Self-Reflexivity and Choral Projections in Euripides' Helena

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DC Field	Value
dc.identifier	ECF_article_6247
dc.title	Self-Reflexivity and Choral Projections in Euripides' Helena. A Prelude to Bacchae
dc.contributor.author	Castiglioni Barbara
dc.publisher	Edizioni Ca’ Foscari - Venice University Press, Fondazione Università Ca’ Foscari
dc.type	Research Article
dc.language.iso	it
dc.identifier.uri	http://edizionicafoscari.it/en/edizioni4/riviste/lexis-journal/2022/1/autoriflessivita-e-proiezioni-corali-nellelena-di/
dc.description.abstract	Earlier scholarship identified Euripides’ later plays, with the exception of the Bacchae, as examples of the supposed attenuation of tragedy’s choral element, a development considered to be characteristic of the period and linked to the emergence of New Music. However, in the last two decades, by paying special attention to χορεία, scholars have seriously questioned the idea of a decline of lyric at the end of the late fifth century and have argued for a wider tendency of the poets to increase choral activity by re-instilling traditional elements, especially those linked with Dionysos. My aim is to show that Helen’s second stasimon represents Euripides’ conscious project of recovering rituality and disclosing the elements of the purest Dionysiac χορεία.
dc.relation.ispartof	Lexis
dc.relation.ispartof	Num. 40 (n.s.) – Giugno 2022 – Fasc. 1
dc.issued	2022-06-30
dc.dateAccepted	2021-12-14
dc.dateSubmitted	2021-07-16
dc.identifier.issn
dc.identifier.eissn	2724-1564
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
dc.identifier.doi	10.30687/Lexis/2724-1564/2022/01/006
dc.peer-review	yes
dc.subject	Dionysos
dc.subject	Euripides
dc.subject	Helen
dc.subject	Mother of the Gods
dc.subject	χορεία

Research Article
open access peer reviewed

Self-Reflexivity and Choral Projections in Euripides' Helena

A Prelude to Bacchae

Barbara Castiglioni Ricercatrice indipendente

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abstract

Earlier scholarship identified Euripides’ later plays, with the exception of the Bacchae, as examples of the supposed attenuation of tragedy’s choral element, a development considered to be characteristic of the period and linked to the emergence of New Music. However, in the last two decades, by paying special attention to χορεία, scholars have seriously questioned the idea of a decline of lyric at the end of the late fifth century and have argued for a wider tendency of the poets to increase choral activity by re-instilling traditional elements, especially those linked with Dionysos. My aim is to show that Helen’s second stasimon represents Euripides’ conscious project of recovering rituality and disclosing the elements of the purest Dionysiac χορεία.

Published

June 30, 2022

Accepted

Dec. 14, 2021

Submitted

July 16, 2021

Language

Keywords: Dionysos • Mother of the Gods • Euripides • Helen • χορεία

permalink http://doi.org/10.30687/Lexis/2724-1564/2022/01/006

Copyright: © 2022 Barbara Castiglioni. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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