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Key words: Jules Dassin, Phaedra, Greek tragedy, Greek Mythology, classical tradition, cinema, classical tradition in cinema

Through a superb translation of Euripides’s Hippolytus to the world of 20th century Greek shipping magnates, Jules Dassin and Margarita Liberaki demonstrate in their 1962 film Phaedra the currency of the ancient myth owing to the universality of its themes and the timelessness of its message. Without straying substantially from Aristotle’s views on Greek tragedy expressed in his Poetics, in this paper we undertake a detailed analysis of a filmed tragedy in which the great error (megálē hamartía) of the chief protagonists, far from disassociating ancient Greece from modern times, confirms the convergence of both Greek cultures through displays of excess (hýbris), repeated premonitions, tragic irony, and instances of irrational behavior, guilt and tragic errors along with recognition (anagnṓrisis) accompanied

Key words: Albert Lewin, Pandora i l'holandès errant, tradició clàssica, semiologia, surrealisme, cinema, mitologia grega, Ava Gardner, James Mason

Albert Lewin, a well-known Hollywood cinema director who is significantly influenced by the surrealistic movement, brings together the myth of Pandora and the legend of the flying Dutchman in order to create an exemplary love story, a crazy love story which goes beyond the limits of human reason. Bearing in mind, then, that if one wants to believe in this sort of love story must not be guided by human reason stricto sensu, he builds a world of signs, a semiologic world which this article aims at helping to interpret. 

Key words: Albert Lewin, Pandora y el holandés errante, tradición clásica, semiología, surrealismo, cine, mitología griega, Ava Gardner, James Mason

Albert Lewin, a well-known Hollywood cinema director who is significantly influenced by the surrealistic movement, brings together the myth of Pandora and the legend of the flying Dutchman in order to create an exemplary love story, a crazy love story which goes beyond the limits of human reason. Bearing in mind, then, that if one wants to believe in this sort of love story must not be guided by human reason stricto sensu, he builds a world of signs, a semiologic world which this article aims at helping to interpret.    

Key words: Albert Lewin, Pandora and the Flying Dutchman, classical tradition, semiology, surrealism, cinema, Greek mythology, Ava Gardner, James Mason

Albert Lewin, a well-known Hollywood cinema director who is significantly influenced by the surrealistic movement, brings together the myth of Pandora and the legend of the flying Dutchman in order to create an exemplary love story, a crazy love story which goes beyond the limits of human reason. Bearing in mind, then, that if one wants to believe in this sort of love story must not be guided by human reason stricto sensu, he builds a world of signs, a semiologic world which this article aims at helping to interpret.    

Key words: Foucault’s History of Sexuality, Foucault’s Histoire de la sexualité, gay studies, Greek philosophy, pederasty, Plutarch’s Eroticus, Plutrach’s Amatorius, M. Foucault

This aim of this article is to reflect on Michel Foucault's reading of Plutarch's Eroticus in his Histoire de la sexualité, putting emphasis on the fact that, against what it is affirmed by the French thinker, the real debate is not, in the author's opinion, about true pleasure, that obtained by the erastés from his erómenos or that obtained by husbands from their wives, but the need to assign also love and friendship (éros kaì philia) to the conjugal love.

Key words: Foucault’s History of Sexuality, Foucault’s Histoire de la sexualité, gay studies, Greek philosophy, pederasty, Plutarch’s Eroticus, Plutrach’s Amatorius, M. Foucault

This aim of this article is to reflect on Michel Foucault's reading of Plutarch's Eroticus in his Histoire de la sexualité, putting emphasis on the fact that, against what it is affirmed by the French thinker, the real debate is not, in the author's opinion, about true pleasure, that obtained by the erastés from his erómenos or that obtained by husbands from their wives, but the need to assign also love and friendship (éros kaì philia) to the conjugal love.

Key words: Foucault’s History of Sexuality, Foucault’s Histoire de la sexualité, gay studies, Greek philosophy, pederasty, Plutarch’s Eroticus, Plutrach’s Amatorius, M. Foucault

This aim of this article is to reflect on Michel Foucault's reading of Plutarch's Eroticus in his Histoire de la sexualité, putting emphasis on the fact that, against what it is affirmed by the French thinker, the real debate is not, in the author's opinion, about true pleasure, that obtained by the erastés from his erómenos or that obtained by husbands from their wives, but the need to assign also love and friendship (éros kaì philia) to the conjugal love.

Key words: anti-classicism, anti-hel·lenism, English literature, Victorian literature, paradox, classical tradition,  Oscar Wilde

Thanks to a powerful intellectual weapon, paradox, Oscar Wilde also discovers the dark side of both Classicism and Hellenism. An accurate analysis of his works from the point of view of the Classical Tradition shows an Oscar Wilde who is quite different from the usual Philhellenic one and, above all, from the Platonic one. The aim of this article is to approach a theme which has been hardly studied by classical philologists, that is, anti-classicism and anti-hellenism as an intellectual urge.

Key words: anti-classicism, anti-hel·lenism, English literature, Victorian literature, paradox, classical tradition,  Oscar Wilde

Thanks to a powerful intellectual weapon, paradox, Oscar Wilde also discovers the dark side of both Classicism and Hellenism. An accurate analysis of his works from the point of view of the Classical Tradition shows an Oscar Wilde who is quite different from the usual Philhellenic one and, above all, from the Platonic one. The aim of this article is to approach a theme which has been hardly studied by classical philologists, that is, anti-classicism and anti-hellenism as an intellectual urge.

Key words: anti-classicism, anti-hel·lenism, English literature, Victorian literature, paradox, classical tradition,  Oscar Wilde

Thanks to a powerful intellectual weapon, paradox, Oscar Wilde also discovers the dark side of both Classicism and Hellenism. An accurate analysis of his works from the point of view of the Classical Tradition shows an Oscar Wilde who is quite different from the usual Philhellenic one and, above all, from the Platonic one. The aim of this article is to approach a theme which has been hardly studied by classical philologists, that is, anti-classicism and anti-hellenism as an intellectual urge.

Key words: classical tradition, Benjamin Britten, Billy Budd, Herman Melville, E. M. Forster, Eric Crozier, opera, Plutarch’s Lives, Plutarch’s Eroticus, Plato, greek love, greek eros, gay studies

 The aim of this article is to propose and lay the foundations of a Plutarch’s way –not only his Lives but also his Eroticus- to the Platonic content of Billy Budd by B. Britten with a libretto by E. M. Forster in association with Eric Crozier.  Plutarch is not quoted in H. Melville’s novel, but E. M. Forster’s good knowledge of the texts by the Greek writer and philosopher makes this hypothesis quite credible.  

Key words: classical tradition, Benjamin Britten, Billy Budd, Herman Melville, E. M. Forster, Eric Crozier, opera, Plutarch’s Lives, Plutarch’s Eroticus, Plato, greek love, greek eros, gay studies

 The aim of this article is to propose and lay the foundations of a Plutarch’s way –not only his Lives but also his Eroticus- to the Platonic content of Billy Budd by B. Britten with a libretto by E. M. Forster in association with Eric Crozier.  Plutarch is not quoted in H. Melville’s novel, but E. M. Forster’s good knowledge of the texts by the Greek writer and philosopher makes this hypothesis quite credible.  

Key words: classical tradition, Benjamin Britten, Billy Budd, Herman Melville, E. M. Forster, Eric Crozier, opera, Plutarch’s Lives, Plutarch’s Eroticus, Plato, greek love, greek eros, gay studies

 The aim of this article is to propose and lay the foundations of a Plutarch’s way –not only his Lives but also his Eroticus- to the Platonic content of Billy Budd by B. Britten with a libretto by E. M. Forster in association with Eric Crozier.  Plutarch is not quoted in H. Melville’s novel, but E. M. Forster’s good knowledge of the texts by the Greek writer and philosopher makes this hypothesis quite credible.  

Key words: Arcadia, Arcadian experience, Brideshead Revisited, Evelyn Waugh, English novel, classical tradition, et in Arcadia ego  

As the frontispiece of Book One of Evelyn Waugh’s Brideshead Revisited, the phrase ‘Et in Arcadia ego’ announces  the author’s intention of making the classical Arcadian theme a key reference in a text that speaks of nostalgia for a joyful past in times marked by sadness and pain. However, an interpretation may be approached from several directions even within the classical tradition. Thus, without ignoring philological or artistic aspects of the topic, this article focuses on a close study of the author’s most original message: the notion that a youthful Arcadian experience confers on young men and women a ‘residue of happiness’ able to sustain their future development and assist them in dealing with the challenges of personal tragedy.

Key words: Arcadia, Arcadian experience, Brideshead Revisited, Evelyn Waugh, English novel, classical tradition, et in Arcadia ego  

As the frontispiece of Book One of Evelyn Waugh’s Brideshead Revisited, the phrase ‘Et in Arcadia ego’ announces  the author’s intention of making the classical Arcadian theme a key reference in a text that speaks of nostalgia for a joyful past in times marked by sadness and pain. However, an interpretation may be approached from several directions even within the classical tradition. Thus, without ignoring philological or artistic aspects of the topic, this article focuses on a close study of the author’s most original message: the notion that a youthful Arcadian experience confers on young men and women a ‘residue of happiness’ able to sustain their future development and assist them in dealing with the challenges of personal tragedy.

Key words: Arcadia, Arcadian experience, Brideshead Revisited, Evelyn Waugh, English novel, classical tradition, et in Arcadia ego  

As the frontispiece of Book One of Evelyn Waugh’s Brideshead Revisited, the phrase ‘Et in Arcadia ego’ announces  the author’s intention of making the classical Arcadian theme a key reference in a text that speaks of nostalgia for a joyful past in times marked by sadness and pain. However, an interpretation may be approached from several directions even within the classical tradition. Thus, without ignoring philological or artistic aspects of the topic, this article focuses on a close study of the author’s most original message: the notion that a youthful Arcadian experience confers on young men and women a ‘residue of happiness’ able to sustain their future development and assist them in dealing with the challenges of personal tragedy.

Key words: Tennessee Williams, Cat on a Hot Tin Roof, classical tradition, Greek tragedy, Greek philosophy, American literature, American drama, gay studies

The aim of this article is to show which are the dramatic “yields” of the inclusion of the reference to the goddess Diana in Tennessee Williams’s Cat on a Hot tin Roof. In the author’s opinion, it does not deal simply with a meaningful reference; on the contrary, the accurate analysis of Williams’s text proves that it is a true nuclear and cohesive element of the whole drama.   

Key words: Tennessee Williams, Cat on a Hot Tin Roof, classical tradition, Greek tragedy, Greek philosophy, American literature, American drama, gay studies

The aim of this article is to show which are the dramatic “yields” of the inclusion of the reference to the goddess Diana in Tennessee Williams’s Cat on a Hot tin Roof. In the author’s opinion, it does not deal simply with a meaningful reference; on the contrary, the accurate analysis of Williams’s text proves that it is a true nuclear and cohesive element of the whole drama.   

Key words: Tennessee Williams, Cat on a Hot Tin Roof, classical tradition, Greek tragedy, Greek philosophy, American literature, American drama, gay studies

The aim of this article is to show which are the dramatic “yields” of the inclusion of the reference to the goddess Diana in Tennessee Williams’s Cat on a Hot tin Roof. In the author’s opinion, it does not deal simply with a meaningful reference; on the contrary, the accurate analysis of Williams’s text proves that it is a true nuclear and cohesive element of the whole drama.   

Key words: A Room with a View, classicism, English literature, Victorian literature, mediaevalism, Greek myhology, classical tradition, English novel, E. M. Forster

The aim of this article is to illustrate the well-known opposition classicism / medievalism in the Victorian-Edwardian England by analysing accurately E. M. Forster's A Room with a View from the point of view of the Classical Tradition and, therefore, focusing on both the meaning and significance of all its classical -Greek and Roman- references.