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For this paper I shall look at ways of coordinating politics and entertainment, or in slightly other terms aesthetics and politics, as they have been used to construct ancient tragedy as a means to the good society. In my title this aspect of tragedy is identified as "home", to indicate tragedy's preoccupation with community. This is a note repeatedly struck in discourse about tragedy, both by the earliest commentators and by those negotiating the development of the nation-state, and of political reform, in the eighteenth, nineteenth and twentieth centuries. This essay thus first considers some of the different ways in which tragedy has been associated with the goal of the good community, by the theoretical works of Plato, Aristotle, Schlegel, Williams and Eagleton, as well as by harnessing productions and performances to the political effort of nation-building. The essay will then contrastingly explore tragedy's "homelessness", the ways in which it uproots its characters and sets them in restless motion. These latter reflections are prompted by recent receptions of tragedy that have responded to the global migrant crisis, and that are thus in dialogue with earlier critical understandings of tragedy which were more likely to foreground a sense of civic identity associated with the polis. I thus consider productions of Aeschylus' Suppliant Women in Syracuse and Edinburgh, and the new ancient trilogy, acted by Syrian women refugees, which has unfolded since 2013, in the Middle East and Europe, under the creative guidance of Omar Abu Saada and Mohammad Al Attar. The new focus is born of and gives voice to new global realities. Barbara Goff is Professor of Classics at the University of Reading, UK. She has published extensively on Greek tragedy and its reception, especially in postcolonial contexts. Her most important books include Your Secret Language: classics in the British colonies of West Africa (London: Bloomsbury, 2013), Crossroads in the Black Aegean: Oedipus, Antigone, and dramas of the African diaspora (Oxford: Oxford University Press, 2007), and The Noose of Words: Readings of Desire, Violence and Language in Euripides' Hippolytos (Cambridge: Cambridge University Press, 1990). Her most recent publication is a collection, co-edited with Introduction, titled Classicising Crisis: the modern age of revolutions and the Greco-Roman repertoire (London: Routledge, 2020). Keywords: tragedy, exile, home, refugee, Syria

At present, there is still no such thing as geopolitical aesthetics. It should be a new science. Its object should be the whole varied universe of the arts together with all that is included in the wider universe of sensibility, but the approach to the study of this object should be different from that which has hitherto existed in the field of aesthetics' studies. Given that the arts are not autonomous with respect to all other human activities, especially with respect to the political economy, which in a globalised context such as the current one will necessarily have an international profile, then the study of the arts (the determination of their nature) will have to take into account these relationships that are determined between the political economy and international geopolitical dynamics and the arts as a whole. The aim of this article, starting from a wide-ranging analysis of some events in the history of the arts in the second half of the last century, is to provide elements for beginning to think about geopolitical aesthetics. ; Attualmente, non esiste ancora qualcosa come un'estetica geopolitica. Essa dovrebbe essere una nuova scienza. Il suo oggetto dovrebbe essere tutto il vario universo delle arti insieme a tutto quello che è compreso nell'universo più ampio della sensibilità, ma l'approccio allo studio di questo oggetto dovrebbe essere diverso da quello che fino a oggi si è avuto nel campo degli studi di estetica. Considerato che le arti non sono autonome rispetto a tutte le altre attività umane, soprattutto rispetto all'economia politica, che in un contesto globalizzato come è quello attuale avrà necessariamente un profilo internazionale, allora lo studio delle arti (la determinazione della loro natura) dovrà tenere presente questi rapporti che si vengono a determinare tra economia politica e dinamiche geopolitiche internazionali e le arti nel loro complesso. Lo scopo di questo articolo, a partire da un'analisi ad ampio raggio su alcuni eventi della storia delle arti della seconda metà del secolo scorso, è quella di fornire degli elementi per poter cominciare a pensare un'estetica geopolitica.