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The ancient works of Greek civilization had almost been wiped out of human consciousness until Renaissance revisited it. In early 1800s, when Greece was revolting against Turks after 400 years of slavery, Europe discovered the old Greek tragedies and works of Greek philosophers which had been oppressed by political power bearers. In the 19th century many free spirits like Lord Byron (who died in Greece during the war) were intrigued by these works and began to reinterpret and analyse them to locate universals truths relating to philosophy, ecology, psychology, natural sciences, etc in them.Ever since Renaissance (when Shakespeare made abundant use of Greek Myths in his plays) the craze and interest in Greek mythology has not slowed down. From Homer to John Milton to John Keats to Thomas Hardy, all old and contemporary writers have looked towards Greek Myths for substance for their writing and have used them in all possible genres of literature. This paper attempts to trace the influence of Greek Mythology on English literature and contemporary culture, to point towards the literary works of various centuries which intensively used Greek myths and those English films which depict the same. An effort has been made at finding out the reason behind this continuing popularity of ancient myths and to analyse such a tremendously powerful phenomenon.

Autochthony myths served the creation of an identity that was culturally and politically meaningful to the people. Since the 430s the Athenians have brought the message of their autochthony across with a confidence and insistence that seem more than average. Around a decade after Pericles' Citizenship Law, the first indications emerge that the Athenians claimed to be 'autochthones'. A century after Pericles' Citizenship Law, being an exclusive elite had become a quality of all citizens of Athens.

Los antiguos griegos nos han dejado un rico legado de historias inspiradas en sus dioses, diosas y héroes, que fueron posteriormente adoptadas por los antiguos romanos cuando les desplazaron de la hegemonía sobre el Mediterráneo. Desde entonces, la civilización griega ha ejercido una profunda influencia en la formación de la cultura occidental, pues creó la democracia y el alfabeto moderno, y sentó las bases de las matemáticas, la filosofía, la astronomía y la medicina. En esta obra, se muestra como estan entrelazadas la mitología griega con aspectos de su civilización. ; SC ; Biblioteca de Educación del Ministerio de Educación, Cultura y Deporte; Calle San Agustín, 5 - 3 planta; 28014 Madrid; Tel. +34917748000; biblioteca@mecd.es ; GBR

Los antiguos griegos nos han dejado un rico legado de historias inspiradas en sus dioses, diosas y héroes, que fueron posteriormente adoptadas por los antiguos romanos cuando les desplazaron de la hegemonía sobre el Mediterráneo. Desde entonces, la civilización griega ha ejercido una profunda influencia en la formación de la cultura occidental, pues creó la democracia y el alfabeto moderno, y sentó las bases de las matemáticas, la filosofía, la astronomía y la medicina. En esta obra, se muestra como estan entrelazadas la mitología griega con aspectos de su civilización. ; SC ; Biblioteca de Educación del Ministerio de Educación, Cultura y Deporte; Calle San Agustín, 5 - 3 planta; 28014 Madrid; Tel. +34917748000; biblioteca@mecd.es ; GBR

This paper will co-examine Euripides' ancient tragedy The Bacchae and Charles Mee's modern (re)making, The Bacchae 2.1. Mee – who is constantly inspired by the Greeks and repeatedly states that "there is no such thing as an original play" – keeps the myth and characters of the classic drama virtually unchanged, leaving their words to express the differences. Although the lines of Euripides are often repeated verbatim, they are uttered in a different context and setting, with pieces of the modern world invading the ancient text, in an attempt to show the individual's pain and suffering. In both plays, the different boundaries with which people attempt to gain control of the world around them are challenged and eventually shattered. In contrast to Euripides' world, however, where harmony is – even briefly – a possibility, Mee's is vulgar and bizarre, explicitly violent and sexually obscene; shaped by the prevalent culture rather than the deities to whom the ancients believed, the modern playwright's heroes stand alone in their effort to survive and find meaning. It is the aim of this paper to show how both playwrights place the question of social and personal identity - through the contrast between private and public realms - at the heart of their works, how they repeatedly point out the dangers of state politics interfering with the freedom and beliefs of its citizens and create plays about the challenge of authority. Common themes to be examined include violence, abuse of power, denial of responsibility, self-delusion and awareness, subconscious drives and suppressed behavior, miscommunication.

En este trabajo se analiza el texto marechaliano en su relación con el intertexto de Sófocles y del mito griego en general, así como con otros intertextos presentes en la obra. Asimismo, se relaciona esa versión particular del mito con las coordenadas ideológicas del autor y con el tiempo político en que tuvo lugar su creación. ; In this work, we analyze the relation of the text of Leopoldo Marechal with the intertext of Sophocles and the ancient Greek myth in general, as well as with other intertexts that appear in this play. Besides, this particular version of the myth is placed in the ideological coordinates and the political time in which it was created. ; Fil: Martínez Gramuglia, Pablo.

This study was conducted per the requirements of a thesis in the masters program of Comparative Social Policy and Welfare of the department of Social Sciences of the University of Tampere, Finland. The paper deals with the evaluation of rehabilitation and re-entry programs as perceived by the professionals of social sciences in the only official organization on rehabilitation and re-entry in Greece, EPANODOS. Specifically, it analyses the penal system of Greece and the legislative framework which governs it. The study also examines Greece's penal institutions and the detention conditions inside them. Other topics examined are the communication possibilities of the prisoner with their family and social environment, the opportunities for employment and work inside and outside the institution, along with the educational and vocational programs provided by social services. Most studies investigating imprisonment and re-entry in Greece are focused on imprisoned people and any examination of re-entry is based on prisoners' and former prisoners' perspective, rather than that of the professionals who are offering those programs. That is why I decided to conduct a qualitative research and interview five professionals (n=5) from EPANODOS. My data were categorized and analyzed using thematic analysis. The evaluation of the re-entry programs from the experiences and the critical point of view of those professionals answered my research question, which is: How feasible is rehabilitation and re-entry in Greece? From their answers I investigated how this newly formed organization functions, what it offers and how many people work there, what are the difficulties it faces in providing the services to former prisoners, if they are getting any help from the state and what kind of help and if any results from previous studies were taken into consideration; also the state of rehabilitation, if there have been any significant changes and how the existing rehabilitation programs are evaluated. Finally, I examined whether any good practices are being planned, or already in place. My findings showed that, even though re-entry has not been among the state's priorities, it is still feasible in Greece, but needs time to develop. It has been noted that things take time to mature in Greece, mostly due to the changes in the country's sociopolitical system, leaving sometimes Greece behind in comparison to other European countries regarding not only re-entry and rehabilitation policies, but social solidarity and social aid policies in general; problems that are becoming even more prominent in an era of financial crisis. However, given the relevant changes in policy and service implementation, it is expected that positive results will appear in due time. Keywords: re-entry, rehabilitation, penal institutions, former prisoners

mythisnow and pasoliniandeuropetoday are not collages. They are multistabilities of 'nows' which share the common aspect of eternity. mythisnow is focused on manifestations of ancestral terror and shows its equivalences in the Ancient Greek myths, in Pasolini's work, and in Greek riots. ; Joulia Strauss, 'mythisnow — pasoliniandeuropetoday', in The Scandal of Self-Contradiction: Pasolini's Multistable Subjectivities, Geographies, Traditions , ed. by Luca Di Blasi, Manuele Gragnolati, and Christoph F. E. Holzhey, Cultural Inquiry, 6 (Vienna: Turia + Kant, 2012), pp. 303–05

Athenian citizens deliberate in the assembly, but the theatre also becomes a place for public debate. In addition to being a consequence of economic or cultural aspects, democracy is a consequence of the development of a democratic imaginary. Located in that imaginary, Greek tragedies, regarded as «democratic myths», work to reaffirm Athenian democracy. Far from being dogmatic, the tragic myth explores the contradictions of social and personal life and implicitly or explicitly seeks their correction. This dramatic genre encourages participation from the spectator (citizen) that greatly exceeds the schematic reduction in Aristotelian theory of catharsis. Greek tragedy proposes the existence of an «audience», of spectators who need a sufficient level of maturity to make that assessment. Democracy is a path, or perhaps an active utopia, which should combine the political order with a coherent culture and art.Los ciudadanos atenienses deliberaban en la asamblea, pero también el teatro se convierte en un lugar de debate público. Porque una democracia (también la ateniense) no solo es consecuencia de aspectos económicos o de orden cultural, sino también del desarrollo de un imaginario democrático. Y es en dicho imaginario donde se inscriben las tragedias griegas, consideradas como «mitos democráticos» que servían para reafirmar la democracia ateniense. Lejos de cualquier dogmatismo, el mito trágico explora las contradicciones de la vida social y personal, y se pregunta, de manera expresa o tácita, por su posible corrección. Este género dramático induce a una participación del espectador (ciudadano), que va más allá de la esquemática reducción de la teoría aristotélica de la catarsis. El teatro griego propone la existencia de un «público», de unos espectadores que precisan de una gran madurez para emitir ese juicio. La democracia es un camino, o quizás una utopía activa, que debe conjugar el orden político con una cultura y un arte coherentes.

Because of history, culture, and politics, European identity has its archetypical elements in ancient Greek culture. Ancient Greek philosophy brought Logos to fore and defined it as the crucial problem and the postulate of the human. We translate the Greek term Logos in English as reason or rationality. These terms, however, do not cover the semantic field of Logos since this includes, among other things, order of being, ground, language, argument etc. The juxtaposition of Logos (reason) to myth makes up the matrix of rationalism. Ancient Greek culture, however, was a culture of Logos (reason) as well as of myth and had enough room for forms, gods, and heroes, for science, poetry, and religious festivities. While ancient Greek culture seems to follow the logic of forms, modern European culture follows the logic of things. Plato criticizes myth and, at the same time, he sets out a philosophy of myth. He follows the principle of 'giving reason' (logon didonai) about things, as his master Socrates did. He establishes dialogue and defines dialectics as the science of principles and ideas and their relations to the things of this world. Aristotle did not accept Plato's interpretation of Logos. He considered dialectics only as a theory of argumentation and defined his 'first philosophy' or 'theology' as the science of highest Being. His program of rationalism is based on ontology and accepts the primordial relation of Logos, life, and order of things. European modernity begins in philosophy with Descartes' turn to the subject. Descartes defines the main elements of European rationality and their problems. He brings to fore the human subject as the 'I' that is free to doubt about everything it can know except itself. Knowledge has to consolidate the power and the mastery of humans over things and nature. Besides, the distinction between soul and body in terms of thinking thing and extended thing does not allow a unique conception of the human. Especially Kant and Hegel attempted to eliminate the impasses of Descartes' and of Cartesians. While Kant defined freedom as the transcendental idea of reason, Hegel highlighted the reconciliation of spirit and nature. Nowadays there is a confusion regarding rationality. The power of humans over nature and over other humans as nature is increasing. We have lost the measure of our limits. Perhaps we need the ancient Greek grammar of Logos in order to define the measure and the limits of modern European rationality.

Pasolini was simultaneously a revolutionary Marxist and a man forever influenced by his religious childhood. So his question was: do the revolutionary becoming of history and political negativity represent a destruction of the tragic beauty of the Greek myths and of the peaceful promise of Christianity? Or do we have to speak of a subtraction where an affirmative reconciliation of beauty and peace becomes possible in a new egalitarian world? ; Alain Badiou, 'Destruction, Negation, Subtraction', in The Scandal of Self-Contradiction: Pasolini's Multistable Subjectivities, Geographies, Traditions , ed. by Luca Di Blasi, Manuele Gragnolati, and Christoph F. E. Holzhey, Cultural Inquiry, 6 (Vienna: Turia + Kant, 2012), pp. 269–77

This essay draws on the work of the ancient Greek poet Hesiod to reflect on the dynamics of gender, reproduction, and power in Greek myth and in contemporary politics.

This paper draws on classical scholarship on myth in order to critically examine three ways in which scholars and fans have articulated a relationship between fan fiction and myth. These are (1) the notion of fan fiction as a form of folk culture, reclaiming popular story from corporate ownership; (2) the notion of myth as counterhegemonic, often feminist, discourse; (3) the notion of myth as a commons of story and a universal story world. I argue that the first notion depends on an implicit primitivizing of fan fiction and myth, which draws ultimately on the work of Gottfried von Herder in the 18th century and limits our ability to produce historically and politically nuanced understandings of fan fiction. The second notion, which is visible in the work of Henry Jenkins and Constance Penley, is more helpful because of its attention to the politics of narration. However, it is the third model of myth, as a universal story world, where we find the richest crossover between fan fiction's creative power and contemporary classical scholarship on myth, especially in relation to Sarah Iles Johnston's analysis of hyperserial narrative. I demonstrate this through some close readings of fan fiction from the Greek and Roman Mythology fandom on Archive of Our Own. I conclude the paper by extending Johnston's arguments to show that fan-fictional hyperseriality, specifically, can be seen as mythic because it intervenes not only in the narrative worlds of its source materials but also in the social world of its telling.

This article explores the relevancy of Greek myth in Latin American theatrical practice, through the diverse existent versions of Antigone in its dramaturgy, but concentrating particularly on two works: Antígona Vélez, by Leopoldo Marechal, and The passion according to Antígona Pérez, by Luis Rafael Sánchez. Additionally, the tradition of political theater in the continent that is found behind this phenomenon is revised and the aesthetic task that this exercise represents. ; Este artículo explora la pertinencia del mito griego en la práctica teatral latinoamericana, a través de las diversas versiones de Antígona existentes en la dramaturgia del continente, pero concentrándose particularmente en dos obras: Antígona Vélez, de Leopoldo Marechal; y La pasión según Antígona Pérez, de Luis Rafael Sánchez. Adicionalmente, se revisa la tradición de teatro político en el continente que se encuentra tras este fenómeno, y la tarea estética que representa este ejercicio.

To focus on the sound of the source text is to run counter to the dominant translation strategy, which focuses on meaning. This is true more generally, but also in the case of Modern Greek poetry. Translations such as those by Edmund Keeley and Phillip Sherrard introduced the poetry of C. P. Cavafy, George Seferis, Odysseas Elytes and Yannis Ritsos in an idiom that reads easily in English and makes the living tradition of myth and history readily available to an Anglophone audience. The Greek tradition, with its notion that sound is meaning, complicates the picture. It is not that sound doesn't have meaning in British and American poetry. But in the Greek case, meter isn't imagined as additional information that situates the poem in a tradition and a culture; it is seen as the very stuff of political and historical consciousness. From the nineteenth-century national anthem of Dionysis Solomos to the prose poems of a contemporary poet such as Jenny Mastoraki, meter and rhyme are integrally related to the project of nation-making that began with the War of Independence in the 1820s and ended with the recent economic and political crisis.