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By ROSEM, R. M & SLUITER, I. (eds.)

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Electra’s half-hidden desire for a father who resembles the god of war and a husband who resembles her father is, in both cases, the desire for an absent and god-like anêr. In this sense, andreia signifies the absence of the (dead) hero of epic in the fictional universe of the play and, by extension, in the genre of tragedy; the heroes of the tragic stage are only citizens playing the parts of epic heroes. It is in light of this desire that we can read the andreia attributed to Orestes and Pylades in the messenger’s speech.

The editors wish to thank the teams of Classicists at the Universities of Leiden and Pennsylvania, the Leiden students who participated in the andreia seminar and assisted at the conference (Christiaan Caspers, Michiel Cock, Susannah Hermans, Casper de Jonge, Vera Spaans, Lina van ‘t Wout), and the colleagues who gave expert advice on the conference and the papers, in particular Josine Blok, Joseph Farrell, Sheila Murnaghan, Ilja Pfeijffer, Marlein van Raalte, Albert Rijksbaron, David Runia, Brent Shaw, Henk Singor and Henk Versnel.

Foxhall, Lin and John B. ), When Men were Men: Masculinity, Power and Identity in Classical Antiquity. London and New York, 1998b. Fränkel, Hermann, From Poetry to Philosophy, tr. Moses Hadas. New York, 1975. Freudenburg, Kirk, The Walking Muse. Horace on the Theory of Satire. Princeton, 1993. Gerstle, Gary, American Crucible. Race and Nation in the Twentieth Century. Princeton and Oxford, 2001. , Making Men: Sophists and Self-Representation in Ancient Rome. Princeton, 1995. , ‘Socratic Intellectualism and the Problem of Courage: An Inter­ pretation of Plato’s Laches’, History of Philosophy Quarterly 4 (1987), 265–79.

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Andreia by ROSEM, R. M & SLUITER, I. (eds.)

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