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Lady Jane Lumley's Iphigenia at Aulis exemplifies the process of dramatic reproduction in the mid-sixteenth century and in 2014. Lumley's translation (ca 1554) of Euripides' tragedy is a text which revivifies the past to confront the emotional consequences of betrayal and loss. In the sixteenth-century context of Lumley's own family, her translation disturbs and manages the emotional consequences of her father's involvement in the sacrifice of Lady Jane Grey to fulfil the family's political ambitions. My historicist approach juxtaposes a consideration of the play's performances in the Rose Company Theatre in 2014. Drawing on interviews with the director and actors and my observation of spectators' reactions, I discuss the production's testing of the script's immediacy for audiences in a present which had its own preoccupations with the past; namely, the centenary of the outbreak of World War I.

In his Poetics Aristotle dismisses Iphigenia's characterisation as inconsistent. Why does the eponymous heroine of 'Iphigenia at Aulis' change her mind and decide to die willingly? This central question has preoccupied not only classical scholars, but receiving artists, too. How Iphigenia's change of heart in portrayed on stage and screen affects the audience's response to the character. Is Iphigenia a victim or a heroine (or a mixture of both)? The Greek-Cypriot filmmaker Michael Cacoyannis believed he enjoyed a special relationship with Euripides, but his interpretation was shaped by political events in Modern Greece and Cyprus in the 1960s and 70s. In his film Iphigenia (1977) the ancient tragic heroine was recast as a young girl who sacrifices herself for Greece. In Cacoyannis' anti-war interpretation of Iphigenia's choice she is both heroic, and the victim of male power games and irredentist ambition. Cacoyannis' Iphigenia is a heroine of her time, as much as she is a refraction of her ancient predecessor. ; false

In his Poetics Aristotle dismisses Iphigenia's characterisation as inconsistent. Why does the eponymous heroine of Iphigenia at Aulis change her mind and decide to die willingly? This central question has preoccupied not only classical scholars, but receiving artists, too. How Iphigenia's change of heart in portrayed on stage and screen affects the audience's response to the character. Is Iphigenia a victim or a heroine (or a mixture of both)? The Greek-Cypriot filmmaker Michael Cacoyannis believed he enjoyed a special relationship with Euripides, but his interpretation was shaped by political events in Modern Greece and Cyprus in the 1960s and 70s. In his film Iphigenia (1977) the ancient tragic heroine was recast as a young girl who sacrifices herself for Greece. In Cacoyannis' anti-war interpretation of Iphigenia's choice she is both heroic, and the victim of male power games and irredentist ambition. Cacoyannis' Iphigenia is a heroine of her time, as much as she is a refraction of her ancient predecessor.

"No gender sensitive design without gender sensitivity – and no gender sensitivity without gender sensitive design." Mit diesen simplen, aber treffenden Worten leitete Prof. Dr. Uta Brandes am 8....

The article is devoted to the problem of Gerhart Johann Robert Hauptmann's interpretation of his own views concerning the problem of fate and freewill, which sheds light on the general problem of modern, connected with the eternal process of creative personality, formation. The objectives of the work correspond to this: to substantiate the leading role of anthropological patterns in the Art Nouveau era, to reveal the dynamics of G.Hauptmann's formation on the basis of commenting his theoretical and artistic works, to reflect in this respect the overcoming of fate and gaining freedom by the heroine of the late drama "Iphigenia in Delphi". In the course of the analysis, it was revealed that in his later work, G.Hauptmann retains the same views on the fatal predetermination deprived of real being, and he switches to the sphere of feelings. In this case, special attention is paid to the author's revision of the romantic concept, in which the idea of immortality, transcend the borders of the visible world, became the main one for the said writer. It is from these positions that Iphigenia's image is revealed. Seeking self-understanding and identity, she renounces the Olympian world, in which sacrifice and fear of gods is the norm, and she voluntarily returns to Hecate's Palace, as it is in them that a new immortal existence takes place. The conclusion is made about the birth of a new personality through the conception of one's own existence, the rejection of dogmatic conceptions from the power of the doom makes the individual free, strong and unbroken by anything or anybody.

This article explores, from the standpoint of socio-political myth-criticism, the processes of revision and adaptation carried out in Gary Owen's 2015 play Iphigenia in Splott. The play, a dramatic monologue composed in the rhythms of slam poetry, rewrites the classical Greek myth of Iphigenia in order to denounce the profound injustice of the sacrifices demanded by austerity policies in Europe—and more specifically, in Britain—in the recession following the financial crash of 2008. Reassessing contemporary social, economic and political issues that have resulted in the marginalisation and dehumanisation of the British working class, this study probes the dramatic and mythical artefacts in Owen's harrowing monologue by looking back to Euripides's Iphigenia in Aulis, the classical play which inspires the title of Owen's piece and which serves as the mythical and literary background for the story of Effie. The aim is to demonstrate how Owen's innovative adaptation of the sacrifice of Iphigenia, slurred out in verse, resentful and agonising, speaks out a desperate plea against myth, that is, against a dominant social ethos that legitimises its own violence against the most vulnerable—those who, as in the classical myth, suffer the losses that keep our boats afloat.

This article explores, from the standpoint of socio-political myth-criticism, the processes of revision and adaptation carried out in Gary Owen's 2015 play Iphigenia in Splott. The play, a dramatic monologue composed in the rhythms of slam poetry, rewrites the classical Greek myth of Iphigenia in order to denounce the profound injustice of the sacrifices demanded by austerity policies in Europe—and more specifically, in Britain—in the recession following the financial crash of 2008. Reassessing contemporary social, economic and political issues that have resulted in the marginalisation and dehumanisation of the British working class, this study probes the dramatic and mythical artefacts in Owen's harrowing monologue by looking back to Euripides's Iphigenia in Aulis, the classical play which inspires the title of Owen's piece and which serves as the mythical and literary background for the story of Effie. The aim is to demonstrate how Owen's innovative adaptation of the sacrifice of Iphigenia, slurred out in verse, resentful and agonising, speaks out a desperate plea against myth, that is, against a dominant social ethos that legitimises its own violence against the most vulnerable—those who, as in the classical myth, suffer the losses that keep our boats afloat.

O bivalve estuarino Iphigenia brasiliensis (Lamarck, 1818) é um recurso de mariscagem amplamente explorado nas regiões Norte e Nordeste do Brasil. Embora a espécie apresente relevância socioeconômica para muitas populações tradicionais, poucas informações a seu respeito estão disponíveis na literatura. Este trabalho teve como objetivo recuperar estudos nos quais I. brasiliensis fosse espécie modelo ou um dado direto da pesquisa. Para tanto, foi realizada uma revisão da literatura utilizando-se de quatro bases de dados digitais. Foram recuperadas 132 publicações, as quais foram caracterizadas por uma análise de conteúdo, bem como tiveram seus dados compilados para uma descrição estatística. Das publicações recuperadas, apenas 17 corresponderam a pesquisas diretamente relacionadas à espécie, ou seja, aquelas em que I. brasiliensis foi o objeto de estudo. A maior parte dos trabalhos levantados nesta revisão referiu-se a espécie, principalmente, como uma das capturas incidentais mais abundantes durante a catação de bivalves comercialmente mais rentáveis. Palavras-chave: Bivalve Estuarino. Catação de Moluscos. Captura Incidental. AbstractIphigenia brasliensis (Lamarck, 1818) is an estuarine bivalve used as commercial and subsistence resource by the traditional communities from North and Northeast of Brazil. Although its socioeconomic relevance, the species is poorly studied and information on it is very rare in the academic literature. The main aim of this review was to recover all available information on I. brasiliensis that was scattered among many different sources. For doing that a search was carried out using four digital databases. 132 publications were recovered and characterized by a content analysis, as well as had their data compiled for a statistical description. Of the recovered publications, only 17 corresponded to research directly related to the species, that is, to those in which I. brasiliensis was the object of study. Most of the literature recovered in this review referred to the species only as one of the most abundant bycatch during the exploitation of other commercially profitable bivalves. Keywords: Estuarine Bivalve. Mollusk Gathering. Bycatch.

L'auteur montre comment l'objectif des dirigeants grecs dès le début de la crise – éviter l'effondrement financier et l'exclusion de la zone euro – a conduit les gouvernements successifs à accepter la mise en place de règles exceptionnelles allant jusqu'au sacrifice des droits constitutionnels, au risque de remettre en cause la notion même d'intérêt public.

The article deals with the perception of Iphigenia's myth by German playwright Volkner Braun. Solving the problem of freedom and the possibility of personality's self-determination, outstanding writer in his dramatic fragment of verse «Iphigenia in Freedom» (1991) presented his interpretation of the classical plot, where bloody story of the Atrides is closely interwoven with historical events of German's consolidation. Rejection of holistic plot in favor of fragmentariness of the narration allowed the author to represent his discrepant present-day reality. The liberation of the heroine is happening as a result of the exchange without her participating in the process at all (even with her internal resistance), as she is considered to be dumb. The main part of the work is written in form of stream of consciousness, which is built on delusive inner associations, literary allusions (first of all to Goethe) and ironically reconsidered political slogans. The playwright represents Iphigenia's liberty between the liberation and the sacrifice, whose destiny is closely connected with world's history. Thanks to intertextual plays with prototexts, Braun keeps current the problem of legitimacy of compulsive actions in different historical contexts. The author tried to reproduce contemporary perception, his reaction to actual social changes and at the same time reflection on the historical process as a whole. If at the beginning of the work the writer combined the detailed myth's problems with the previous history, which was determined by fate, then further reflected the current development of history, which was close to the requirements of the myth. ; В статье исследуется рецепция мифа об Ифигении в произведении немецкого драматурга Фолькера Брауна. Решая проблему свободы и возможности самоопределения личности, выдающийся писатель в стихотворном драматическом отрывке «Ифигения на свободе» (1991) представил свою интерпретацию мифологического сюжета, в котором кровавая история рода Атридов тесно переплелась с историческими событиями объединения Германии. Отказ от целостной фабулы в пользу фрагментарности повествования позволил автору отобразить противоречивую современную действительность. ; У статті досліджується рецепція міфу про Іфігенію у творі німецького драматурга Фолькера Брауна. Вирішуючи проблему свободи та можливості самовизначення особистості, видатний німецький письменник у віршованому драматичному уривку «Іфігенія на свободі» (1991) представив свою інтерпретацію міфологічного сюжету, де кривава історія роду Атридів тісно переплелася з історичними подіями возз'єднання Німеччини. Відмова від цілісної фабули на користь фрагментарності оповіді дозволила авторові відобразити суперечливу сучасну дійсність.

After the emergence and development of Performance and Theatre Studies in literary theory, the invisibility of gendered vulnerability denounced through fictional characters has recently raised an interesting debate turning spectators into active participants in the process of negotiating ethical agency. The intersection of vulnerability and precarity in contemporary theatre might offer a challenging approach to be explored due to the ontological connections between the two concepts. Under the light of Alyson Cole's (2016) "All of Us Are Vulnerable, But Some Are More Vulnerable than Others: The Political Ambiguity of Vulnerability Studies, an Ambivalent Critique", Isabell Lorey's (2015) State of Insecurity: Government of the Precarious, and Judith Butler's (2012) "Precarious Life, Vulnerability, and the Ethics of Cohabitation," among other sources, the objective of this chapter is to explore the nexus between gendered forms of vulnerability and other factors inherent to social and economic precarity present in the plays of the Welsh playwright Gary Owen Iphigenia in Splott (2015) and In the Pipeline (2010). The analysis will demonstrate the necessity to (re)structure social bonds according to the condition of mutual cohabitation and shared responsibility by illuminating the complexity of the precarity/vulnerability ambivalence exposed in the plays.

Corporate Social Responsibility has been a term used for the last decade and has been asserted that by contributing to CSR a firm becomes competitive. Whilst it has been argued that CSR contribution does increase a companys profit there has been little work to develop a tool in assessing the CSR contributions made and the impact on competitiveness. The current paper is identifying the areas SMEs in Cyprus concentrate their CSR contribution, the barriers and enablers making CSR possible as well as the tools used to evaluate the CSR contributions. The purpose is to identify the components so as to enable the research team of seven euro-Mediterranean countries to develop a tool on CSR competitiveness. This project is funded by the European Union.Since Cypriot SMEs operate in a small country with the idiosyncrasies and needs of a small country tend to emphasise the community rather than the market needs. Given the financial crisis at the moment the barriers are not only lack of resources but also lack of knowhow. The owners of the companies tend to be the major enablers which is a strong point and the government is making every effort to assist them.