehensible is one of the traditional features of Sophocles' work and his announcement of anti-modernity. \"Not-understanding\" is the banner of silence when faced with the limit of natural reason. As a response to sophist thought, which replaced the divine paradigm, the preponderance of the gods in the work of Sophocles might be seen as an affirmation. What is characteristic of the traditional restoration proposed by Sophocles is not only the appearance of the Gods in his works, but the particular way in which they reveal themselves. Knowing that what is divine is not characteristic of men because it is not a feature of the former to be understood to a lesser degree than that of its own nature. That is exactly the stage where the struggle between the reality of knowing and the relative appearance of knowing occurs. Bearing this interpretative intention in mind, the aim of the paper is to highlight the way in which evil reveals itself in Oedipus the King, as a device chosen by the gods (Zeus-Apollo) to trigger the unfolding of the nature of the hero.

After an overview of the presence of the pronoun [phrase omitted] in the iambic trimeter of Greek theater, we analyze its distribution by characters in Antigone, Medea and Lysistrata to try to discover similarities and differences.

The following paper proposes a study of the nature of the myth, its properties and, particularly, the requirements of the eschatological myth. it establishes its intrinsic relation with the tragedy as a field to express the importance of what is human. The relation between mystery and drama, which happens in the intersection of time and timelessness, is exemplified with Sophocles' works, leading to a detailed study of Oedipus at Colonus and the presentation of a sketch of its eschatology, which precedes that of Plato.

Numerosas tragedias otorgan a la institución doméstica un lugar central: sus tramas desarrollan las tensiones dentro del oíkos, y manifiestan la desestabilización del funcionamiento del hogar (Gambon, 2009: 45). A esto contribuye la estructura palaciega que, como telón de fondo, conecta visualmente al auditorio con el ámbito interior y participa del juego de reconocimiento y distanciamiento, espacial y temporal, del trabajo trágico. La construcción discursiva y visual de la esfera privada que acontece en las tragedias consiste, por lo tanto, en un aspecto que requiere profundización. A esto debemos sumar la problematización trágica de un imaginario social que asigna a cada sexo su dominio y despliega cualidades concebidas como innatas a los efectos de mantener el equilibrio social.

El objetivo de este trabajo es analizar las emociones presentes en los fragmentos 583 (+ POxy 5292) y 589 R de Tereo de Sófocles. Ambos fragmentos se conservan en el Anthológion de Estobeo y nos interesa entenderlos en su doble valencia: por un lado, despojados del contexto del drama e insertos en la lógica interna que crea el antologista, funcionan como máximas, con valor generalizador; por otro lado, tienen un valor particular como partes sobrevivientes de una obra perdida y proporcionan información acerca de su trama, de algunos de los personajes que intervienen en ella, de las emociones que los atraviesan y del lenguaje utilizado, entre otros aspectos. Los fragmentos que seleccionamos para nuestro análisis se refieren al comportamiento de los personajes femeninos de esta tragedia y dan cuenta de su experiencia emocional -tema que nos ocupa muye especialmente- en atención a los hechos que les ocurren o describen. En primer lugar, resumiremos las propuestas acerca de la reconstrucción de la trama de Tereo, a partir de las fuentes que han sobrevivido de esta tragedia, para continuar con el análisis de su conservación y concluir con el estudio de las emociones en los dos fragmentos que hemos seleccionado para explorar en este artículo.