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MICHAEL EWANS
THE THREE CHANGES OF SCENE IN EXTANT GREEK TRAGEDY -
MARINA PASCHALIDOU
Ὥσπερ φαρμακόν; SCAPEGOAT RITUALS AND THE RELATIONSHIP OF COMEDY TO IAMBUS -
I. M. KONSTANTAKOS
DOG WILL HAVE HIS DAY. FABLE, FAIRY TALE, AND POLITICS IN ARISTOPHANES’ “TRIAL OF THE DOGS” (WASPS 826–1008) -
PHILIPPOS KARAFERIAS
OF TOMBS AND KINGS: DEATH AND SOVEREIGNTY IN OEDIPUS AT COLONUS -
TRIANTAFYLLIA GIANNOU
THE TRAGIC POETS IN ARISTOTLE’S POETICS -
KATERINA PHILIPPIDES
GORGIAS: THE NEGLECTED STEPSON IN MENANDER’S DYSKOLOS -
DIEGO DE BRASI
HELLENISTIC SCHOLARSHIP ON ANCIENT COMEDY: A CONCERN WITH HUMOR AND WIT? -
AGIS MARINIS
JULIAN’S ORATION TO THE CYNIC HERACLEIOS AGAINST THE BACKDROP OF GREEK DRAMA -
ΜΑΡΙΑ ΠΑΥΛΟΥ
Η ΧΡΥΣΟΘΕΜΗ, Η ΜΕΓΑΛΗ ΑΔΕΛΦΗ ΤΗΣ ΚΑΙ Η ΜΑΝΑ ΤΟΥΣ -
KYRIAKH A. IOANNIDOU
FRAGMENTARY COMEDY IN PERFORMANCE. REINTRODUCING ANCIENT COMIC FRAGMENTS TO THEATRE PRACTITIONERS THROUGH DIGITAL ARCHIVES -
TIMOTHY K. MOORE
BOOK REVIEW: DRAMATIC SPACE AND PERFORMANCE IN NEW AND ROMAN COMEDY -
CHRYSANTHI MITTA, GEORGIA DIMOPOULOU
BIBLIOGRAPHICAL SUPPLEMENT: A BIBLIOGRAPHY OF EURIPIDES’ TROADES (1925-2025)
