Editorial for Rosetta issue 22.
Articles
Seneca’s Agamemnon represents one of the most well-known poetic reinterpretations of Aeschylus’ drama. Unlike the original Greek, however, the Latin revision of the myth presents a number of features that often fragment the plot’s unfolding. The employment of the Chorus, in particular, strongly contributes to the text’s narrative fragmentation and testifies to Seneca’s deprioritization of cohesion in favor of single, dramatic episodes. By relating to the Aeschylean text, this article provides a first compared and analytical reading of the choral songs in the Seneca’s play. The lack of organic integration of the four choral odes, along with further textual evidence bring the reader to question the Agamemnon‘s state of accomplished and rhetorically refined theatrical play.
The paper will present all the epigraphic evidence connected to this cult, in order to understand his evolution during the centuries and, above all, his persistence in the sacred sphere even after the introduction of the cult of Apollo in the principal area of the city of Akraiphia, called Perdikovrysi. The analysis of the inscriptions will be accompanied by a short section focused on the description of the archaeological site and the literary traditions about the genealogy of the hero. This paper aims to provide a preliminary analysis of the hero Ptoios cult in Akraiphia, examined on the basis of the all the votive dedications found, and studied with a brief commentary.
In this article, my objective is to analyse and revise the classical hero model, based mainly on The Hero with a Thousand Faces, a theoretical apparatus of great importance with regard to the characterization of mythological heroes. Concurrently, I will demonstrate, from Campbell’s theory, how Suzanne Collins, Catching Fire’s author, performs in her work the monomyth, and how she inserted the model of the classical hero into the narrative road of her main character, Katniss Everdeen.
By using classical Athens as its case study, this article argues that hoplites benefitted from various forms of physical and civic ‘war preparation’ that prepared male citizens for classical warfare. The initial section of this article critiques the problematic use of the term ‘amateurism’ in the context of classical society. The following section then analyses the nature of classical campaigns and argues physical ‘war preparation’ was a necessary undertaking in order to prepare for this reality. The final section argues that experience in battle, the Athenian system of recruitment and ephebic institution were means through which military discipline was enforced; aided through a local military command system.
Dionysus was thought until recently to be a foreign god in the Greek pantheon; a result of trade contacts with Thrace and Phrygia, a late acquirement connected with the renewed prosperity of Greece after the “Dark Age.” According to the classical myth, he was just another illicit son of Zeus. He presided over frenzy, drunkenness, wilderness and everything concerning the chaotic forces of nature. But why was his name already in the Mycenaean pantheon? Why did the Orphics know a completely different myth and his name was found accompanying the dead? New studies seem to challenge the classical image of a tipsy Bacchus and lead us to a different, darker and more ancient scenario, helping us to shed some light on a still unclear prehistory of Greek religion.
Book Reviews
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