Nina Papathanasopoulou
Biographic Data
| ID | 5718342 |
|---|---|
| NAME | Nina Papathanasopoulou |
| GIVEN NAMES | Nina |
| FAMILY NAME | Papathanasopoulou |
| SIGNATURE | PAPATHANASOPOULOU N |
| AFFILIATIONS | American School of Classical Studies at Athens |
| ORCID | 0000-0002-6464-9429 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Martha Graham’s Radical Reception of the Women of Greek Tragedy
This article examines Martha Graham’s radical reception of the women of Greek tragedy across her performing career, from the early 1930s to her retirement from the stage in 1969. I argue that Graham repeatedly turned to Greek tragic heroines—Electra, Medea, Jocasta, Clytemnestra, Alcestis, Phaedra, and Hecuba—with two interlocking aims: to stage archetypal human emotion, and to confront and make sense of her own personal experiences of love, jeal…
Jocasta’s last hours
This paper analyses Martha Graham’s Night Journey in relation to its primary model, Sophocles’ Oedipus Tyrannos. Night Journey captivates us by drawing deeply on Sophocles’ original and invites us to turn our focus to the last hours of Jocasta’s life, a moment to which Sophocles’ play gives comparatively little attention. I argue that Graham’s focus on the last hours of Jocasta’s life brings fresh illumination to our interpretation of the Oedipus…
Tragic and Epic Visions of the Oikos in Aristophanes' Wasps
This article argues that Aristophanes' use of paratragedy and paraepic helps define Philocleon's and Bdelycleon's pointedly opposing views of themselves and their household. Bdelycleon conceives of his household as his property that he needs to protect, keeping his father, who the play likens to a female tragic heroine, safely guarded inside. Philocleon, by contrast, sees himself as a masculine epic hero, and invites us to consider whether the he…
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Tragic and Epic Visions of the Oikos in Aristophanes' Wasps
This article argues that Aristophanes' use of paratragedy and paraepic helps define Philocleon's and Bdelycleon's pointedly opposing views of themselves and their household. Bdelycleon conceives of his household as his property that he needs to protect, keeping his father, who the play likens to a female tragic heroine, safely guarded inside. Philocleon, by contrast, sees himself as a masculine epic hero, and invites us to consider whether the he…
Jocasta’s last hours
This paper analyses Martha Graham’s Night Journey in relation to its primary model, Sophocles’ Oedipus Tyrannos. Night Journey captivates us by drawing deeply on Sophocles’ original and invites us to turn our focus to the last hours of Jocasta’s life, a moment to which Sophocles’ play gives comparatively little attention. I argue that Graham’s focus on the last hours of Jocasta’s life brings fresh illumination to our interpretation of the Oedipus…
Martha Graham’s Radical Reception of the Women of Greek Tragedy
This article examines Martha Graham’s radical reception of the women of Greek tragedy across her performing career, from the early 1930s to her retirement from the stage in 1969. I argue that Graham repeatedly turned to Greek tragic heroines—Electra, Medea, Jocasta, Clytemnestra, Alcestis, Phaedra, and Hecuba—with two interlocking aims: to stage archetypal human emotion, and to confront and make sense of her own personal experiences of love, jeal…
Art (2 works) · Classical Antiquity Studies (2 works) · Literature (2 works) · Sociology (2 works) · Aesthetics (1 works) · Ancient Greek (1 works) · Anthropology (1 works) · Character (mathematics (1 works) · Classical Philosophy and Thought (1 works) · Contemporary and Historical Greek Studies (1 works)