Eleftheria Ioannidou
Biographic Data
| ID | 5669479 |
|---|---|
| NAME | Eleftheria Ioannidou |
| GIVEN NAMES | Eleftheria |
| FAMILY NAME | Ioannidou |
| SIGNATURE | IOANNIDOU E |
| AFFILIATIONS | University of Groningen |
| ORCID | 0000-0002-7423-5895 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Introduction A Hellenic Modernism
The introduction to the special issue explores the central place of Greek theatre within the culture of Italian Fascism. Building on scholarship from the so-called cultural turn in the study of fascism, which variously identified fascism with a form of modernism, it demonstrates that a dialogue between modernism and classicism was fully at work in the performances of ancient drama occurring all over the Italian peninsula and in the colonies in No…
Greek theatre, electric lights, and the plumes of locomotives
The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to th…
Performative Mo(nu)ments
The forms of popular and mass theater developed in Fascist Italy and Nazi Germany reached back to classical antiquity to reinvent theater as a secular rite. At first glance, the use of the theatrical medium is at odds with the classicizing monumentality that characterized the cultural expression of fascist regimes. Theatrical performances are by their very nature ephemeral events; unlike monuments, they do not leave their mark on civic space, and…
Mythologies of Genesis and Neo-Nazi Palingenesis
This article examines the public commemorations of the battle of Thermopylae held by the Greek neo-Nazi party Golden Dawn in the wider context of fascist appropriations of classical antiquity. The discussion focuses on the rhetorical and cultural mechanisms involved in transforming the historical event into a fascist mythology. Drawing on methodologies of narrative analysis and performance studies, I examine the narrative patterns and ritual prac…
Spectres of Greekness at the time of corona
Greek Fragments in Postmodern Frames
'Greek Fragments in Postmodern Frames' takes as its subject adaptation of Greek tragedy in the last decades, arguing that rewritings of Greek tragic texts in this period can be used as a tool to uncover a significant dialogue with postmodernism. Despite the large number of staged and written adaptations of Greek tragic texts in recent years, the idea still persists that tragedy is incompatible with postmodernism, with the long-standing debate ove…
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Greek Fragments in Postmodern Frames
'Greek Fragments in Postmodern Frames' takes as its subject adaptation of Greek tragedy in the last decades, arguing that rewritings of Greek tragic texts in this period can be used as a tool to uncover a significant dialogue with postmodernism. Despite the large number of staged and written adaptations of Greek tragic texts in recent years, the idea still persists that tragedy is incompatible with postmodernism, with the long-standing debate ove…
Spectres of Greekness at the time of corona
Mythologies of Genesis and Neo-Nazi Palingenesis
This article examines the public commemorations of the battle of Thermopylae held by the Greek neo-Nazi party Golden Dawn in the wider context of fascist appropriations of classical antiquity. The discussion focuses on the rhetorical and cultural mechanisms involved in transforming the historical event into a fascist mythology. Drawing on methodologies of narrative analysis and performance studies, I examine the narrative patterns and ritual prac…
Performative Mo(nu)ments
The forms of popular and mass theater developed in Fascist Italy and Nazi Germany reached back to classical antiquity to reinvent theater as a secular rite. At first glance, the use of the theatrical medium is at odds with the classicizing monumentality that characterized the cultural expression of fascist regimes. Theatrical performances are by their very nature ephemeral events; unlike monuments, they do not leave their mark on civic space, and…
Introduction A Hellenic Modernism
The introduction to the special issue explores the central place of Greek theatre within the culture of Italian Fascism. Building on scholarship from the so-called cultural turn in the study of fascism, which variously identified fascism with a form of modernism, it demonstrates that a dialogue between modernism and classicism was fully at work in the performances of ancient drama occurring all over the Italian peninsula and in the colonies in No…
Greek theatre, electric lights, and the plumes of locomotives
The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to th…
Art (5 works) · Literature (5 works) · Italian Fascism and Post-war Society (4 works) · Aesthetics (2 works) · Archaeology (2 works) · Art history (2 works) · Drama (2 works) · European history and politics (2 works) · Historical Geopolitical and Social Dynamics (2 works) · History (2 works)