Anastasia Pantazopoulou | Carleton College (original) (raw)
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Publications by Anastasia Pantazopoulou
Journal of Classics Teaching
This paper presents a public outreach program developed by the Department of Classics at the Univ... more This paper presents a public outreach program developed by the Department of Classics at the University of Florida to introduce school-age children to Classics. The main goal is to emphasise the value of Classics and the practical skills it teaches by engaging students with hands-on exercises and materialising connections between the past and the present. The paper focuses on the importance of Classics and the humanities in the development of engaged citizens, the types of programs and their content, and ways to ensure the sustainability of such initiatives through the involvement of graduate students, faculty, and administrators.
Selected Proceedings of the Classics Graduate Student Symposia at the University of Florida, 1, 2022
This article discusses the theatrical re-imagining of Euripides’ Medea by Peter McGarry. In McGar... more This article discusses the theatrical re-imagining of Euripides’ Medea by Peter McGarry. In McGarry’s play, Medea is punished for her crime and sentenced to suffer the torment and consequences of her murder by repeatedly performing on stage her tragedy throughout time and space. McGarry’s Medea places a spotlight on an enduring facet of human experience, namely, the problem of injustice in its many aspects, comparing Medea’s “just cause” for revenge and killing her children with the wars that modern societies wage in the name of justice, vengeance, or even Gods, which always involve the sacrifice of children and young people to the greater good.
Dissertation by Anastasia Pantazopoulou
This dissertation explores the identity performance of the social Other in certain storyworlds of... more This dissertation explores the identity performance of the social Other in certain storyworlds of the fifth-century BCE Athenian tragic poet Euripides and 21st-century North American playwrights, screenwriters, and directors. The identity performance of the Other is studied here through the socio-spatial concept I term as “stage.” The “stage” functions as a spatial entity where the social Other (gendered, domestic, ethnic, racial, civic) can deliberate their positionality, challenge their social framework, and define or redefine their identity establishing themselves as a subject in their own story. Focusing on two distinct, yet not mutually exclusive spatial entities, namely familiar (home, yard, school) and estranged spaces (spatial entities of a carceral-esque nature), I show that as “stages” they allow the social Other to negotiate their socially imposed roles changing the very nature of themselves and of the spaces in which they exist. Furthermore, I demonstrate that the “stage” offers a space to observe the Other in their process of (re)constructing their identities in their interaction with those in power within their broader social structures. Thus, I argue that the “stage” functions as an intertemporal commentary of pressing socio-cultural issues at the center of which lies the Other.
Thesis by Anastasia Pantazopoulou
One of the recent trends in ancient Greek and Latin drama interpretation is “metatheatre.” “Metat... more One of the recent trends in ancient Greek and Latin drama interpretation is “metatheatre.” “Metatheatre” or “metadrama” is the kind of theatre that refers to itself and reveals in several ways its own theatricality, the mechanisms of both the tragic text and the theatrical performance. This new hermeneutic approach is applied to Euripides' and Seneca's 'Medea.' Medea, the leading character, emerges as an on stage poet by organizing a revenge plan-plot based on deceit, a “sub-play.” The success of Medea's “sub-play” depends on her power to deceive her opponents and her on stage audience by creating the illusion of reality. Therefore the “sub-play” becomes a reflection of the tragedy in which it is “written,” as it allows the audience/readers to distinguish between appearance and reality, lie and truth, and recognize the deceit, which is the core and goal of tragedy. Euripides' and Seneca's Medea is a character that transcends or integrates the identities of the girl in love, a betrayed wife, a heartless mother, a witch, or a cosmic power. Medea is a creator-poetess, and in this light her final act of the children's murder as an act of a mother and wife is not only reprehensible but monstrous, but as an act of a poetess is eminently superb, because it summarizes her artistic perfection and achieves the much coveted supremacy of her own project, her “sub-play.”
Workshops by Anastasia Pantazopoulou
Digital technologies have transformed the way we conceptualize and tell stories creating a space ... more Digital technologies have transformed the way we conceptualize and tell stories creating a space where anyone can express themselves. This workshop will provide hands-on experience with digital storytelling tools that create an engaging learning environment and facilitate interactive research. For more information visit: intersections.humanities.ufl.edu This event was organized by the UF Mellon Intersections Group on Imagineering and the Technosphere.
Conference Abstracts by Anastasia Pantazopoulou
- claims that "allusions to the chorus and actors as inhabiting the world of the theater, or ... more 2005) claims that "allusions to the chorus and actors as inhabiting the world of the theater, or to the audience as spectators of a play, are now acknowledged to have a place in tragedy as well as comedy." Greek tragic poets being self-conscious and realizing the artistic status of their work would explicitly or implicitly comment on the theatrical context of their plays, their mythopoiesis, and conventions of the theatrical experience. Poetic self-awareness
Nothing is more elusive than the theatrical moment, as it exists only in the fleeting conjunction... more Nothing is more elusive than the theatrical moment, as it exists only in the fleeting conjunction of players, audience, and play, for without any one element of this triad the resultant experience is simply not theatre . In general, theatrical experience is a shared illusory convention between the actors and the audience, and more specifically, theatrical experience of the ancient Greek and Roman's tragedies is considered a deceptive one, because it created the sense of deceit/fraud, which according to Gorgias is the aim of tragedy (Ringer
Journal of Classics Teaching
This paper presents a public outreach program developed by the Department of Classics at the Univ... more This paper presents a public outreach program developed by the Department of Classics at the University of Florida to introduce school-age children to Classics. The main goal is to emphasise the value of Classics and the practical skills it teaches by engaging students with hands-on exercises and materialising connections between the past and the present. The paper focuses on the importance of Classics and the humanities in the development of engaged citizens, the types of programs and their content, and ways to ensure the sustainability of such initiatives through the involvement of graduate students, faculty, and administrators.
Selected Proceedings of the Classics Graduate Student Symposia at the University of Florida, 1, 2022
This article discusses the theatrical re-imagining of Euripides’ Medea by Peter McGarry. In McGar... more This article discusses the theatrical re-imagining of Euripides’ Medea by Peter McGarry. In McGarry’s play, Medea is punished for her crime and sentenced to suffer the torment and consequences of her murder by repeatedly performing on stage her tragedy throughout time and space. McGarry’s Medea places a spotlight on an enduring facet of human experience, namely, the problem of injustice in its many aspects, comparing Medea’s “just cause” for revenge and killing her children with the wars that modern societies wage in the name of justice, vengeance, or even Gods, which always involve the sacrifice of children and young people to the greater good.
This dissertation explores the identity performance of the social Other in certain storyworlds of... more This dissertation explores the identity performance of the social Other in certain storyworlds of the fifth-century BCE Athenian tragic poet Euripides and 21st-century North American playwrights, screenwriters, and directors. The identity performance of the Other is studied here through the socio-spatial concept I term as “stage.” The “stage” functions as a spatial entity where the social Other (gendered, domestic, ethnic, racial, civic) can deliberate their positionality, challenge their social framework, and define or redefine their identity establishing themselves as a subject in their own story. Focusing on two distinct, yet not mutually exclusive spatial entities, namely familiar (home, yard, school) and estranged spaces (spatial entities of a carceral-esque nature), I show that as “stages” they allow the social Other to negotiate their socially imposed roles changing the very nature of themselves and of the spaces in which they exist. Furthermore, I demonstrate that the “stage” offers a space to observe the Other in their process of (re)constructing their identities in their interaction with those in power within their broader social structures. Thus, I argue that the “stage” functions as an intertemporal commentary of pressing socio-cultural issues at the center of which lies the Other.
One of the recent trends in ancient Greek and Latin drama interpretation is “metatheatre.” “Metat... more One of the recent trends in ancient Greek and Latin drama interpretation is “metatheatre.” “Metatheatre” or “metadrama” is the kind of theatre that refers to itself and reveals in several ways its own theatricality, the mechanisms of both the tragic text and the theatrical performance. This new hermeneutic approach is applied to Euripides' and Seneca's 'Medea.' Medea, the leading character, emerges as an on stage poet by organizing a revenge plan-plot based on deceit, a “sub-play.” The success of Medea's “sub-play” depends on her power to deceive her opponents and her on stage audience by creating the illusion of reality. Therefore the “sub-play” becomes a reflection of the tragedy in which it is “written,” as it allows the audience/readers to distinguish between appearance and reality, lie and truth, and recognize the deceit, which is the core and goal of tragedy. Euripides' and Seneca's Medea is a character that transcends or integrates the identities of the girl in love, a betrayed wife, a heartless mother, a witch, or a cosmic power. Medea is a creator-poetess, and in this light her final act of the children's murder as an act of a mother and wife is not only reprehensible but monstrous, but as an act of a poetess is eminently superb, because it summarizes her artistic perfection and achieves the much coveted supremacy of her own project, her “sub-play.”
Digital technologies have transformed the way we conceptualize and tell stories creating a space ... more Digital technologies have transformed the way we conceptualize and tell stories creating a space where anyone can express themselves. This workshop will provide hands-on experience with digital storytelling tools that create an engaging learning environment and facilitate interactive research. For more information visit: intersections.humanities.ufl.edu This event was organized by the UF Mellon Intersections Group on Imagineering and the Technosphere.
- claims that "allusions to the chorus and actors as inhabiting the world of the theater, or ... more 2005) claims that "allusions to the chorus and actors as inhabiting the world of the theater, or to the audience as spectators of a play, are now acknowledged to have a place in tragedy as well as comedy." Greek tragic poets being self-conscious and realizing the artistic status of their work would explicitly or implicitly comment on the theatrical context of their plays, their mythopoiesis, and conventions of the theatrical experience. Poetic self-awareness
Nothing is more elusive than the theatrical moment, as it exists only in the fleeting conjunction... more Nothing is more elusive than the theatrical moment, as it exists only in the fleeting conjunction of players, audience, and play, for without any one element of this triad the resultant experience is simply not theatre . In general, theatrical experience is a shared illusory convention between the actors and the audience, and more specifically, theatrical experience of the ancient Greek and Roman's tragedies is considered a deceptive one, because it created the sense of deceit/fraud, which according to Gorgias is the aim of tragedy (Ringer