Skip to main content

Special Events - 2018 Annual Meeting in Boston

SCS Special Events


Joint Opening Night Reception

7:00 P.M. to 9:00 P.M. (Salon A-E, Marriott)

The 2018 SCS/AIA Joint Opening Night Reception will be held in Salon A-E. Tickets are $35 ($27 for students) with hors-d'oeuvres and one drink ticket included with the price of the ticket and additional drinks for purchase. Tickets may be purchased at the door.

New Methods in Engineering Greek Theatrical Masks

By Sophia S. Dill

Helmet masks have been used in theatrical performance for centuries. Evidence for ancient Greek theatrical masks comes from contemporary texts and imagery, but no actual masks have been found. The best evidence suggests that Greek masks were constructed of linen hardened with glue. Since 2006, full helmet masks have been worn in Randolph College’s original-practices Greek Play series. Using the limited evidence for how the masks were once constructed, researchers have created and continuously updated a method for construction.

Mt. Argaios in Cappadocia: Reception of Sacred Mountain in the Hellenistic and Roman Periods

By Alexis Belis

Maximus of Tyre, in his 2nd-century-AD commentary on cult images of the gods (Oration 2), wrote of a mountain that the Cappadocians regarded as a deity (theos), an oath (horkos), and a statue (agalma). The excerpt doubtless refers to Argaios, the region’s most numinous peak (Strabo 12.2.7). In fact, the most prominent image on late Hellenistic and Roman coins of Eusebeia (Roman Caesarea), the capital city located at the foot of Argaios, is that of the mountain itself.

Enemy of the Gods: Prometheus Bound as Religious Critique

By Rebecca Raphael

This paper argues that Greek tragedy could provide a ritual framing of religious critique. Specifically, I shall examine the representation of Zeus in Hesiod and in Prometheus Bound. While Promethean material appears in both Theogony and Works and Days, the latter poem strongly positions Zeus as the guarantor of justice (dike) in human society because he can bring power to bear on kings. That power, however, is force, not persuasion: Zeus punishes unjust rulers by harming their people and resources (WD 240-270). The economy of persuasion in which good kings work (Th.

Performing and Contesting Delphic Oracles in Euripides’ Ion

By Lisa Maurizio

Euripides’ Ion begins with the arrival of Athenian king and queen, Kreusa and Xuthus, at Delphi where they hope to consult Apollo about their childlessness; it concludes with a prediction about the political fortunes of Athens. Accordingly, much scholarly literature on the play focuses on its political and religious aspects. Recent political readings have considered the play’s treatment of Athenian autochthony and identity, Athens’ relationship with Ionian cities, and colonialism, to name a few (Loraux 1994; Saxonhouse 1986; Hoffer 1996).

Performing Archaic Ethics and Religion in Sophoclean Tragedy

By Alexandre Johnston,

This paper argues that the dramatic fabric of Sophocles’ extant tragedies is closely intertwined with their ethical and religious content, so that each play functions, on one level, as a dramatization or mise-en-scène of human existence in its relationship with the divine. This interrelation of performance, ethics, and religion, as well as the specific view of humanity enacted by the plays, reflects Sophoclean tragedy’s embeddedness in intellectual and poetic traditions that can be traced back to archaic thought and literature.

Tragic Artemis: Between Homer and Cult

By Sarit Stern

This paper investigates the gap between the position of Artemis in the Athenian religious life, where she was an important and powerful deity, and her depiction in the Athenian tragedies, where her presence is considerably diminished.