{"id":1662,"date":"2023-03-17T11:08:23","date_gmt":"2023-03-17T10:08:23","guid":{"rendered":"https:\/\/soniakh.com\/?p=1662"},"modified":"2023-04-03T12:56:48","modified_gmt":"2023-04-03T10:56:48","slug":"grinkevych-the-danaids-eye","status":"publish","type":"post","link":"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/","title":{"rendered":"The Dana\u00efds\u2019 \u201cEye\u201d \u2014 A Parable of Untwinning"},"content":{"rendered":"\n

<\/p>\n\n\n\n

\u201c...my intention wasn\u2019t to write about typical things anyway. I\u2019m just describing what once happened on the Desna right at the spot where the River Seim flows into it.\u201d<\/em>\nOleksandr Dovzhenko, The Enchanted Desna<\/em>, 1954-1955\n<\/pre>\n\n\n\n
Part I : Arrival In Leipzig<\/strong><\/h1>\n\n\n\n
<\/p>\n\n\n\n
Introduction<\/strong> <\/h2>\n\n\n\n
This is a research report conducted within the emergency support fellowship program for Ukrainian cultural workers of Goethe-Institute in Ukraine. Its theme is the results of research on the Ukrainian art scene in exile. When one writes a research report in the English language, one has to abide by its grammar rules. The latter implies writing this report from the point of view of an \u201cI\u201d subject.[1] On the other hand, I would like to include the Ukrainian tradition of using a collective subject for research texts. Out of the incommensurability between these two academic modes, appeared my perspective that assumed the identity of the collective subject of the Dana\u00efds\u2019 parable. It is conceived as a supplication\u2014a parallel to that of the Dana\u00efds\u2014in response to the Open letter to Chancellor Olaf Scholz<\/a> signed by 26 German cultural workers. <\/pre>\n\n\n\n
Caf\u00e9 Kapital gfZK, Leipzig<\/strong><\/h2>\n\n\n\n
I interrupt my work on the report to pay a monthly visit at ONA, a social service desk for refugees. Luxembourg City administration renamed Third Street, a new southern gateway to the city, to the Boulevard of Kyiv. On crossing the street, I am back to the point of origin of this research text. I arrived in Leipzig on Thursday, May 26th, 2022. It was the opening of the exhibition When The Sun Is Low \u2014 The Shadows Are Long<\/em><\/a> on June 11th,  by Belarusian curator Anna Kharpenko. The art show was featuring artists from Belarus in exile, in the timespan of 105 years (1917-2022). I came all the way from Schnorrstrasse 54, Schleussig, where I was renting a room for 250 euros a month (May 26\u2013June 26), to caf\u00e9 Kapital at gfZK, to meet with my hosts, two Leipzig artists. We were discussing the Open Letter to Scholz: its rhetoric of twinning Ukrainian resistance with Russia\u2019s aggression; the line it draws between peaceful Ukrainian civilians and dehumanized state armed forces; the way it frames Ukrainian resistance as a specular reflection of the actions of Russian army; the way it victim-blames Ukrainians who are not alienated from their national statehood for the support of Russia\u2019s genocide of Ukrainian civilian population. In this letter, the peaceful \u201credivision of borders\u201d[2] after the collapse of the USSR and emergence of new national statehoods, which British musician and writer Bill Drummond[3] compared to the birth of the hydra of the Dana\u00efds,[4] is replaced with the \u201cinstallation of flags\u201d (in the words of my interlocutors) on both Russian and Ukrainian sides. In this twin mythology, the Roman iconography of the Dana\u00efds is reenacted. The disembodied gaze of the Western listener, disconnected from Ukrainian wartime testimonies, produces a surplus of<\/em> sympathy<\/em>. <\/p>\n\n\n\n
In his interpretation of the iconography of the Dana\u00efds, Lacan established a parallel between Marx\u2019s concept of symbolic value and the Hegelian theater of master and slave.[5] The gesture of the Dana\u00efds is reversed in the figure of the master. Whereas the Dana\u00efds are filling the barrel, the master is taking from it. Hence, his gesture is specular to that of the Dana\u00efds. While the collective body of the Dana\u00efds is enslaved in the endless task of filling the barrel, the master\u2019s figure empties<\/em> it time and again, subjecting them to the barren ordeal. In this specular schema, the master is taking the work of a slave with a shell of the body. Lacan remarks that Hegel errs in his analysis of the master and slave economy, in accordance to which the master appropriates the slave\u2019s bodily knowledge together with his work. In Lacan\u2019s version of the Dana\u00efds\u2019 iconography, the Hegelian master is ignorant of their ordeal. In this reversal of the Dana\u00efds\u2019 perspective, he is drawing from a barrel that is always barren<\/em> for him: \u201c\u2026it is a master’s discourse, this discourse of Hegel’s, which relies on substituting the State for the master via the long pathway of culture, culminating in absolute knowledge.\u2026\u201d[6] The text of the Open Letter to Scholz<\/em> reflects this phantom of absolute knowledge in its appeal to the abstraction of the universal law, depriving Ukrainian citizens of their subjectivity: \u201c\u2026the moral responsibility of the further cost<\/em> in human lives among the Ukrainian civilian population falls exclusively within the competence of their government. Morally binding norms are universal in nature.\u201d The sentence echoes Roman justes<\/em> that is reflected in the Dana\u00efds\u2019 Hellenistic mythology. From the position of Lacanian master, German cultural workers who signed the open letter to Scholz do sympathize, twin and twin, not hearing the words of the subjects of their sympathies. To paraphrase Walter Benjamin, in Roman iconography, the forehead of the Dana\u00efds bears a \u201chidden figure\u201d of an \u201cidle furrow\u201d, in which the hell of endless sufferings is replaced with the futility of an endless task of supplication that the Dana\u00efds have to replay time and again in the barren cycle .[7]<\/p>\n\n\n\n
In this research report, I would like to re-articulate the Dana\u00efds\u2019 supplication<\/em>: wartime communication of the Ukrainian context is likewise the action of filling the barrel that is depleted time and again with my listener\u2019s twinning surplus<\/em>. And I have to repeat once again: it is not the spectral nationalism<\/em> of antinationalists<\/em> (as in the Soviet antinationalist rhetoric that supported Russian imperialism of Soviet period) that drives Ukrainian resistance, as it is implied by those who signed the Open Letter to German Chancellor Scholz<\/em>, withdrawing their support of Ukrainian fight for its national statehood. 
<\/p>\n\n\n\n
    \n
  1. Friedrich Schlegel wrote in Gespr\u00e4ch \u00dcber Die Poesie<\/a> (1800) that England is an island where each printed text is an essay: \u201eWie jedes Buch auf dieser Insel ein Essay.\u201c <\/li>\n\n\n\n
  2. Knauer and Walkowitz, Introduction<\/em>, 10.<\/li>\n\n\n\n
  3. Drummond and Manning, Bad Wisdom<\/em>, 4.<\/li>\n\n\n\n
  4. Robert Graves introduced the metaphor of hydra to Dana\u00efd iconography. \u201cThis ritual myth has become attached to that of the Dana\u00efds, who were the ancient water-priestesses of Lerna. The number of heads given the Hydra varies intelligibly: as a college of priestesses it had fifty heads.\u201d Lernaean Hydra appears in Aeschylus’s satyr play Amymone<\/em> that was part of the Dana\u00efds\u2019 tetralogy, complimenting three tragedies, in which The Suppliants<\/em> was the first one, with subsequent The Egyptians<\/em> and The Daughters Of Danaus<\/em>. The latter two tragedies and the satyr piece were lost.<\/li>\n\n\n\n
  5. Lacan, The Seminar of Jacque Lacan: The Other Side of Psychoanalysis<\/em>, 87-104.<\/li>\n\n\n\n
  6. ibid, 79.<\/li>\n\n\n\n
  7. Benjamin, The Arcades Project<\/em>, 119.<\/li>\n<\/ol>\n\n\n\n
    <\/p>\n\n\n\n
    <\/p>\n\n\n\n
    Part II : A Suppliant<\/strong><\/h1>\n\n\n\n
    <\/p>\n\n\n\n
    Supplication<\/strong><\/h2>\n\n\n\n
    So, let us make a slight shift from the Dana\u00efds\u2019<\/em> to the Ukrainians\u2019 <\/em>supplication. The frontispiece of Yevgenia Belorusets\u2019 War Diary<\/em><\/a> (February 24-April 5, 2022) features the seventeenth century icon of Pokrova (in English Protector) \u2014 Intercession of the Blessed Virgin <\/em>from a church in the town of Stara Sil in Ukraine.[1] In Belorusets\u2019s self-mythologization, multiple voices of various wartime practices of Ukrainian artists communicate a kind of intercessory prayer<\/em>, or supplication of Ukrainians on behalf of one another. I argue that the Open Letter to German Chancellor Scholtz<\/em> follows the supplication of Ukrainian cultural workers in refuge. Hence German hospitality to Ukrainians includes listening to suppliants. The question is, if the German public is listening to the suppliant\u2019s supplication, then why is it not heard: why is it only the part of Ukrainian society that would take refuge that is welcomed? <\/p>\n\n\n\n
    The concept of hospitality is connected to listening to the refugee\u2019s supplication. Its genealogy goes back to Aeschylus’s Suppliants<\/em>, the first Greek tragedy with supplication as its main theme. Moreover, the episode of suppliants is plausibly Aeschylus’s own addition to the Dana\u00efds\u2019 parable.[2]The supplement of supplication is announced in the title of the tragedy and interpellated in the first words of Aeschylus’s text addressed to Zeus, the protector of suppliants:[3]<\/p>\n\n\n\n
    Zeus! Lord and guard of suppliant hands <\/em>
    Look down benign on us who crave<\/em>
    Thine aid…<\/em>[4]<\/p>\n\n\n\n
    Aeschylus\u2019s version of the Dana\u00efds\u2019 parable was followed by Euripides\u2019s Suppliants<\/em>, establishing a new canon.[5] However, Simone Weil introduced the character of a suppliant in her reading of Homer\u2019s Iliad<\/em>, which predates the work of Aeschylus. According to the French philosopher, Homer\u2019s epic is a seesaw<\/em> of two figures: a humble suppliant[6] and the victorious force.[7] She notes that in The Iliad<\/em> a suppliant is turned into a \u201cthing\u201d, a live \u201cstone\u201d until his supplication is \u201canswered\u201d.[8] Weil developed her vision of the pendulum structure of The Iliad<\/em> in 1939, when France declared war against Germany. She meant her essay as a warning for her French audience. Weil never mentions Aeschylus Suppliants<\/em> in her writing, yet the Dana\u00efds present a contradiction to Weil\u2019s character. Her concept of supplication based on her background in Greek philology supplies a whitewashed, non-violent version compared to that of Aeschylus’s one. Weil never conflates her Christian-Marxism with anti-colonial struggle. As to The Suppliants<\/em>, the motive of listening and reciprocal hearing of supplication becomes the central figure in the tragedy. With the suppliant as a heroic suffering subject, supplication transforms into demands for justice\u2014a lawsuit, but abandons its connotation as a humble prayer.<\/p>\n\n\n\n
    This is the most enigmatic moment of The Suppliants<\/em>: the Dana\u00efds\u2019 threat to pollute the supplication altar, when the Argives reject their supplication for hospitality. Henceforth, they act \u201cagainst the rights of the society\u201d.[9] Moreover, Aeschylus’s contemporaries knew that the Dana\u00efds were going to commit regicide, killing their husbands in the lost second part of the tetralogy.[10] Nevertheless, the Greek audience was sympathetic with the course of the Dana\u00efds\u2019 supplication for armed protection, otherwise they would not have honored the play with the first prize at the Festival of Dionysus in 464.[11] It is only in Roman times, 500 years after Aeschylus, 2000 years ago, that the Dana\u00efds\u2019 uprising received its modern iconography, which follows the Roman one. In the Hellenistic version of the myth, the Dana\u00efds are relocated to hell for impiety to their husbands, punished to fill a leaking barrel in a futile attempt to cleanse the pollution of guilt from their bodies.[12]<\/p>\n\n\n\n
    The Enchanted Desna<\/strong> <\/h2>\n\n\n\n
    Before proceeding with the analysis of the play, I should first note that I am not a Greek scholar, and this essay is not strictly the reading of Aeschylus’s Suppliants<\/em> or research of the canon of supplication in Greek tragedy. It is rather an attempt to review how the canon of The Suppliants<\/em> is perceived within the discourse of migration studies. An essential feature of this canon, and something that all the scholars of Aeschylus\u2019s tragedy complain about, is the poor state of its manuscript which was damaged considerably. Hence, The Suppliants<\/em>, more than any other Greek tragedy, is a text that is simultaneously deciphered as much as encrypted with the contexts of those who read it. <\/p>\n\n\n\n
    The first encrypting figure of this reading lies in Ukrainian literary tradition. Aeschylus’s Suppliants<\/em> have a cameo appearance in Dovzhenko\u2019s The Enchanted Desna<\/em> [Zacharovana Desna<\/em>] (1954-55). As Ukrainian literary critic Iaroslava Strikha asserts, Dovzhenko\u2019s ambition was to write history of Ukrainian literature, inscribing the succession of its styles,[13] as well as its multiple allusions, in the body of his text. The predecessor to Dovzhenko\u2019s suppliants was Nechyi-Levytskyi\u2019s story Kyiv Beggars<\/em> [Kyivski Prokhachi<\/em>] (1906). However, the prokhachi <\/em>of The Enchanted Desna<\/em>  (1954-55) present shift away from beggars and towards something parallel to Aeschylus’s the Dana\u00efds, an allegory of armed resistance to the occupier.

    The gestation time of Dovzhenko\u2019s work on The Enchanted Desna<\/em> (1954-55) spanned over ten years. Strikha points out that Dovzhenko even included diary entries starting from 1942 in the body of the cinematic story.[14] She combines the autobiographical story in one thematic series with the movie Ukraine in Flames<\/em> (1943). Both spring out of one catastrophic traumatic episode: the burning of Dovzhneko\u2019s native village by the Nazi army, supposedly as a punishment for the villagers\u2019 assistance to partisans: \u201cOur village vanished from the face of the earth not by flood, but by fire. It happened in spring as well, half a century later. The village went up in flames, because it had helped the partisans, and those of its residents whom the Nazis failed to massacre right away jumped into the river with their clothes aflame\u2026 I, too, burned in the fire at that time, dying all the deaths of humans, animals and plants\u2026\u201d[15] To narrate the tragic event, the filmmaker oscillates between \u201cI\u201d and \u201cwe\u201d subject. His narration of childhood memories give voice to his fellow villagers who fell victim to the Nazi troops. The storyline is interrupted with one and the same catastrophic events of the fight against the occupation that is taken out of the flow of time. <\/p>\n\n\n\n
    Dovzhenko creates the collective subject of suppliants representing civilian resistance to the occupier. They are unified in the estranged figure of their leader, Bohdan Kholod (in Ukrainian Bohdan \u201cCold\u201d). Kholod is distinguished by his sight and voice. His eyes are drawn to the ground, hesitating between blindness and clairvoyance, \u201cit was doubtful whether he saw anything else but the ground under his feet,\u201d <\/sup>\u201cit was questionable whether he was blind at all\u201d[16] respectively. He possessed a \u201cfurious (liutyi<\/em>) voice\u201d, unfit for a humble supplication: \u201cHe did not beg for alms, he demanded them. His thunderous angry voice was not suited for begging.\u201d[17] Kholod \u201cdisliked both people and dogs.\u201d[18] Instead of visiting homes, he chose to supplicate at public places. Another individual suppliant figure in the story is Kulyk. He is the opposite of Kholod, and yet his double. He is a figure of myths and of collective memory, evoking the association with the mythic Kulykivska battle against Tatars told in The Tale of Bygone Years<\/em>, a 12th century chronicle. Dovzhenko\u2019s father favored him to Kholod: \u201c\u2026Kulyk roamed about with a bandura, singing about things far from the divine. Father respected Kulyk for his artistic look.\u201d[19] Just as in Aeschylus\u2019s tragedy, a collective of suppliants in The Enchanted Desna<\/em> is estranged from the dwellers of the settlement which s\/he\/they are part of, and for whose support they supplicate.[20]<\/p>\n\n\n\n
    Untwinning Parable I<\/strong><\/h2>\n\n\n\n
    Aeschylus’s Suppliants<\/em>[21] takes place in a mythologized version of the Athenian polis during the period of Greco-Persian wars (499-449). The tragedy\u2019s narrative is based on a myth in which Danaus and Aegyptus are twin brothers. Twinship in the Dana\u00efds\u2019 parable signifies geographical, political and cultural unification of two separate contexts.[22] Twinning in The<\/em> Suppliants<\/em> is determined with a colonial aspect: Aegyptus renamed Libya, the land of his twin brother Danaus, to Egypt, and is attempting to force the collective marriage of his 50 sons to Danaus\u2019s 50 daughters, the Dana\u00efds. <\/p>\n\n\n\n
    However, The Suppliants<\/em> is not a scenario of twinning. And here is one more encrypting figure of this reading. I argue that the tragedy is an untwinning<\/em> parable. The schema of its overarching plot therefore presents a triangulation: the fight that is awaiting the audience in the second part of the tetralogy, is mediated with a refuge combined with supplication. Refusal to marry is then followed with their arrival to\/refuge in the city in the land of their grandmother, the mythical cow Io, in order to demand armed protection from its citizens.[23] To summarize, the Dana\u00efds flee from Egypt to Argos to fight the Egyptians. The Egyptians <\/em>do not actually appear in the scenes of the first part of the tetralogy. They are represented by their herald who speaks for them, declaring the twinship of the Dana\u00efds and the Egyptians, claiming the Dana\u00efds to be the Egyptians\u2019 wives. One may speculate, absurdly anachronistically yet accurately, that the Egyptians might have been represented with the image of forced  twinship in their heraldry.<\/p>\n\n\n\n
    Keeping in mind that the Dana\u00efds\u2019 parable is an allegory of the Greco-Persian wars, it is possible to identify whom the Dana\u00efds represent in Aeschylus’s urban mythology. As Geoffrey W. Bakewell notes: \u201c…a citizen assembly grants the Dana\u00efds the privilege \u201cto live as metics<\/em> in this land.\u201d[24] Hereafter, the Dana\u00efds represent metikos<\/em>, a class of immigrants with no citizenship rights that comprised the majority of the Athenian population in the 5th century B.C.E. Hence, the tragedy is often read as a successful integration of immigrants into the society. Thus, in Aeschylus\u2019s polis<\/em>, a collective subject of the Dana\u00efds is a conjecture of the sociological and mythological aspects of the figure of the foreigner. The narration of the armed resistance to the Persian empire apparently requires the arrival to the city of an agent that operates as a stranger[25] to the established social order.[26]<\/p>\n\n\n\n
    A Protest Song<\/strong><\/h2>\n\n\n\n
    In Ukrainian syntaxis, \u201cadjective\u201d is translated as \u201c\u043e\u0437\u043d\u0430\u0447\u043d\u0438\u043a\u201d [translit. oznachnyk<\/em>], which is a homonym of \u201csignifier\u201d. This shift is meaningful for the signifier<\/em> of Bohdan Kholod\u2019s voice in Dovzhenko\u2019s Enchanted Desna<\/em> (1954-1955). The supplication of the leader of suppliants is \u201cfurious\u201d (liutyi<\/em>). It signifies the whole cinematic story as a protest song. <\/p>\n\n\n\n
    Indeed, Aeschylus’s Suppliants<\/em> is a protest song.<\/p>\n\n\n\n
    Firstly, Aeschylus broke with the tragic canon he introduced earlier: \u201cSince, according to Aristotle, it was Aeschylus who \u201creduced the choral parts and caused speech to play the leading role.\u201d[27] Instead of \u201cclassical\u201d protagonists, the play has a chorus of 50 Dana\u00efds that represent a collective subject: \u201cThe prominence of the chorus and of the lyric, and the slight use made of the second actor, can all be accounted for as the consequences of a deliberate decision to make the Dana\u00efds, collectively, in effect the principal character of this play.\u201d[28]<\/p>\n\n\n\n
    Another moment in the dramaturgy that testifies to the definition of the play as a protest song is that Danaus is a \u201cdying father\u201d in the Dana\u00efds\u2019 parable.[29] There are versions of the myth in which the Dana\u00efds arrive at Argos without him at all. Apart from being the inventor of the ship, Danaus acts as an advisor to his daughters on the stage, moreover the Dana\u00efds are not stable in following their father\u2019s advice. He instructs them to supplicate humbly<\/em> for their armed protection. But they do not follow this imperative. Their supplication is not humble<\/em> when they threaten to pollute the sanctuary by committing suicide, if the Argives are not receptive to their supplication. According to a scholarly reconstruction, based on the dramaturgy of the first part and references to the tragedy in the texts of other authors, it would be Danaus\u2019s instruction that set the Dana\u00efds to kill the Egyptians in the second part of the tetralogy (nevertheless, one of the Dana\u00efds does not follow this instruction, because her forced husband did not rape her). Thus, the Dana\u00efds do have agency in the tetralogy. Their supplication is furious<\/em> and foreign<\/em>, or strange, <\/em>to the patriarchal rights of the Athenian polis<\/em>. It advances the narrative of untwinning<\/em> that, in modern terms, can be described as resistance to colonization.<\/p>\n\n\n\n
    The actions of the Dana\u00efds are driven with clairvoyance. On arriving in Argos, the choir of Dana\u00efds sings that their flight is the effect of Danaus\u2019 oracle, according to which Aegyptus has a scheme to destroy them.[30] The oracle is doubled with the premonition of one of the Dana\u00efds, who asserts that if she is to marry an Egyptian, her fate will be as that of Procne, the wife Tereus, who killed her son Itys, after her husband raped her sister.[31] This vision of the rape of a sister and the following \u201cmadness\u201d, or killing of the husbands, is to be enacted in the second part of the tetralogy.[32] Again: why would the audience be sympathetic with the \u201cimpiety\u201d of the Dana\u00efds to their husbands, a gesture that would be against the audience\u2019s patriarchal rights?<\/p>\n\n\n\n
    \n  
    \n    \"\"    
    Lada Nakonechna. \u201cPopular View: Looking through the lilac in the Kyiv Botanical Garden, towards the Dnipro River\u201d (2012) In April 2022, the artist created a video-commentary to this postcard landscape of Kyiv botanical garden named after M. M. Gryshko, transforming it into still life. It commemorated the genocide of Ukrainian civilian population in Borodyanka, Bucha, Irpin and other suburbian areas of Kyiv that were occupied by Russia\u2019s troops during the blitzkrieg of February-March 2022. The video documents the destruction of the artwork, observing the hand of the occupant with the knife cutting through the postcard view: in the proximity to the arched bridge that connects left and right banks of City of Kyiv, through the residential district on the left bank, and through the waters of the river Dnieper; leaving intact the domes of Vydubychi Monastery[33] and the spring lilac in the foreground. Talking about the video-commentary, Lada Nakonechna says that the violent gesture was performed in affectivity, halfblindly. It presents symbolic moment of perpetuity of one and the same event, taken out of time. The surface of the artwork is divided on two clashed events: the hand of the invader will be bringing destruction and death to innocent people, again and again; whereas lilacs will be blooming and blooming. The video-supplement was displayed within the framework of the pop-up exhibition Peilung #1 : \u0417\u0432\u0456\u0442 \u043f\u0440\u043e \u0432\u0442\u0440\u0430\u0442\u0443 \/ Verlustmeldung \/ Loss Report, at the DAAD gallery, Berlin, on June 25, 2022. <\/figcaption>\n  <\/div>\n<\/div>\n\n\n
    P\u00e4r Sandin proposes an anthropological reconstruction of the second part of the tetralogy, in which the Dana\u00efds stab their husbands after their wedding night. He concludes that the marriage should be unlawful for the dramaturgy to make sense to Aeschylus’s contemporaries. In the second part of the tetralogy, king Pelasgus, who gave asylum to the Dana\u00efds, was replaced by a new king. Whereas Pelasgus dismissed the herald who came to negotiate the twinship of the Dana\u00efds and the Egyptians, the next king decided not to engage in the war with Egypt and withdrew Argive hospitality: \u201cTradition has conveniently preserved the name Gelanor as an alternative to Pelasgus as king of Argos before Danaus.\u201d[34] Such interpretation would reconcile the Dana\u00efds\u2019 actions with the rights of the patriarchal society. 

    Henceforth, The Suppliants<\/em> can be read as a compromise between patriarchal rights and regicide. The latter is the third element that constitutes it as a protest song. The tragic author reimagines the myth of the Dana\u00efds in the context of armed resistance to the imperialist state. The motive of \u201cmadness,\u201d associated obviously with the use of violence, haunts Aeschylus’s narrative, specifically in the premonition of \u201cmadness\u201d by one of the Dana\u00efds in case of twinning with the Egyptians. However, this Dana\u0457d’s \u201cmadness\u201d is not specular-like to that of the Egyptians. Bonnie Honig has recently proposed an alternating reading of Euripides\u2019 Bacchae<\/em>, showing that an individual \u201cmadness\u201d of a female collective subject in the Greek tragedy is a \u201csubstitute\u201d for female refusal.[35] In Euripides, the \u201cmadness\u201d of the Bacchae is analogical to the action of regicide.[36]<\/p>\n\n\n\n
      \n
    1. Belorusets, In the Face of War<\/em>, 12.<\/li>\n\n\n\n
    2. Papadopoulou, Aeschylus: Suppliants<\/em>, 101, 37-38.<\/li>\n\n\n\n
    3. Aeschylus. The Suppliant Maidens<\/em>, trans. E.D.A. Morshead, 7. <\/li>\n\n\n\n
    4. I cite E.D.A. Morshead\u2019s 1908 translation for his use of sight rhyme<\/em>, a type of rhyme that has the appearance of rhyme in the moment before its reading, but is in fact unrhymed in the moment of hearing; as in these two lines: \u201c…From where the green land, god-possest \/ Closes and fronts the Syrian waste\u2026\u201d<\/li>\n\n\n\n
    5. Sommerstein, Aeschylus: Suppliants<\/em>, 22: one quarter of all preserved Greek tragedies include a motive of a supplication in their dramaturgy.<\/li>\n\n\n\n
    6. Weil, The Iliad, Or the Poem of Force<\/em>, 12: \u201cHe must humble himself, he must plead, and have, moreover, the added misery of doing it all in vain.\u201d<\/li>\n\n\n\n
    7. ibid., 15-16.<\/li>\n\n\n\n
    8. ibid., 3-5, 8. To paraphrase Weil\u2019s formula of armed resistance, someone’s victory is always someone\u2019s suffering. <\/li>\n\n\n\n
    9. Sandin, \u201cAetiology and Justice in the Dana\u0457d Trilogy,\u201d Dramaturgias,<\/em> 2021.<\/li>\n\n\n\n
    10. ibid.<\/li>\n\n\n\n
    11. ibid.  <\/li>\n\n\n\n
    12. Sommerstein, Aeschylus: Suppliants<\/em>, 10: This punishment, that Plato assigned to \u201cthe impious and unjust\u201d in The Republic<\/em> (V cen. B.C.), is first associated with the Dana\u00efds in the pseudo-Platonic Axiochus<\/em> (I cen. A.D.).<\/li>\n\n\n\n
    13. Strikha, Writing Between the Lines: Formal Discontinuities in Autobiographies of Ukrainian Writers,1890s-1940s, PHD.diss, May 2017, 155.<\/li>\n\n\n\n
    14. ibid, 154.<\/li>\n\n\n\n
    15. Dovzhenko, The Enchanted Desna<\/em>, 22.<\/li>\n\n\n\n
    16. ibid., 17.<\/li>\n\n\n\n
    17. ibid., 17.<\/li>\n\n\n\n
    18. ibid., 17.<\/li>\n\n\n\n
    19. ibid., 18.<\/li>\n\n\n\n
    20. Dovzhenko\u2019s suppliant is a male subject. However, gender specificity is non-essential in the Dana\u00efds\u2019 parable. According to Sommerstein, Aeschylus: Suppliants<\/em>, 6: \u201cThis [the Dana\u00efds\u2019 parable] is probably the earliest evidence for the Greek belief that in Egypt the norms of male and female behavior and activities were wholly or partly inverted.\u201d<\/li>\n\n\n\n
    21. ibid., 42: Aeschylus staged The Suppliants<\/em> at the time of the Greco-Persian war, around 463-464, in which the he took part as a soldier. <\/li>\n\n\n\n
    22. The character of twinship in mythology establishes adjacent contexts that are either sympathetic or antagonistic to each other. Twinning mythology survives in modern urban geography. Border cities, in other words adjacent contexts, bear the name of twin cities<\/em>. In the post WWII period, municipalities officially adopted city twinning as an instrument for city-to-city diplomacy. Depending upon the country, city twinning programs operate under such terms as sister cities<\/em>, brother cities<\/em>, or partner cities<\/em>. In post-Soviet countries, including Ukraine, city twinning goes under the title brother cities\/\u043c\u0456\u0441\u0442\u0430-\u043f\u043e\u0431\u0440\u0430\u0442\u0438\u043c\u0438<\/em>. For the purpose of this text, it is important to note that the Soviet brother city program was developed within the Stalinist myth of brotherly nations<\/em>. Another example of twinning mythology is Hellenistic myth, according to which the patrons of Rome were the Dioscuri, twin brothers Pollux and Castor. Their attribute was dokana<\/em>, an emblem consisting of two vertical beams connected with two horizontal ones, symbolizing a gateway. According to Plutarch, the crossbeams symbolize the closeness between the figure of twins (Waites, \u201cThe Meaning of the Dokana,\u201d<\/em> American Journal of Archaeology<\/em>,  Volume 23, Number 1, January\u2013March, 5, 11). Roman twinning mythology was emblematic of imperialistic expansion. See the project of art group Burlaka-Melnychuk Better, Worse, More Worse<\/em><\/a> that investigates the colonizing function of the bridge architecture on the case study of the Crimean bridge (2016-2019). In his 1933 essay The Arcade Project<\/em>, (884), Walter Benjamin also adopts Dioscuri as a frontispiece element for his research of the Parisian arcades, \u201cawakening\u201d, using Benjamin\u2019s rhetoric, twin mythology in the discourse of modernity: \u201cAnd when the sky opened to the eyes of this young insight, there in the foreground were standing\u2026 Dioscuri.\u201d<\/li>\n\n\n\n
    23. Dana\u0457ds supplicate repeatedly at the supplication altar, addressing  Pelasgus, the king of Argos, for refuge and armed protection from the Egyptians. In his turn, he addresses the Argivians twice. Sandin, \u201cAetiology and Justice in the Dana\u0457d. Trilogy,\u201d Dramaturgias,<\/em> 2021: The result of the voting depended upon the way the king communicated the Dana\u00efds\u2019 supplication to the citizens.<\/li>\n\n\n\n
    24. Bakewell, Aeschylus\u2019s Suppliant Women: The Tragedy of Immigration,<\/em> 17.<\/li>\n\n\n\n
    25. Honig, Democracy And The Foreigner<\/em>, 2001: the mythic figure of the foreigner acts as a supplement<\/em>, a (re)founding agent, or an agent of change. Such as in Plato\u2019s Republic<\/em>: \u201cPlato has Socrates say casually that the myth of the metals, the Republic\u2019s founding myth, is a Phoenician thing, not unfamiliar and yet of foreign origin.\u201d <\/li>\n\n\n\n
    26. After WWII, with a new political actuality for gender and refugee issues, The Suppliants<\/em> became one of the most interpreted Greek tragedies in Western discourse. Elfriede Jelinek gave voice to the suppliants of the refugee crisis of 2012-2016 in her Die Schutzbefohlenen<\/em> (Charges<\/em> in English translation), which is loosely based on Aeschylus\u2019s Suppliants<\/em>. The writer started working on Charges<\/em> in November 2012, when a group of asylum seekers from Afghanistan and Pakistan occupied the Votive Church in Vienna. They turned the place into a symbolic sanctuary to voice their supplication<\/em> for registration and work permits. Another allusion to Aeschylus is Jelinek\u2019s narration from a we<\/em> perspective of the asylum seekers. Georges Didi-Huberman\u2019s Uprising<\/em> is another text dedicated to the refugee crisis of 2012-2016. The French philosopher and art historian puts migrants on his list of modern uprisers: \u201c\u2026they are migrants who break the law, migrants out of need or political dissident, or refugees fleeing war.\u201d Linking their \u201ccrossing borders\u201d to a \u201cdesire for freedom\u201d, Didi-Huberman, also draws on the Dana\u00efds\u2019 unhumble supplication in Aeschylus\u2019s text. To support the Dana\u00efds\u2019 parable in his narrative, the author refers to the recent French translation of the play\u2019s title as The Exiled Women<\/em>.<\/li>\n\n\n\n
    27. Prior to the discovery of the manuscript, indicating that the play won the prize in 464 (hence, its dating), the Greek scholars attributed the play as one of the early ones. <\/li>\n\n\n\n
    28. Sommerstein, Aeschylus: Suppliants<\/em>, 43. <\/li>\n\n\n\n
    29. Sandin, \u201cAetiology and Justice in the Dana\u0457d Trilogy,\u201d Dramaturgias,<\/em> 2021.<\/li>\n\n\n\n
    30. Aeschylus. The Suppliant Maidens<\/em>, trans. E.D.A. Morshead, 9.<\/li>\n\n\n\n
    31. ibid., 9.<\/li>\n\n\n\n
    32. Sandin, \u201cAetiology and Justice in the Dana\u0457d Trilogy,\u201d Dramaturgias,<\/em> 2021: There is a scholarly consensus on the reconstruction of the lost second part that the Dana\u00efds are forced to marry the Egyptians and will be raped by them and then kill them, except for Klytemnestra, who was not raped by her husband Lynxeus and, hence, spared his life.<\/li>\n\n\n\n
    33. In old Slavic, vydubychi <\/em>means \u201cto emerge from the water\u201d. Toponym vydubychi<\/em> refers to the Kyiv urban myth of the baptism of Varangian\/Kyivan Rus. Prince Volodymyr ordered that Perun, the old Slavic god of the sky, be thrown into the river Dnieper. However, the wooden sculpture of Perun did spring out<\/em> of the waters of the ice-covered river in the place which is now called vydubychi<\/em>.<\/li>\n\n\n\n
    34. ibid.<\/li>\n\n\n\n
    35. Honig, A Feminist Theory Of Refusal<\/em>, 2.<\/li>\n\n\n\n
    36. ibid., 11.<\/li>\n<\/ol>\n\n\n\n
      <\/p>\n\n\n\n
      <\/p>\n\n\n\n
      Part III : Interpellation Of Constellation<\/strong><\/h1>\n\n\n\n
      <\/p>\n\n\n\n
      The  Dana\u00efds\u2019  Parable<\/strong><\/h2>\n\n\n\n
      To address further the reading of The Suppliants<\/em> as a protest song against imperialism, I would interpellate the citations from P\u00e4r Sandin, namely note 36 [Part II, Protest Song]. He questions the \u201capolitical\u201d canon of The Suppliants<\/em> in the modern context of a refugee crisis<\/em>.[1] As has already been mentioned, the author takes liberty to add a reconstructed scene to the lost second part of the tetralogy. Sandin points out that the tradition of translations of The Suppliants<\/em> to modern European languages shows how much the topic of national statehood is excluded from the discourse of migration studies. He criticizes \u201capolitical\u201d translations, such as that of Alan H. Sommerstein, indexing to its blind spot: Aeschylus transforms the myth of the Dana\u00efds, that was basically the Greek myth of ethnogenesis, into a nation building narrative. <\/p>\n\n\n\n
      As to Sommerstein\u2019s translation, it is the result of laborious work with the source that took over four decades. It is accompanied by the translator\u2019s brief and scrupulous introduction. This conservative approach to Aeschylus’s script is intended to put distance between the original text and its perception in the modern canon. However, Sommerstein\u2019s comments are directed to the analyses of the construction of the other, and possess actuality for British postcolonial contexts. In his postcolonial reading, the Dana\u00efds\u2019 \u201cdark completion\u201d[2] is juxtaposed with the \u201cblack limbs\u201d of the Egyptians[3] that are \u201cstanding out conspicuously against their white garments, which suggests that we are to imagine them as significantly more African-looking\u201d despite their equal share of Argive blood, and to have come across as much the more \u201cbarbarian\u201d of the two sides.\u201d[4]<\/p>\n\n\n\n
      Sandin retorts to Sommerstein that postcolonial optics for the matter of the Dana\u00efds\u2019 \u201cdark skin\u201d is out of the script: \u201c\u2026positivistic interpretation of each of the elements of the mythical narrative as significantly correlated to historical reality seems a little wayward.\u201d[5] He criticizes the focus on the hypothetical racist tinge<\/em> in Aeschylus: \u201c\u2026critics have avoided the \u201cnational\u201d aspect of this complex, perhaps as being unsavory, generally so in recent times, earlier possibly due to the notion that the glorious Danaans should descend from a band of barbarians, explicitly dark-skinned women.\u201d[6] He concludes: \u201cThe reluctance of the seminal German philologists to address the birth of the Danaans as a literary motif seems to have made it invisible to subsequent enlightened and apolitical scholars.\u201d[7] Sandin\u2019s overview of the field of the research addresses the avoided topic in the hermeneutics of the tragedy. To summarize Sandin, the issue of nationalism in the tragedy is systematically overlooked. He argues that the re-enactment of the aetiological myth of the Greeks in Aeschylus\u2014the transition of the society of fictional Argos from indigenous Pelasgian Hellenes to heterogeneous society of Danaan Hellenes\u2014is an early nation-building myth. Thus, the solution of a refugee crisis<\/em> is not only decolonial but essentially anti-nationalistic<\/em>. <\/p>\n\n\n\n
      Moreover, the cornerstone of Sandin\u2019s analysis is the Greco-Persian wars as a nation-shaping context. He makes a leap<\/em> from nationalism to imperialism, from the Greco-Persian wars to the Peloponnesian war. In his narrative, Aeschylus’s tragedy is a document of the rise of Athenian \u201chegemony\u201d from Athenian \u201cnationalism\u201d: nation-building precludes the emergence of imperialism. As Sandin continues, \u201cThe \u2018Argive\u2019, \u2018Danaan\u2019, \u2018Hellenic\u2019 people changed name and remained politically divided (until losing their independence completely), but the common idea in Athens after the Persian wars was that the Greek-speaking peoples were culturally and religiously unified to a significant degree, preferably under the cultural and political hegemony of Athens.\u201d[8]<\/p>\n\n\n\n
      Sandin doesn\u2019t draw any direct parallels with modern \u201chegemonies\u201d in his text. On the other hand, it is beyond the geography of his research to include anti-imperialistic motives in Aeschylus’s narration. Sandin\u2019s optics therefore, just as those of Sommerstein, are overdetermined with the mapping of Western postcolonial studies, which polarizes the European colonizer and its former colonies. Whereas Sommerstein looks for the origins of European racism in the Greek classic, for Sandin it is understandably important to underscore the parallel between Western imperialism and the Athenian \u201cnational state.\u201d <\/p>\n\n\n\n
      Untwinning Parable II<\/strong><\/h2>\n\n\n\n
      Ukrainian wartime media also picked up on the analogy with the Greco-Persian wars. Andrii Suchalkin, a Greek philologist, compares the Russian invasion in Ukraine to Greek wars with Persians in the interview \u201cThe war in Ukraine in the mirror of antiquity<\/a>\u201d: \u201cWhen Persians occupied Athens, they plundered, burnt houses, ruined temples, in other words, retaliated against Greeks for their insubordination. There is no sense in destroying Ukrainian cities, it is just retaliation for insubordination.\u201d <\/p>\n\n\n\n
      Since the Enlightenment, the history of antiquity is regarded as a lesson <\/em>both for Western and Eastern European contexts. The Dana\u00efds\u2019 parable provides an insight into Russia’s imperialistic politics, too. However, it requires a detour <\/em>from The Suppliants<\/em> to The Supplicants<\/em>. In the title of Aeschylus\u2019 text, Hiketides<\/em>, both figures\u2014of the suppliant<\/em> (one who demands<\/em> asylum and armed protection) and the supplicant <\/em>(one who asks<\/em> for asylum and armed protection) \u2014do converge. Yet, in this case, supplicant<\/em> proves not merely an outdated archaic translation of suppliant<\/em>. I would venture to encrypt Aeschylus\u2019 text with the temporal distinction between suppliant<\/em> and supplicant<\/em>. The triangular scheme of the play suggests that it is the Argives who represent Athenian citizens in the contemporaneous context of the Greco-Persian wars, and who, together with the Dana\u0457ds, new-comers to the city, are to become subject to twinship with the Egyptians. Henceforth, the resistance to the Egyptians, and subsequent fight with them, presupposes another doubling of the subject to the Dana\u0457ds. On the one hand, it is the supplicating Dana\u0457ds, the suppliants<\/em> themselves, who appear first on the scene;[9] while on the other\u2014it is the Argives, who come to the scene of the Dana\u0457ds\u2019 parable in response to their supplication, joining the Dana\u0457ds, and thus becoming hiketides<\/em>, too, and yet in their case the word is more accurately translated as supplicants<\/em>. The Egyptians\u2019 herald addresses the Argives, who occupy the place of the supplicant in the play\u2019s triangulation. <\/p>\n\n\n\n
      So, appealing to the history of Russia\u2019s full-scale invasion, Putin\u2019s article \u201cOn the Historical Unity of Russians and Ukrainians\u201d<\/a> was a sample of the twin mythology that characterized archaic imperialistic discourse and that persists in modern Russia\u2019s state politics. The major inconsistency in Aeschylus’s dramaturgy (outside of the poor state of the manuscript) is that it does not provide an answer to the question: why are the Egyptians so persistent in their effort to marry the Dana\u00efds\/Argivians, who are obviously reluctant? The unanswered questions of Russia\u2019s agenda in this war are similar to the question scholars ask of Aeschylus. Why does Putin want to occupy Ukraine? What is the meaning of his statement: \u201cRussians and Ukrainians are one people\u2014a single whole\u201d?[10] and how is it that the mythological construct of the eternal twinship of two \u201cRuses\u201d[11] has come so far that such a statement could be made at all? Why is Putin claiming that Ukraine is \u201canti-Russia\u201d? (\u201cThere was a need for the \u201canti-Russia\u201d concept which we will never accept\u201d)[12] In other words, Putin\u2019s rhetoric relates Russian and Ukrainian contexts as eternally twinned ones, that can be either sympathetic or antagonistic to each other.[13]<\/p>\n\n\n\n
      On the other side, the modern discourse of The Suppliants<\/em> reflects a historical \u201cstage\u201d, one that is postcolonial and anti-nationalistic, that Ukrainian refugees arrive at in Germany (and other Western EU countries). Hereafter, the question becomes how it is that the Dana\u00efds\u2019 supplication transformed into charges<\/em> of global refugees seeking citizenship rights beyond national statehoods?

      The Western listener is often forgetful that this supplication is not a lament but an invitation to stop in front of the wall of words of the Dana\u00efds\u2019 supplication in order to hear the lamentation of oral testimonies. The supplement of suppliants is to produce an asymmetry between the Western listener and the suppliant, to present a counterforce to the surplus of sympathy<\/em>. This also means their demand to destroy the heraldry of imperialistic twinning, represented by the Egyptians. At the same time, it is an untwinning of the listener and the suppliant, too. Whereas, Lacanian iconography of the Dana\u00efds is a double figure fallen apart in the collective figure of the suppliants and their Western listener, the character of the suppliants in one\u2019s turn is split between two gestures: supplicating and hearing the supplication, a suppliant and a supplicant, the Dana\u00efds and Argives, also twins, sharing a common ancestor in Io. To hear the supplication, one has to become a supplicant. Therefore, to cite Robert Brewer Young\u2019s wonderful passage, giving voice to the joint whisper of the suppliants and supplicants: \u201cSupplication[\u2019s]\u2026 asymmetry\u2026 require[s]\u2026 [one] to have a voice, or to dare to ask\u2026 asking to be heard\u2026 instead of mutely obeying\u2026 The begging human chorus is here curtained in smoke\u2026 It is one version of a conversation with [the suppliants and the supplicants]\u2026 in which listening, at least on [the supplicants\u2019] side, plays no part\u2026 But this never stops us from asking to be heard\u2026 [to hear] tears of milk\u2026 to turn fragrant smoke into entreaties\u2026 ash into words\u2026 with perhaps enough music in the lines to get them to listen.\u201d[14]<\/p>\n\n\n\n
      Leipzig-Luxembourg, June-August, 2022<\/em><\/pre>\n\n\n\n
        \n
      1. Honig, A Feminist Theory Of Refusal<\/em>, 11.<\/li>\n\n\n\n
      2. Sommerstein, Aeschylus: Suppliants<\/em>, 28.<\/li>\n\n\n\n
      3. ibid., 28.<\/li>\n\n\n\n
      4. ibid., 29.<\/li>\n\n\n\n
      5. Sandin, \u201cAetiology and Justice in the Dana\u0457d Trilogy,\u201d Dramaturgias,<\/em> 2021.<\/li>\n\n\n\n
      6. ibid.<\/li>\n\n\n\n
      7. ibid.<\/li>\n\n\n\n
      8. ibid.<\/li>\n\n\n\n
      9. Aeschylus. The Suppliant Maidens<\/em>, trans. E.D.A. Morshead: in this translation of The Suppliants <\/em>the tragedy continues within one scene and without the change of \u201cacts\u201d. In other words, this translation has does not have a classical play structure. Morshead chose perhaps to omit arbitrary division of the play into parodos<\/em> and episodes<\/em> due to the destroyed state of the manuscript.<\/li>\n\n\n\n
      10. Putin, \u201cOn the Historical Unity of Russians and Ukrainians\u201d, 2021.<\/li>\n\n\n\n
      11. ibid.: \u201cThese territories [Ukraine] were referred to as \u201cMalorossia\u201c (Little Russia).\u201d<\/li>\n\n\n\n
      12. ibid<\/li>\n\n\n\n
      13. See Part II, note 22.<\/li>\n\n\n\n
      14. Grose and Brewer Young, Uneasy Listening: Notes on Hearing and Being Heard<\/em>, 61.<\/li>\n<\/ol>\n\n\n\n
        Anna Grinkevych<\/strong> is an art researcher. She is an assistant curator at the platform Dreams Of Sisterhood<\/em>.<\/pre>\n\n\n\n
        Published 17 March 2023<\/pre>\n\n\n\n
        <\/p>\n\n\n\n
        Bibliography<\/h1>\n\n\n\n
          \n
        1. Aeschylus. The Suppliant Maidens. <\/em>Translated by E.D.A. Morshead. London: Macmillan And Co., Limited St. Martin\u2019s Street, 1908.<\/li>\n\n\n\n
        2. Bakewell, Geoffrey W. Aeschylus\u2019s Suppliant Women: The Tragedy of Immigration.<\/em> The University of Wisconsin Press, 2013.<\/li>\n\n\n\n
        3. Belorusets, Yevgenia, Kadan, Nikita, and Khomenko, Lesia. In the Face of War<\/em>. ISOLARII, 2022.<\/li>\n\n\n\n
        4. Benjamin, Walter. The Arcade Project<\/em>. Translated by Howard Eiland and Kevin McLaughlin. Harvard University Press, 2002.<\/li>\n\n\n\n
        5. Bryukhovetska, Olga, \u201cTime and Again,\u201d L\u2019International<\/em>, 7 april 2022: https:\/\/www.internationaleonline.org\/opinions\/1091_time_and_again\/<\/a> <\/li>\n\n\n\n
        6. Cornford, Francis McDonald. The Republic of Plato<\/em>. New York & London: Oxford University Press, 1941: https:\/\/ia801400.us.archive.org\/1\/items\/in.ernet.dli.2015.149151\/2015.149151.The-Republic-Of-Plato.pdf<\/a> <\/li>\n\n\n\n
        7. Didi-Huberman, George. Uprisings<\/em>. Jeu de Paume.<\/em> Paris: Gallimard,  2016.<\/li>\n\n\n\n
        8. Dovzhenko, Oleksandr. The Enchanted Desna. <\/em>Translated by Anatole Bilenko. Kyiv: Dnipro, 1982:  http:\/\/www.utoronto.ca\/elul\/<\/a> <\/li>\n\n\n\n
        9. Drummond, Bill, Manning, Mark. Bad Wisdom.<\/em> Penguin UK, 1996. <\/li>\n\n\n\n
        10. Gluhovic, Milija, \u201cEurope in Crisis, the Left, and the Challenge of Migration\u201d, Studies in Theatre and Performance <\/em>39, No. 3: Performing the Worksites of the Left. (2019): 285-301, https:\/\/www-tandfonline-com.proxy.bnl.lu\/doi\/full\/10.1080\/14682761.2019.1654295?pds=39202213541122766229223955321082&pds=139202213542523574555283990753193<\/a><\/li>\n\n\n\n
        11. Graves, Robert. The Greek Myths<\/em>. Harmondsworth: Penguin Books, 1955.  <\/li>\n\n\n\n
        12. Grose, Anouchka, Brewer Young, Robert. Uneasy Listening: Notes on Listening and Being Heard.<\/em> MACK, 2022. <\/li>\n\n\n\n
        13. Holzberg, Billy, Kolbe, Kristina, Zaborowski, Rafal, \u201cFigures of Crisis: The Delineation of (Un)Deserving Refugees in the German Media,\u201d Sociology<\/em> 52, no. 3 (2018): 534\u2013550.<\/li>\n\n\n\n
        14. Honig, Bonnie. Democracy and The Foreigner.<\/em> United Kingdom: Princeton University Press, 2001.<\/li>\n\n\n\n
        15. Honig, Bonnie. A Feminist Theory Of Refusal.<\/em> Cambridge, Massachusetts: Harvard University Press, 2021.<\/li>\n\n\n\n
        16. Lacan, Jacque. The Seminar of Jacque Lacan: The Other Side of Psychoanalysis<\/em>. Edited by J.-A. Miller. W. W. Norton & Company, 2006.<\/li>\n\n\n\n
        17. \u201cOpen Letter to German Chancellor Olaf Scholtz,\u201d Emma<\/em>, 3 May 2022:  https:\/\/www.emma.de\/artikel\/open-letter-chancellor-olaf-scholz-339499<\/a> <\/li>\n\n\n\n
        18. Papadopoulou, Thalia.  Aeschylus: Suppliants<\/em>. Bristol Classical Press, 2011.<\/li>\n\n\n\n
        19. Putin, Vladimir, \u201cOn the Historical Unity of Russians and Ukrainians\u201d, Kremlin.Ru, July 12, 2021: http:\/\/en.kremlin.ru\/events\/president\/news\/66181<\/a><\/li>\n\n\n\n
        20. Sandin, P\u00e4r, \u201cAetiology and Justice in the Dana\u0457d Trilogy,\u201d Dramaturgias<\/em>, 2021: https:\/\/www.academia.edu\/56534342\/Aetiology_and_Justice_in_the_Dana\u0457d_Trilogy<\/a> <\/li>\n\n\n\n
        21. Sommerstein, Alan H. Aeschylus: Suppliants<\/em>. Cambridge University Press, 2019. <\/li>\n\n\n\n
        22. Strikha, Iaroslava, \u201cWriting Between the Lines: Formal Discontinuities in Autobiographies of Ukrainian Writers,1890s-1940s,\u201d (PHD diss., Harvard University Cambridge, Massachusetts, May 2017):   http:\/\/nrs.harvard.edu\/urn-3:HUL.InstRepos:40046481<\/a> <\/li>\n\n\n\n
        23. Knauer, Lisa Maya, Walkowitz, Daniel J., eds. Contested Histories in Public Space: Memory, Race, and Nation. Duke University Press: 2009.<\/li>\n\n\n\n
        24. Waites, Margaret C., \u201cThe Meaning of the Dokana,\u201d<\/em> American Journal of Archaeology<\/em>,  Volume 23, Number 1, January\u2013March, 1919. P.1-18: https:\/\/www.journals.uchicago.edu\/doi\/10.2307\/497369<\/a>  <\/li>\n\n\n\n
        25. Weil, Simone. Grace and Gravity<\/em>. Trans. by Crawford E. and Mario von der Ruhr. Routledge Classic, 2002.<\/li>\n\n\n\n
        26. Weil, Simone. The Iliad, Or the Poem of Force<\/em>. Wallingford, Pennsylvania: Pendle Hill, 1991.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"
          Researcher Anna Grinkevych analyzes classical twinship mythology to reevaluate European responses to Ukrainian supplications for military support.<\/p>\n","protected":false},"author":1,"featured_media":1699,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"class_list":["post-1662","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-text"],"acf":[],"yoast_head":"\nThe Dana\u00efds\u2019 \u201cEye\u201d \u2014 A Parable of Untwinning - soniakh<\/title>\n<meta name=\"description\" content=\"Researcher Anna Grinkevych analyzes classical twinship mythology to reevaluate European responses to Ukrainian supplications for military support.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ANNA GRINKEVYCH: The Dana\u00efds\u2019 \u201cEye\u201d \u2014 A Parable of Untwinning\" \/>\n<meta property=\"og:description\" content=\"Researcher Anna Grinkevych analyzes classical twinship mythology to reevaluate European responses to Ukrainian supplications for military support.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/\" \/>\n<meta property=\"og:site_name\" content=\"soniakh\" \/>\n<meta property=\"article:published_time\" content=\"2023-03-17T10:08:23+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-04-03T10:56:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/soniakh.com\/wp-content\/uploads\/2023\/03\/lada_nakonechna-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1901\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"ANNA GRINKEVYCH: The Dana\u00efds\u2019 \u201cEye\u201d\u2014A Parable of Untwinning\" \/>\n<meta name=\"twitter:description\" content=\"Researcher Anna Grinkevych analyzes classical twinship mythology to reevaluate European responses to Ukrainian supplications for military support.\" \/>\n<meta name=\"twitter:image\" content=\"https:\/\/soniakh.com\/wp-content\/uploads\/2023\/03\/lada_nakonechna-scaled.jpg\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"34 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/\",\"url\":\"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/\",\"name\":\"The Dana\u00efds\u2019 \u201cEye\u201d \u2014 A Parable of Untwinning - soniakh\",\"isPartOf\":{\"@id\":\"https:\/\/soniakh.com\/#website\"},\"datePublished\":\"2023-03-17T10:08:23+00:00\",\"dateModified\":\"2023-04-03T10:56:48+00:00\",\"author\":{\"@id\":\"https:\/\/soniakh.com\/#\/schema\/person\/4af0eda1a9c0d03546d5ba15e19b369e\"},\"description\":\"Researcher Anna Grinkevych analyzes classical twinship mythology to reevaluate European responses to Ukrainian supplications for military support.\",\"breadcrumb\":{\"@id\":\"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/soniakh.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The Dana\u00efds\u2019 \u201cEye\u201d \u2014 A Parable of Untwinning\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/soniakh.com\/#website\",\"url\":\"https:\/\/soniakh.com\/\",\"name\":\"soniakh\",\"description\":\"against war, empire and westsplaining\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/soniakh.com\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/soniakh.com\/#\/schema\/person\/4af0eda1a9c0d03546d5ba15e19b369e\",\"name\":\"admin\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/soniakh.com\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/f775190d239b0a15c4cd4e18e715425e130d2af474af6e3fafd4505222005724?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/f775190d239b0a15c4cd4e18e715425e130d2af474af6e3fafd4505222005724?s=96&d=mm&r=g\",\"caption\":\"admin\"},\"sameAs\":[\"http:\/\/soniakh.com\"],\"url\":\"https:\/\/soniakh.com\/index.php\/author\/admin\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"The Dana\u00efds\u2019 \u201cEye\u201d \u2014 A Parable of Untwinning - soniakh","description":"Researcher Anna Grinkevych analyzes classical twinship mythology to reevaluate European responses to Ukrainian supplications for military support.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/","og_locale":"en_US","og_type":"article","og_title":"ANNA GRINKEVYCH: The Dana\u00efds\u2019 \u201cEye\u201d \u2014 A Parable of Untwinning","og_description":"Researcher Anna Grinkevych analyzes classical twinship mythology to reevaluate European responses to Ukrainian supplications for military support.","og_url":"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/","og_site_name":"soniakh","article_published_time":"2023-03-17T10:08:23+00:00","article_modified_time":"2023-04-03T10:56:48+00:00","og_image":[{"width":2560,"height":1901,"url":"https:\/\/soniakh.com\/wp-content\/uploads\/2023\/03\/lada_nakonechna-scaled.jpg","type":"image\/jpeg"}],"author":"admin","twitter_card":"summary_large_image","twitter_title":"ANNA GRINKEVYCH: The Dana\u00efds\u2019 \u201cEye\u201d\u2014A Parable of Untwinning","twitter_description":"Researcher Anna Grinkevych analyzes classical twinship mythology to reevaluate European responses to Ukrainian supplications for military support.","twitter_image":"https:\/\/soniakh.com\/wp-content\/uploads\/2023\/03\/lada_nakonechna-scaled.jpg","twitter_misc":{"Written by":"admin","Est. reading time":"34 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/","url":"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/","name":"The Dana\u00efds\u2019 \u201cEye\u201d \u2014 A Parable of Untwinning - soniakh","isPartOf":{"@id":"https:\/\/soniakh.com\/#website"},"datePublished":"2023-03-17T10:08:23+00:00","dateModified":"2023-04-03T10:56:48+00:00","author":{"@id":"https:\/\/soniakh.com\/#\/schema\/person\/4af0eda1a9c0d03546d5ba15e19b369e"},"description":"Researcher Anna Grinkevych analyzes classical twinship mythology to reevaluate European responses to Ukrainian supplications for military support.","breadcrumb":{"@id":"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/soniakh.com\/index.php\/2023\/03\/17\/grinkevych-the-danaids-eye\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/soniakh.com\/"},{"@type":"ListItem","position":2,"name":"The Dana\u00efds\u2019 \u201cEye\u201d \u2014 A Parable of Untwinning"}]},{"@type":"WebSite","@id":"https:\/\/soniakh.com\/#website","url":"https:\/\/soniakh.com\/","name":"soniakh","description":"against war, empire and westsplaining","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/soniakh.com\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/soniakh.com\/#\/schema\/person\/4af0eda1a9c0d03546d5ba15e19b369e","name":"admin","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/soniakh.com\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/f775190d239b0a15c4cd4e18e715425e130d2af474af6e3fafd4505222005724?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/f775190d239b0a15c4cd4e18e715425e130d2af474af6e3fafd4505222005724?s=96&d=mm&r=g","caption":"admin"},"sameAs":["http:\/\/soniakh.com"],"url":"https:\/\/soniakh.com\/index.php\/author\/admin\/"}]}},"_links":{"self":[{"href":"https:\/\/soniakh.com\/index.php\/wp-json\/wp\/v2\/posts\/1662","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/soniakh.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/soniakh.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/soniakh.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/soniakh.com\/index.php\/wp-json\/wp\/v2\/comments?post=1662"}],"version-history":[{"count":52,"href":"https:\/\/soniakh.com\/index.php\/wp-json\/wp\/v2\/posts\/1662\/revisions"}],"predecessor-version":[{"id":1838,"href":"https:\/\/soniakh.com\/index.php\/wp-json\/wp\/v2\/posts\/1662\/revisions\/1838"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/soniakh.com\/index.php\/wp-json\/wp\/v2\/media\/1699"}],"wp:attachment":[{"href":"https:\/\/soniakh.com\/index.php\/wp-json\/wp\/v2\/media?parent=1662"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/soniakh.com\/index.php\/wp-json\/wp\/v2\/categories?post=1662"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}