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Some initial observations on a building excavated on Fabrika in Nea Paphos in Cyprus by the Australian archaeological mission

100%
Barker C.
Studies in Ancient Art and Civilization
|
2015
|
vol. 19
169-201
EN
The Australian archaeological mission to Nea Paphos in Cyprus has begun exploring the remains of a structure to the rear of the cavea of the ancient theatre on the southeastern edge of the hill known as Fabrika. The preliminary results of this excavation suggest a significantly large post-medieval building constructed using stone taken from the former theatre. The building appears to have been used in some sort of industrial production, the precise nature of which is not yet determined, and is perhaps the source of the etymology of the name of the hill. This paper discusses a need for a reassessment of this area of the city of Nea Paphos in its more recent history, and discusses the needs for a better understanding of the urban relationship between Fabrika and the theatrical precinct during the Hellenistic and Roman periods.
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Teorie pochodzenia Pulcinelli i jego związki z antykiem

88%
Sterna M.
Collectanea Philologica
|
2015
|
vol. 18
EN
A discussion on the origin of Pulcinella, the most important mask of Neapolitan Theatre, is the subject matter of the following article. At the beginning, I will present the characteristics of this figure including his symbolism. Then, I will discuss possible connections of Pulcinella with some dramatic forms of ancient theatre. At the same time, I will describe a review of study of this figure specifying the most important phases of this research. The conclusion of this article will consist of the summary of the results of carried out analysis.
3
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Pure Propaganda or Great Art, Patriotism and Civic Engagement? How Aeschylus and Euripides Used Their Plots to Support Athenian Politics towards the Allies

65%
Śmiechowicz O.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2019
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vol. 29
|
issue 2
5-16
PL
In this article I would like to focus on one research topic: how ancient tragedians manipulated their drama plots (based on Greek mythology) so as to use them for influencing Athenian “international policies.” Those were not any mistakes or airs of nonchalance on the part of the Athenian tragedians; it was just their carefully premeditated strategy of creating persuasive messages to function as pure propaganda. I am chiefly directing my attention to the topic of how the Athenians established their relations with the allies. Meaning the closest neighbours as well as some of those who did not belong in the circle of the Hellenic civilization. I have decided to devote all of my attention to Aeschylus’ and Euripides’ works, as both of them were obvious supporters of the democratic faction. I focused my attention on the texts: Aeschylus: The Suppliants, Oresteia; Euripides: Heracleidae, Andromache, Archelaus,Temenos.
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