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1
Barnes, Daniel. "THE ART OF TRAGEDY." Think 10, no. 28 (2011): 41–51. http://dx.doi.org/10.1017/s1477175611000017.
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In this essay, I want to provide an introduction to Aristotle's theory of the Greek Tragedy, which he outlines in his book, the Poetics. Many philosophers since Aristotle, including Friedrich Nietzsche and Walter Benjamin, have analysed tragic art and developed their own theories of how it works and what it is for. What makes Aristotle's theory interesting is that it is as relevant to art today as it was in Ancient Greece because it explains the features of not just tragic art, but of the films and stories that we enjoy today. I will explain the features that Aristotle says make a good tragic play and give examples of them from popular culture. The examples I give will be from tragedy, but also from romance, crime and fantasy to demonstrate how he has outlined, not just the features of Greek Tragedy, but also the internal workings of the drama that we enjoy today. The contemporary relevance of Aristotle's theory is in the fact that the features he outlines are basic features of great stories, which I think is best illustrated by applying Aristotle's analysis to popular Hollywood movies.
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Wiles, David. "Reading Greek Performance." Greece and Rome 34, no. 2 (October 1987): 136–51. http://dx.doi.org/10.1017/s0017383500028096.
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Simon Goldhill's Reading Greek Tragedy is a welcome publication – not for its originality but because it makes available an important and eclectic body of critical approaches to Greek texts. Goldhill gives no quarter to the idea that the Greekless reader cannot deal with complex theoretical arguments. The (post-)structuralist revolution in modern thought, associated with Derrida, Foucault, and above all Barthes, mediated for the most part through classical scholars such as J-P. Vernant, Froma Zeitlin, and Charles Segal, has here found its way into a book targeted at the undergraduate market. I welcome Goldhill's book as one which demonstrates, without mystification, both the complexity of Greek tragedy, and the contemporary relevance of the questions which Greek tragedy poses. At the same time, as one who teaches students of Drama, I cannot but feel frustration.
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McConnell, Justine. "The Place of Greek Tragedy in African Drama." Journal of Southern African Studies 42, no. 1 (January 2, 2016): 171–72. http://dx.doi.org/10.1080/03057070.2016.1126463.
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Billing, Christian M. "Representations of Greek Tragedy in Ancient Pottery: a Theatrical Perspective." New Theatre Quarterly 24, no. 3 (August 2008): 229–45. http://dx.doi.org/10.1017/s0266464x08000298.
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In this article, Christian M. Billing considers the relationship between representations of mythic narratives found on ancient pottery (primarily found at sites relating to the Greek colonies of south Italy in the fourth century BC, but also to certain vases found in Attica) and the tragic theatre of the fifth century BC. The author argues against the current resurgence in critical accounts that seek to connect such ceramics directly to performance of tragedies by the major tragedians: Aeschylus, Sophocles, and Euripides. Using five significant examples of what he considers to be errors of method in recent philologically inspired accounts of ancient pottery, Billing argues for a more nuanced approach to the interpretation of such artefacts – one that moves beyond an understanding of literary texts and art history towards a more performance-conscious approach, while also acknowledging that a multiplicity of spheres of artistic influence, drawn from a variety of artistic media, operated in the production and reception of such artefacts. Christian M. Billing is an academic and theatre practitioner working in the fields of ancient Athenian and early modern English and European drama. He has extensive experience as a director, designer, and actor, and has taught at a number of universities in the UK and the USA. He is currently Lecturer in Drama at the University of Hull.
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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek New Comedy." New Theatre Quarterly 20, no. 3 (August 2004): 245–64. http://dx.doi.org/10.1017/s0266464x04000144.
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Chris Vervain is a mask maker who has for a number of years trained and directed in performing masked drama. On the basis of research she has undertaken, using her own masks, on how to perform the ancient Greek plays, in this article she questions some of the modern orthodoxies of masked theatre, drawing specifically on her experience with Menander's New Comedy. With David Wiles, she contributed ‘The Masks of Greek Tragedy as Point of Departure for Modern Performance’ to NTQ 67 (August 2001) and, with Richard Williams, ‘Masks for Menander: Imaging and Imagining Greek Comedy’ to Digital Creativity, X, No. 3 (1999). Some of her masks can be seen at www.chrisvervain.btinternet.com. She is currently working towards a doctorate on masks in Greek tragedy at Royal Holloway, University of London.
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Harrop, Stephe, and David Wiles. "Poetic Language and Corporeality in Translations of Greek Tragedy." New Theatre Quarterly 24, no. 1 (January 30, 2008): 51–64. http://dx.doi.org/10.1017/s0266464x08000055.
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The translation of ancient tragedy is often considered at a linguistic level, as if the drama consisted simply of words being written, spoken, and heard. This article contends that translation for the stage is a process in which literary decisions have physical, as well as verbal, outcomes. It traces existing formulations concerning the links between vocal and bodily expression, and explores the ways in which printed texts might be capable of suggesting modes of corporeality or systems of movement to the embodied performer; and sketches some of the ways in which the range of possible relationships between language and physicality might be explored and understood, drawing upon recent practice-based research into the work of three modern poetic translators of Greek tragedy. Stephe Harrop is a theatre practitioner and academic whose work explores the links between text and physical performance. She originally trained as a dancer, and currently teaches at Royal Holloway, University of London. David Wiles is Professor of Theatre at Royal Holloway. His research interests include Greek theatre, masked performance, and drama in translation. His most recent publications include A Short History of Western Performance Space (2003) and Mask and Performance in Greek Tragedy (2007).
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Fitzgerald, Gerald. "Textual Practices and Euripidean Productions." Theatre Survey 33, no. 1 (May 1992): 5–22. http://dx.doi.org/10.1017/s0040557400009571.
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This paper has two principal, though interrelated, objectives: to survey issues concerning the status of the texts of Greek Tragedy, particularly with respect to specific distinctions between a play as text-based and as audience experienced, between the “eye” of the reader of a play text and the eye of the theatrical spectator; and to consider some implications of these distinctions for Euripidean drama, above all with respect to The Bacchae, since its procedures, albeit more developed or extravagant than elsewhere, may be construed as characteristic for this drama. Much of what I shall say has reference also to the other—Aeschylean, Sophoclean—texts that we have of Greek Tragedy. But it is with Euripides that the terms of the relationship of text and play are most explicit, and controversial, and, it seems to me, most dislocated. We have “read’ Euripides sometimes very wrongly because we have been reading Euripidean texts.
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Foley, Helene. "Classics and Contemporary Theatre." Theatre Survey 47, no. 2 (September 12, 2006): 239–44. http://dx.doi.org/10.1017/s0040557406000214.
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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associates Pantelis Michelakis and Amanda Wrigley—are at the forefront, along with Lorna Hardwick and her associates at the U.K.'s Open University, in organizing conferences and lecture series; these have already resulted in several volumes that aim to understand the recent explosion of performances as well as to develop a more extensive picture of earlier reception of Greek and Roman drama (above all, Greek tragedy, to which this essay will be largely confined).2 These scholars, along with others, have also tried to confront conceptual issues involved in the theatrical reception of classical texts.3 Most earlier work has confined itself to studies of individual performances and adaptations or to significant directors and playwrights; an important and exemplary exception is Hall and Macintosh's recent Greek Tragedy and British Theatre 1660–1914.4 This massive study profits from an unusually advantageous set of archival materials preserved in part due to official efforts to censor works presented on the British stage. Oedipus Rex, for example, was not licensed for a professional production until 1910 due to its scandalous incest theme. This study makes a particular effort to locate performances in their social and historical contexts, a goal shared by other recent studies of postcolonial reception discussed below.5 For example, British Medeas, which repeatedly responded to controversies over the legal and political status of women, always represented the heroine's choice to kill her children as forced on her from the outside rather than as an autonomous choice. Such connections between the performance of Greek tragedy and historical feminism have proved significant in many later contexts worldwide. Work on the aesthetic side of performances of Greek drama, including translation, is at an earlier stage, but has begun to take advantage of important recent work on ancient staging, acting, and performance space.6
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Nooter, Sarah H. "The Politics of Adaptation: Contemporary African Drama and Greek Tragedy by Astrid van Weyenberg." ariel: A Review of International English Literature 46, no. 3 (2015): 199–201. http://dx.doi.org/10.1353/ari.2015.0023.
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Nervegna, Sebastiana. "SOSITHEUS AND HIS ‘NEW’ SATYR PLAY." Classical Quarterly 69, no. 1 (May 2019): 202–13. http://dx.doi.org/10.1017/s0009838819000569.
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Active in Alexandria during the second half of the third century, Dioscorides is the author of some forty epigrams preserved in the Anthologia Palatina. Five of these epigrams are concerned with Greek playwrights: three dramatists of the archaic and classical periods, Thespis, Aeschylus and Sophocles, and two contemporary ones, Sositheus and Machon. Dioscorides conceived four epigrams as two pairs (Thespis and Aeschylus, Sophocles and Sositheus) clearly marked by verbal connections, and celebrates each playwright for his original contribution to the history of Greek drama. Thespis boasts to have discovered tragedy; Aeschylus to have elevated it. The twin epigrams devoted to Sophocles and Sositheus present Sophocles as refining the satyrs and Sositheus as making them, once again, primitive. Finally, Machon is singled out for his comedies as ‘worthy remnants of ancient art (τέχνης … ἀρχαίης)’. Dioscorides’ miniature history of Greek drama, which is interesting both for its debts to the ancient tradition surrounding classical playwrights and for the light it sheds on contemporary drama, clearly smacks of archaizing sympathies. They drive Dioscorides’ selection of authors and his treatment of contemporary dramatists: both Sositheus and Machon are praised for consciously looking back to the masters of the past. My focus is on Sositheus and his ‘new’ satyr-play. After discussing the relationship that Dioscorides establishes between Sophocles’ and Sositheus’ satyrs, and reviewing scholarly interpretations of Sositheus’ innovations, I will argue that Dioscorides speaks the language of New Music. His epigram celebrates Sositheus as rejecting New Music and its trends, and as composing satyr plays that were musically old fashioned and therefore reactionary.
11
SALEM-WISEMAN, JONATHAN. "Heidegger, Wagner, and the History of Aesthetics." PhaenEx 7, no. 1 (May 26, 2012): 162. http://dx.doi.org/10.22329/p.v7i1.3361.
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This article explores Heidegger’s ambivalent philosophical relationship with Richard Wagner. After showing how Heidegger situates Wagner within his larger critique of aesthetics, I will explain why Heidegger believes that Wagner’s operas, due to the dominance of music, could not attain the status of “great art.” Because music can do no more than stimulate or intensify feelings, it becomes, for Heidegger, the paradigm of what art has become under the influence of aesthetics. Heidegger’s views on music even motivate him to contest Nietzsche’s thesis that music was the origin of Greek tragedy. Heidegger dismisses Nietzsche’s developmental account and argues instead that poetry is the essence of tragic drama. To conclude, I will show that Heidegger’s exclusive focus on Wagner’s theoretical work is too narrow, for his music reveals ontological concerns that cannot be easily assimilated into Heidegger’s history of aesthetics, and in fact suggest possible affinities with Heidegger’s own philosophical insights.
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FINKELBERG, MARGALIT. "ARISTOTLE AND EPISODIC TRAGEDY." Greece and Rome 53, no. 1 (April 2006): 60–72. http://dx.doi.org/10.1017/s0017383506000039.
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It is no exaggeration to say that Aristotle's Poetics is one of the most influential documents in the history of Western tradition. Not only, after its re-discovery in the early sixteenth century, did it dominate literary theory and practice for no less than three hundred years. Even after it had lost its privileged status – first to the alternative theories of literature brought forth by the Romantic movement and then to the literary theory and practice of twentieth-century modernism – the Poetics still retained its role of the normative text in opposition to which those new theories were being formulated. It will suffice to bring to mind the explicitly non-Aristotelian theory of drama developed by Bertold Brecht to see that, even when rejected, it was the Poetics that dictated the agenda of the theorists.This has changed in the last thirty years, with the emergence of post-modern literary theory. Although in the questioning of the notions of closure, of artistic illusion, of unity of plot the post-modern theory owes much more than it cares to admit to such modernists as Brecht or Adorno and through them to Aristotle, the damnatio memoriae it has imposed on the Poetics is so thorough that some theorists seem to be hardly aware of the very fact of its existence. This is probably why many theorists, in their privileging of emotional distancing over identification, meta-theatrality over illusion, formal and semantic openness over determinacy and closure, find their models in Chinese, Japanese, Indian, and other non-Western literary traditions rather than in ancient Greece. That is to say, in so far as Aristotle is no longer considered relevant to literary theory, Greek literary tradition too is not considered relevant. The tacit presupposition on which this attitude is based is that Aristotle's Poetics adequately represents ancient Greek literary practice.
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Polesso, Paola. "Searching for a Satyr Play: the Significance of the ‘Parodos’." New Theatre Quarterly 4, no. 16 (November 1988): 321–25. http://dx.doi.org/10.1017/s0266464x0000289x.
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The parodos is the first appearance of the Chorus in a classical Greek drama, an occurrence common to tragedy, comedy – and that curious hybrid form, of which very few examples are extant, the satyr play. One of the two complete surviving, texts is the Ichneutai or Searching Satyrs of Sophocles: and in the following exercise in literary detection. Paola Polesso bases her investigation of the play not only on linguistic evidence but on clues which emerge from seeing the play in performance, to suggest the chronological context with in which the play may now be more precisely placed. Dr. Polesso, who presently teaches drama in the University of Bologna, has acted as assistant director to Luca Ronconi, and has been a contributor to numerous Italian theatre journals.
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Kaltsounas, Efthymios, Tonia Karaoglou, Natalie Minioti, and Eleni Papazoglou. "‘Communal Hellenism’ and ancient tragedy performances in Greece (1975‐95): The ritual quest." Journal of Greek Media & Culture 7, no. 1 (April 1, 2021): 69–103. http://dx.doi.org/10.1386/jgmc_00028_1.
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For the better part of the twentieth century, the quest for a ‘Greek’ continuity in the so-called revival of ancient drama in Greece was inextricably linked to what is termed and studied in this paper as a Ritual Quest. Rituality was understood in two forms: one was aesthetic and neoclassicist in its hermeneutic and performative codes, which were established and recycled ‐ and as such: ritualized ‐ in ancient tragedy productions of the National Theatre of Greece from the 1930s to the 1970s; the other, cultivated mainly during the 1980s, was cultural and centred around the idea that continuity can be traced and explored through the direct employment of Byzantine and folk ritual elements. Both aimed at eliciting the cohesive collective response of their spectators: their turning into a liminal ritual community. This was a community tied together under an ethnocentric identity, that of Greeks participating in a Greek (theatrical) phenomenon. At first through neoclassicism, then through folklore, this artistic phenomenon was seen as documenting a diachronic and essentially political modern Greek desideratum: continuity with the ancient past.Such developments were in tune with broader cultural movements in the period under study, which were reflected on the common imaginings of Antiquity in the modern Greek collective ‐ consciousness ‐ a sort of ‘Communal Hellenism’. The press reception of performances, apart from being a productive vehicle for the study of the productions as such, provides indispensable indexes to audience reception. Through the study of theatre reviews, we propose to explore the crucial shifts registered in the definition of Greekness and its dynamic connections to Antiquity.
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Słomak, Iwona. "Tragedy According to Jacobus Pontanus and the Tradition of Antiquity." Terminus 22, no. 3 (56) (2020): 187–208. http://dx.doi.org/10.4467/20843844te.20.011.12369.
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The aim of this study is to present the findings of a comparative analysis that covers—on the one hand—the theory of tragedy presented in Poeticarum institutionum libri III by Jakob Pontanus (Spanmuller), the classical and Renaissance poetics and commentaries on which he based his work, as well as the ancient tragedies that belonged to the literary canon in Jesuit colleges, and—on the other hand—Pontanus’s theoretical approach mentioned above and his tragedy Elezarus Machabaeus. The works of Pontanus have previously been discussed by Joseph Bielmann. However, Bielmann did not present them against the background of the Greek and Roman tragedies or the statements of the ancient theorists on drama, the Renaissance theoretical reflection on tragedies, or the playwriting practice resulting from this reflection. Consequently, his characterisation of the Elezarus Machabaeus is untenable, and his comments on Pontanus’s theory of drama need reviewing. Determining whether Pontanus respected the rules of ancient tragedy or whether he openly violated them is important because he was one of the most outstanding Jesuit humanists and a person of authority in his community. If we take into account the fact that Elezarus Machabaeus was the first tragedy printed by the Jesuits, the Poeticarum institutionum libri tres was one of the first printed Jesuit textbooks of this kind, and Pontanus himself was also the author of other books recommended for reading in Jesuit colleges and participated in the work of the committee for the evaluation and approval of the Jesuit school act, his views on the imitation of ancient models should be considered influential at least to a moderate degree and at least in some literary circles of his time. This matter is addressed in the introductory part of this paper. It also contains a short presentation of Pontanus’s textbook against the background of other Jesuit poetics, as well as of his main sources in the field of drama theory. Subsequently, the author presents Pontanus’s concept of drama and then discusses his piece taking into account the context of ancient and contemporary drama theory and practice of writing. In the light of this comparative reading, Eleazarus Machabaeus seems to be generally based on ancient models despite certain peculiarities, such as the composition and absence of choruses, which may be surprising at first. Both Pontanus’s tragedy and his theoretical approach should be regarded as classical in nature.
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Keeney, Patricia, and Don Rubin. "Canada's Stratford Festival: Adventures Onstage and Off." New Theatre Quarterly 25, no. 2 (May 2009): 187–94. http://dx.doi.org/10.1017/s0266464x09000281.
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The festival season in Stratford, Ontario, was fraught with an offstage drama which seemed to reprise that of thirty years ago, when an experiment with a triumviral directorate ended in dissension and near disaster. However, once the dust had settled, an interestingly balanced season emerged, mixing Shakespeare and Shaw, ancient Greek and modern tragedy, Beckett and balletic Moby Dick. Here Patricia Keeney and Don Rubin offer their assessment of a wide-ranging repertoire. Patricia Keeney is a poet, novelist and long-time theatre critic for the monthly journal Canadian Forum. She is a Professor of English and Creative Writing at Toronto's York University. Don Rubin is the founding editor of the quarterly Canadian Theatre Review, General Editor of Routledge's six-volume World Encyclopedia of Contemporary Theatre, and Director of the Graduate Program in Theatre Studies at Toronto's York University.
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Torrance, Isabelle. "Writing and self-conscious mythopoiēsis in Euripides." Cambridge Classical Journal 56 (2010): 213–58. http://dx.doi.org/10.1017/s1750270500000336.
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Euripides uses a variety of strategies to draw attention to the novelties in his dramatic myth-creation ormythopoiēsis. He does so, for example, through multiple allusions to earlier poets, distinguishing himself from predecessors by acknowledging their influence while simultaneously producing something distinctive. Euripidean novelties are legitimized in several instances through cultic aetiologies. These aspects of Euripidean drama have long been acknowledged. More recently, Matthew Wright has shown how the characters in several Euripidean plays discuss their own myths in a self-conscious manner, a process he terms ‘metamythology’. A technique which has been less studied, however, is Euripides' exploration of the motif of writing and its connection to the act ofmythopoiēsiswithin his work. Scholars who discuss writing in Euripides have done so either within the general context of inherent tensions between oral and written communication in Greek tragedy (or Greek literature), or have focused on the use of letters as dramatic devices. This paper argues that Euripides exploits the motif of writing in a way which is entirely different from the other tragedians, and puts forward the central thesis that writing in Euripides is associated self-consciously and metapoetically with plot construction and authorial control.
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Swoboda, Sören. "Tragic Elements in Josephus." Journal of Ancient Judaism 8, no. 2 (May 19, 2017): 257–70. http://dx.doi.org/10.30965/21967954-00802009.
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While the discussion on how to classify Josephus’ works within ancient historiography is not new and attention is increasingly being paid to the genre of “tragic history,” more recently there have been attempts to draw parallels between the Jewish War and Greek tragedy (e. g., Chapman and Feldman). Following a sociological definition of “Hellenism,” my paper argues not only that optimal conditions existed in Flavian Rome after 70 C. E. for Josephus to use in his account of the Jewish War certain elements of tragedy and that at least in reference to some aspects a bridge can be constructed from Aeschylus, Euripides and Sophocles to Josephus via the Exagoge of the Jewish tragedian Ezekiel, but also that the Jewish War, among other goals, in many ways pursues the same goal as the influential theory of the Aristotelian Poetics defined for the tragedy and that was already named by Gorgias of Leontini: Pity is to be aroused by scenes that cause horror. In discussing this theory of tragedy, which is controversial in many details and must be brought into relation with other statements by Aristotle on awakening pity, this paper presents arguments for the thesis outlined above, which is based on the observation that Josephus’ horrific representation of suffering is without parallel in the context of Greco-Roman historiography, that he embeds the motif of pity in the work in various ways, and that in the proem he himself problematizes the classification of the account as historiography by justifying the pathetic elements, which ancient historians like Polybius criticized as being only suitable for the tragedy. Of critical importance in all of this is a clear distinction between tragedy and ancient drama on the one hand and pathetic and horrible elements of ancient historiographies and tragedies on the other. With reference to the key text, Ant. 7.127–129, this paper concludes that the generally accepted intentions of the Jewish War—to sketch the Jewish people as inherently noble and for the most part not to blame for the insurrection—can in some respects also to be understood against the background of the theory of tragedy, according to which pity can only result from the staging of a suffering “tragic hero.”
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Heath, Malcolm. "Greek Literature." Greece and Rome 60, no. 2 (September 16, 2013): 313–19. http://dx.doi.org/10.1017/s0017383513000120.
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In Cosmology and the Polis Richard Seaford carries forward the trajectory of Reciprocity and Ritual (1994) and Money and the Early Greek Mind (2004), extending his analytical resources with (not exactly Bakhtinian) chronotopes – socially constructed cognitive models, in which space and time are congruently conceived (i.e. as ‘the same’ in certain respects: 22, 39). He distinguishes three chronotopes: reciprocal, as found in Homer; aetiological, related to ritual and the emergent polis (and containing an ‘antideterminate’ sub-chronotope, which expresses the space–time from which the aetiological transition is made); and monetized (4–5). ‘In the genesis of drama at the City Dionysia the reciprocal chronotope has been replaced by the aetiological’ (75). Monetization then contributes to tragedy's content by isolating powerful individuals from the collective: ‘tragedy frequently ends with the demise of the powerful individual(s)’ (113), and ‘tragic isolation derives in part from the self-sufficiency imposed on the individual by the new phenomenon of monetisation’ (169). Monetization ‘contributes also to its form’, since ‘the establishment of the second actor…may have arisen out of tension – between Dionysos and autocrat at Athens’ (111). The slide from indicative (‘contributes’) to hypothetical (‘may have’), with its long train of speculative attendants (‘it is tempting…hypothesise…seems likely…it is possible…may well have…’, 111) is, despite the desperately optimistic adverb, an index of the fragility of the construction. What is the exegetical pay-off? Seaford is capable, it must be said, of pure fantasy. He detects an allusion to incest in Aristotle's use of the phrase ‘currency from currency’ in Pol. 1258b1–8 (333). Aristotle objects to profit from purely financial transactions, not because it resembles incest (which would be silly), but because it has become disconnected from the real economy. In any case, ‘X from X’ has nothing to do with incest. The formula sums up an obvious feature of the natural course of reproduction (horses come from horses, and so on: Ph. 191b20–21, 193b8, 12; Gen. Corr. 333b7–8; Metaph. 1034b2, 1049b25–6; Pol. 1255b1–2; Pr. 878a27), and is applied to currency in a parenthetic explanation of the metaphorical use of tokos for interest. Aristotle is not the only victim of exegetical extravagance. The gold-changer to whom Aeschylus compares Ares (Ag. 438–9) exchanges gold dust for goods; Seaford knows this (200 n. 43, 247) but still assimilates the passage to currency exchange and monetized commercial transactions (200). Though his claims for the unique powers of monetization ought to make the importance of the distinction salient to him, mentions of silver are treated indiscriminately as references to money (201, on Aesch. Ag. 949, 959). Similarly, it is Seaford who associates insatiable prosperity with monetization (201), not Aeschylus’ text (Ag. 1331–42); and when Antigone speaks of death as kerdos (Soph. Ant. 461–4), it is Seaford who insists that Creon's single mention of coined silver (296) makes ‘the association of kerdos with monetary gain…inevitable’ (328). Why should our understanding of Antigone's patently non-monetized gain be determined by Creon's ‘obsession’? If it is an obsession, what marks it as such is its irrelevance: his grounds for complaint would be just as strong if a guard were suborned by non-monetary incentives. No other character has reason to share Creon's irrationality; nor has the audience; nor have we. This is a dazzlingly clever book; but its foundations are unstable, and its superstructure fragile.
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Yasin, Ghulam, Shaukat Ali, and Kashif Shahzad. "Resonances of greek-latin classics in the works of Fyodor Dostoevsky: a critical analysis." Acta Scientiarum. Language and Culture 43, no. 1 (April 8, 2021): e55354. http://dx.doi.org/10.4025/actascilangcult.v43i1.55354.
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This research aims to probe the classical elements in the works of Fyodor Dostoevsky and to show the author’s bent towards the classical authors and traditions. Dostoevsky is the giant literary figure of 19th-century Russian literature and he belongs not only to a particular time but to all times like many other great classic writers. The research is significant for exposing the author’s affiliation towards the epic poetry of Homer and Hesiod and the dramas of the preeminent Athenian tragedians, Aeschylus, Sophocles, and Euripides. Dostoevsky also becomes classic based on his dealings with the themes dealt by the classics like love, fight for honour, real-life presentation, the conflict between vice and virtue and the struggle of his tragic heroes to reach their goal. The research proves that Dostoevsky is a classic among the classics because of having close resonance with the classics in the art of characterization, the portrayal of tragic heroes, theme building and by including some elements of tragedy. The qualitative research is designed on the descriptive-analytic method by using the approach of Classicism presented by Mark Twain.
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Adam, Klaus-Peter. "Nocturnal Intrusions and Divine Interventions on Behalf of Judah. David's Wisdom and Saul's Tragedy in 1 Samuel 26." Vetus Testamentum 59, no. 1 (2009): 1–33. http://dx.doi.org/10.1163/156853308x388129.
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AbstractA literary strand of narratives about Saul in 1 Samuel emerged in a process of rewriting Israelite-Judean history. 1 Sam 26* and a number of other episodes (1 Sam 10:8; 10:17-27; 13:7a-13a; 14:24-46; parts of 1 Sam 9; 1 Sam 16:1-13; 16:14-23; 17*; 1 Sam 28*, 31*; 2 Sam 1*) present the first Israelite king as a figure that was informed by Greek tragic heroism. More specifically, the themes and the formation of the characters in the story of David's nocturnal intrusion in 1 Samuel 26 are set side by side with the post-classical drama Rhesus. 1 Sam 26 is understood as a narrative comment on Saul's destiny in prophetic tradition. Saul's tragic heroism is described with skl “to act foolishly” 1 Sam 26:21b. Also, Qohelet's royal travesty in Eccl 1:12-2:26 alludes to this notion of Saul as a tragic king who acts foolishly (skl). He is contrasted with his glorious opponent David who succeeds (śkl) in all his endeavours.
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Bryant-Bertail, Sarah. "The Trojan Women a Love Story: A Postmodern Semiotics of the Tragic." Theatre Research International 25, no. 1 (2000): 40–52. http://dx.doi.org/10.1017/s0307883300013948.
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Charles Mee, before turning to playwriting, authored several well-known political histories. To the last of these, from 1993, he gave the ironically portentous title of Playing God: Seven Fateful Moments When Great Men Met to Change the World. With this deconstructive final word after two decades as a historian, he did not in fact abandon history, but began to write it in the medium of theatre. In doing so Mee has come to share a view articulated by Roland Barthes, who was once a university student of theatre and actor in Greek tragedies: the view that theatre, and Greek tragedy in particular, can illuminate our history as a story unfolding before us, allowing us to connect critically past with present as our best hope for the future. The American director Tina Landau, a frequent collaborator with Charles Mee, likewise believes that the ancient Greek tragedies helped constitute, articulate, and today still codify the structural base in myth and history of Western civilization. Accordingly, Mee and Landau have created a number of what they call ‘site-specific pieces’ adapted from Greek drama, site-specific in that they are created out of the specific material space and time at hand. One of these is The Trojan Women a Love Story which was developed and premiered at the University of Washington in Seattle in the spring of 1996. The production was based on Euripides' play The Trojan Women and Hector Berlioz's 1859 opera Les Troyens, which in turn retells the story of Aeneas and Queen Dido of Carthage from Virgil's epic, The Aeneid.
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Lada-Richards, Ismene. "Neoptolemus and the bow: ritual thea and theatrical vision in Sophocles' Philoctetes." Journal of Hellenic Studies 117 (November 1997): 179–83. http://dx.doi.org/10.2307/632556.
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Much has been written in recent years on the ways in which ritual forms, patterns and sequences are remoulded into the imagery and action of classical Greek plays. A tragedy which offers exceptionally fertile ground for studies on ‘ritual and drama' is Sophocles’ Philoctetes, since theatrical and ritual strands are so intimately interwoven in its plot as to create an inextricable knot. In forthcoming work I explore in full both the ritual liminality of Philoctetes' and Neoptolemus' existence as well as the subtle ways in which the vital dramatic experiences of ‘acting’ and ‘viewing’ are inherently intertwined in this play with the initiatory strands of rites of maturation. The present note, conversely, is less ambitious in its scope, as its exclusive focus is one pivotal moment of the play's action, namely the dramatic exhibition of the bow to Neoptolemus' and the spectator's eyes. No matter how inherently interwoven with the action Philoctetes' bow is, Neoptolemus' close look, as he accepts it in his hands (Phil. 776), ‘theatricalises’ the object by converting it into a dramatic spectacle, a thea. But even before being formally delivered to Neoptolemus' custody (Phil. 762-78), the bow is prominently singled out as the prime focus of attention, becoming, as it does, a stage-prop uniquely capturing the boy's concentrated sight.
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Wutrich, Timothy Richard. "Greek Tragedy on the American Stage: Ancient Drama in the Commercial Theater, 1882–1994. By Karelisa V. Hartigan. Westport, CT: Greenwood Press, 1995. Pp. xi + 161 + illus. $49.95." Theatre Research International 22, no. 1 (1997): 72–74. http://dx.doi.org/10.1017/s0307883300015996.
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Santos Filho, Andrelino Ferreira dos. "NUANÇAS DA PAIXÃO NA MEDEIA DE EURÍPIDES." Sapere Aude 10, no. 19 (July 14, 2019): 10–19. http://dx.doi.org/10.5752/p.2177-6342.2019v10n19p10-19.
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A Medeia de Eurípides é uma das mais importantes peças do teatro antigo. A complexidade do texto e a fertilidade das possibilidades interpretativas tem despertado grande interesse dos estudiosos. Neste artigo, pretendo analisar algumas noções que compõem o núcleo do irracional tipificado na protagonista (Medeia). Trata-se de demonstrar a insuficiência do emprego do termo pathos para qualificar o comportamento da personagem no drama. O problema consiste nas parcas ocorrências do referido vocábulo para sustentar o sentido do que seja agir pelo irracional. A fim de ampliar a compreensão do que rege as cenas marcadas por forças irracionais, serão levadas em consideração as noções de ódio e cólera/ira, entre outros. Para proceder a análise textual, foram utilizadas três traduções em português, a saber, a tradução de Mário da Gama Kury, a tradução de Jaa Torrano e a tradução de Maria Helena da Rocha Pereira, além do texto grego publicado pela editora ateniense Kaktoz.PALAVRAS-CHAVE: Medeia. Tragédia. Irracional. Ira.ABSTRACTEuripides’ Medea is one of the most important plays of ancient theater. The complexity of the text and the fertility of interpretive possibilities has aroused great interest among scholars. In this article, I intend to analyze some notions that make up the core of the irrational typified in the protagonist (Medea). This is to demonstrate the inadequacy of the use of the term pathos to qualify the behavior of the character in the drama. The problem consists in the few occurrences of pathos to sustain the meaning of what is to act by the irrational. In order to broaden the understanding of what governs scenes marked by irrational forces, notions of hatred and anger, among others, will be taken into account. To proceed with the textual analysis, three Portuguese translations are used. They are: the translation of Mário da Gama Kury, the translation of Jaa Torrano and the translation of Maria Helena da Rocha Pereira, and also, the Greek text published by the Athenian Kaktoz publisher.KEYWORDS: Medea; Tragedy; Irrational; Anger.
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Sardin, Pascale. "Reading and Interpreting Variants inCome and Go,Va-et-vientandKommen und Gehen." Journal of Beckett Studies 24, no. 1 (April 2015): 75–86. http://dx.doi.org/10.3366/jobs.2015.0121.
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This paper focuses on textual variants in Come and Go, Va-et-vient and Kommen und Gehen and considers these variants as thresholds (Genette, 1997) into these works. This paper aims to show how Beckett's self-translating process, which was prolonged and complicated in the case of his plays when he directed them himself, produces a number of possible textual confusions, but also how these complications constitute insight into the Beckettian text. Indeed variants and rewritings point to moments in the writing and rewriting process when Beckett met ‘resistant vitalities’ mentioned by George Steiner in After Babel (1975). To illustrate this, I study Beckett's first ‘dramaticule’, Come and Go, by examining its pre-texts, the French translation, and Beckett's production notebooks for Kommen und Gehen. In these texts, I explore the motifs of death and ocular anxiety, as studied by Freud in his famous paper on ‘The Uncanny.’ I show how the Freudian uncanny actually reveals the parodic archaism of Beckett's drama, as a parallel is drawn between the structure of Beckett's play and Greek tragedy. Beckett's sometimes ‘messy’ rewritings in Come and Go, Va-et-vient and Kommen und Gehen served the performing intuitive perception in us of death, an issue explored here through the trope of femininity. Furthermore, comparing Beckett's Come and Go and Va-et-vient makes it easier to see Beckett progressing towards what Deleuze called a ‘theatre of metamorphoses and permutations’ in Difference and Repetition – a monograph published in France the very year Come and Go was first produced (1966).
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Prylipko, Iryna. "The ‘One’s own — Alien’ conflict in Lesia Ukrainka’s dramaturgy: ethnic-national and worldview aspects." Слово і Час, no. 1 (February 2, 2021): 22–38. http://dx.doi.org/10.33608/0236-1477.2021.01.22-38.
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The paper focuses on the specific features of the ‘One’s own — Alien’ conflict in the dramatic works by Lesia Ukrainka. The majority of her dramas and dramatic poems were written on the basis of foreign cultural phenomena, including the Ancient Greek, Biblical, and other topoi and images. Foreign cultural realities are aimed at the actualization of both the entire context of Ukraine and the writer’s autobiographic discourse in a recipient’s consciousness, forming the imagological paradigms ‘One’s own — Alien,’ ‘Me — Another’. Upon involving the imagological theories, the author of the paper traces the development of dialogue between various cultural realities in Lesia Ukrainka’s dramatic works. This allowed elucidating the peculiarities in the artistic representation of the exotic topoi of different countries as the significant feature of Neoromantic and, in general, Modernist discourses, which were basic for Lesia Ukrainka’s writing. The textual analysis of Lesia Ukrainka’s dramas reveals the specific features of unfolding the ‘One’s own — Alien’ conflict, first of all, on the ethnic-mental level, epitomized in the ‘conquered — conqueror’ collision of the plays “Babylonian Captivity”, “Over the Ruins”, “Orgy” and “Boiarynia”. The other dimension is the worldview and religious level, mostly realized through the collision ‘Antiquity — Christianity’ (“In the Catacombs”, “Rufinus and Priscilla”, “Martian the Lawyer”, and others). It is proved that the ‘One’s own — Alien’ conflict deepens the problems of the works and serves as a way to reveal the essential characteristics of the heroes. The paradigm of the mentioned conflict highlights the borders of the national and personal identities, emphasizes axiological concepts and active ideas, fundamental for Lesia Ukrainka’s dramatic works, such as the tragedy of misunderstanding, the need for constructive dialogue, the necessity of choice, the search for spiritual and national freedom, the meaning of sacrifice, and the role of art.
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Jackson, Lucy. "Proximate Translation: George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama." Translation and Literature 29, no. 1 (March 2020): 85–100. http://dx.doi.org/10.3366/tal.2020.0410.
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This essay takes up the question of what impact Greek tragedy had on original plays written in Latin in the sixteenth century. In exploring George Buchanan's biblical drama Baptistes sive calumnia (printed 1577) and its reworking of scenes and images from Sophocles' Antigone, we see how neo-Latin drama provided a valuable channel for the sharing and shaping of early modern ideas about Greek tragedy. The impact of the Baptistes on English drama is then examined, with particular reference to Thomas Watson's celebrated Latin translation of Antigone (1581). The strange affinities between Watson's and Buchanan's plays reveal the potential for Greek tragedy to shape early modern drama, but also for early modern drama to shape how Greek tragedy itself was read and received in early modern England.
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Burian, Peter. "Literature - (I.C.) Storey and (A.) Allan A Guide to Ancient Greek Drama. Oxford: Blackwell, 2005. Pp. xvi + 311, illus. £55, 9781405102148 (hbk); £16.99, 9781405102155 (pbk). - (J.) Gregory Ed. A Companion to Greek Tragedy. Oxford: Blackwell, 2005. Pp. xviii + 552. £95. 9781405107709." Journal of Hellenic Studies 127 (November 2007): 163–65. http://dx.doi.org/10.1017/s0075426900001786.
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Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.
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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages of the film-opera. The screen adaptation of opera is very actual and has special aspects. It is obvious, that opera enriches cinema language and cinema reforms traditional theatrical musical drama. There is a number of works, which are devoted to the problem of the opera- film (mostly written by music experts), but there are no special research on the part of cinema theoreticians. Cinema-opera differs from theater-opera. Cooperation between image and music is defined by specific features of the camera. The opportunities of cinema are wider in some aspects and may advance reform of stage. Integration of arts in opera-film is connected with integration of arts in the Greek tragedy. The Athenian drama, grown up from ancient cults, is connected with ancient rituals. Since the ancient sources of drama find their reflection in film-opera, the latter reaches out these cults.
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김동욱. "The Tragic Vision in Greek Tragedy, Shakespearean Tragedy and Noh Drama." Shakespeare Review 46, no. 2 (June 2010): 385–411. http://dx.doi.org/10.17009/shakes.2010.46.2.009.
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Perelshtein, Roman. "Metaphysics of cinema art." Herald of Culturology, no. 1 (2021): 57–79. http://dx.doi.org/10.31249/hoc/2021.01.03.
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The author of the article explores cinema art as a kind of worldview model, based on the tragic myth of Aristotle. The well-known doctrine of tragedy is the part of the doctrine of tragic myth. Both tragedy and drama strive for catharsis, that is, to purify and heal the soul. The discussion of drama as a spiritual teaching becomes extremely relevant in this regard. The hero of the drama (wider than a movie with a dramatic plot) goes on a journey to meet his eternal "I", and, therefore, to become himself. The hero may fail, but there is no other purpose for the journey or initiation.
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Carter, D. M. "The demos in Greek tragedy." Cambridge Classical Journal 56 (2010): 47–94. http://dx.doi.org/10.1017/s1750270500000282.
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This paper looks at a relatively neglected character in Greek tragedy: the people. I cannot claim to produce a complete survey of this issue; however, I shall identify some different ways in which a tragic poet could portray a city's population, and discuss some examples.This is an important and interesting topic for two reasons, which are linked throughout, for behind my argument is the contention that a consideration of the original staging of a tragedy can help us to understand its politics. In the first place, it is instructive to ask how a poet could meet the challenge of representing the population of a city on stage; in the second, this exercise is likely to shed light on the political function of Greek tragedy. More specifically, it will shed light on the relationship between tragedy and democracy - a vexed question in recent years - for no consideration of democracy in drama can neglect the role of democracy's central player.
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Wiley, Eric. "The Living Art of Greek Tragedy (review)." Theatre Journal 56, no. 3 (2004): 532–33. http://dx.doi.org/10.1353/tj.2004.0138.
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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek Tragedy." New Theatre Quarterly 28, no. 2 (May 2012): 163–81. http://dx.doi.org/10.1017/s0266464x12000255.
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Chris Vervain is a mask maker who has for a number of years directed masked Greek drama. On the basis of the research she has undertaken using her own masks, in this article she considers some of the practical issues involved in a masked staging of the plays today, drawing specifically on her experience of directing the Bacchae and the Antigone. Here she extends the discussion started previously in ‘Performing Ancient Drama in Mask: the Case of Greek New Comedy’ in NTQ 79 (August 2004). Earlier, with David Wiles, she contributed ‘The Masks of Greek Tragedy as Point of Departure for Modern Performance’ to NTQ 67 (August 2001). In 2008 she completed a doctorate on masks in Greek tragedy at Royal Holloway, University of London.
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Näsström, Britt-Mari. "The rites in the mysteries of Dionysus: the birth of the drama." Scripta Instituti Donneriani Aboensis 18 (January 1, 2003): 139–48. http://dx.doi.org/10.30674/scripta.67288.
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The Greek drama can be apprehended as an extended ritual, originating in the ceremonies of the Dionysus cult. In particular, tragedy derived its origin from the sacrifice of goats and the hymns which were sung on that occasion. Tragedia means "song of the male goat" and these hymns later developed into choruses and eventually into tragedy, in the sense of a solemn and purifying drama. The presence of the god Dionysus is evident in the history and development of the Greek drama at the beginning of the fifth century B.C. and its sudden decline 150 years later. Its rise seems to correspond with the Greek polis, where questions of justice and divine law in conflict with the individual were obviously a matter of discussion and where the drama had individual and collective catharsis (purifying) in mind.
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Mostafalou, Abouzar, and Hossein Moradi. "Baroque Trauerspiel in William Shakespeare’s Hamlet: A Rejection of Aristotelian Tragedy." Journal of Language Teaching and Research 8, no. 1 (January 1, 2017): 184. http://dx.doi.org/10.17507/jltr.0801.23.
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Tragedy, as a literary genre and a high form of literature, deals with lives of noble people. This type of drama is rooted in Aristotle’s formulation which later has resulted into theory of drama known as Freytag's Pyramid. This model of drama which follows Greek version of tragedy has some common features including unity of time, place, and action. Moreover, the elements of death, language, and melancholy have been treated in the conventional ways in the genre f tragedy. However, Walter Benjamin, the German philosopher and critic has opposed to the dominance of tragedy, and developed an independent genre called Trauer Trauerspiel in which ordinary people get to be the center of the play. Unlike tragedy which is based on myth, Trauer Trauerspiel is based on history that depicts the reality of life. Moreover, this genre has the trace of postmodern literature in which language has no meaning; death is treated in non-religious way, and melancholy is no longer considered to be a mental disease. By the same token, it could be claimed that Shakespeare’s Hamlet, as a dominant form of tragedy, can no longer be considered as tragedy; since it repulses conventions of tragedy and Freytag's Pyramid, it belongs to a new genre, Trauer Trauerspiel in which Greek dramas’ features can be dethroned and replaced by postmodern aspects of drama.
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Boyle, A. J. "Senecan Tragedy: Twelve Propositions." Ramus 16, no. 1-2 (1987): 78–101. http://dx.doi.org/10.1017/s0048671x0000326x.
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I begin by stating what Senecan tragedy is not. Senecan tragedy is not a series of declamations cast into dramatic form, as Leo claimed. It is not purely verbal drama divorced from the inner psychological realities of character, as Eliot claimed. It is not character-static drama, incohesive, structureless, lifeless and monotonously versified, as Mackail and others have claimed. It is not Stoic propaganda, as Marti claimed. It is not recitation drama, if by recitation drama is meant drama to be recited by a single speaker and essentially unstageable, as Zwierlein claims. It is not a tissue of hackneyed commonplaces, as Ogilvie claimed, nor an artificial imitation of Greek tragedy, as Beare claimed; nor is it contemptible as literature, as Summers and most nineteenth and early twentieth century critics have claimed.What is Senecan tragedy? This essay presents twelve propositions, each of which isolates a characterising property of Senecan tragedy important for the understanding of it as literary and cultural artefact. These twelve propositions constitute neither an exhaustive list of such properties nor an analysis of genre. The latter question, however, I leave not to contemporary theory, but to the Codex Etruscus and the Elizabethans.
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Konstan, David. "What we must Believe in Greek Tragedy." Ramus 28, no. 2 (1999): 75–88. http://dx.doi.org/10.1017/s0048671x00001727.
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All drama, indeed all literature, shows people acting on the basis of beliefs and values. We take those values for granted when we watch a play, and observe how the characters negotiate their way within the world as it appears to them. I wish to call attention to some underlying moral and psychological assumptions to which we implicitly assent as a condition for appreciating the story in a couple of Greek tragedies. For sometimes those assumptions are just what the play is really getting across.
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Harrop, Stephe. "Greek Tragedy, Agonistic Space, and Contemporary Performance." New Theatre Quarterly 34, no. 2 (April 19, 2018): 99–114. http://dx.doi.org/10.1017/s0266464x18000027.
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In this article Stephe Harrop combines theatre history and performance analysis with contemporary agonistic theory to re-conceptualize Greek tragedy's contested spaces as key to the political potentials of the form. She focuses on Athenian tragedy's competitive and conflictual negotiation of performance space, understood in relation to the cultural trope of the agon. Drawing on David Wiles's structuralist analysis of Greek drama, which envisages tragedy's spatial confrontations as a theatrical correlative of democratic politics, performed tragedy is here re-framed as a site of embodied contest and struggle – as agonistic spatial practice. This historical model is then applied to a recent case study, Aeschylus’ The Suppliant Women as co-produced by Actors Touring Company and the Lyceum, Edinburgh, in 2016–17, proposing that the frictious effects, encounters, and confrontations generated by this production (re-staged and re-articulated across multiple venues and contexts) exemplify some of the potentials of agonistic spatial practice in contemporary re-performance of Greek tragedy. It is contended that re-imagining tragic theatre, both ancient and modern, as (in Chantal Mouffe's terms) ‘agonistic public space’ represents an important new approach to interpreting and creatively re-imagining, interactions between Athenian tragedy and democratic politics. Stephe Harrop is a Lecturer in Drama at Liverpool Hope University, where her research focuses primarily on performances and texts adapted from, or responding to, ancient tragedy and epic. She is co-author of Greek Tragedy and the Contemporary Actor (Palgrave Macmillan, forthcoming).
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Čiripová, Dáša. "Greek Drama in the Hellenistic Period." Slovenske divadlo /The Slovak Theatre 65, no. 4 (December 1, 2017): 373–82. http://dx.doi.org/10.1515/sd-2017-0022.
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Abstract This study deals with a period of the Greeco-Roman history related to theatre. Hellenism is a period which is often overlooked by theatre scholars although it is an immensely important and rich transformatory and revolutionary period from a historical point of view. Hellenism is not only marked with the encounter of two worlds, but also with their mutual enrichment. In the world of diverse peoples, theatre and drama turn to lighter themes (comedy is more popular than tragedy), show preference for entertaining theatre forms, gradually divert their attention from serious textual levels and turn to non-verbal genres. Menandros is a typical representative of Hellenistic drama. Unfortunately, a great number of texts and files, which would contain at least mentions of drama production at that time, have been lost.
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MAGOULIAS, Harry J. "Andronikos I Komnenos: A Greek Tragedy." BYZANTINA SYMMEIKTA 21, no. 1 (December 23, 2011): 101. http://dx.doi.org/10.12681/byzsym.1032.
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<span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 12pt">The Annals of Niketas Choniates depict Emperor Andronikos I Komnenos (1183-1185) in certain aspects of his lifestyle as a mirror image of his first cousin, Emperor Manuel I Komnenos (1143-1180). The life and death of Andronikos I Komnenos provide us with a window into the aesthetic, moral, intellectual, religious, economic and emotional world of Byzantine society in the 12th century. It was thanks to the Byzantine empire that the ancient texts were preserved and transmitted. Ancient Greek culture and reason, in particular, continued to inform Christian values while, at the same time, both could be in radical conflict. The tragic reign of Andronikos as presented by Niketas Choniates conforms to Aristotle's principles of classical drama, but there is a fundamental disagreement between the author of the Poetics and the historian as to what constitutes tragedy, which underlines this conflict.</span>
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Mikalson, Jon D. "Unanswered prayers in Greek Tragedy." Journal of Hellenic Studies 109 (November 1989): 81–98. http://dx.doi.org/10.2307/632034.
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Moments before Euripides' Polyneices and Eteocles square off for their final, fatal battle in the Phoenissae, each prays for divine assistance (1359–76). Their prayers, though very brief, are by the standards of Greek drama rather formal. Polyneices, as Theban as his brother Eteocles, is leading a force of Argives against Thebes to recover the kingship he claims is rightfully his. As he prays he looks toward distant Argos and invokes ‘Lady Hera’, for, he says, ‘I am now yours, because I married Adrastus’ daughter and dwell in his land' (1364–6). He has left his homeland, married into an Argive family, and now lives in Argos, and he must therefore appeal to an Argive deity. Hera is here made a doubly appropriate recipient of his prayer—by locality as patroness of the Argolid and by function as protectress of marriage, her two major roles in the religion of Greek life and tragedy. Eteocles, commanding the home forces against invaders, looks to the nearby temple of ‘Pallas of the golden shield’. He invokes her as the ‘daughter of Zeus’ and, like Polyneices but less explicitly, explains why he appeals specifically to her. He wishes to kill ‘the man who has come to sack my fatherland’ (1372–6). This Athena ‘of the golden shield’ is patroness of Thebes and, in more general terms, a goddess who aids the city in defence against foreign invaders. Like Hera she is doubly appropriate, in terms of locale and function, to her worshipper's needs.
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Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.
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Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writers and its different kinds in the Sixteenth and Seventeenth centuries. The author has also presented the chief features and characteristics of tragedies. The novelty of the article is the study of Spanish tragedy and its influences on revenge tragedies written by Shakespeare and other tragedy writers. Throughout the article, the author has also included some of the most important dramatists and tragedy writers of these periods including Thomas Kyd, William Shakespeare, John Marston, George Chapman, Tourneur and John Webster.
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Lempert, Manya. "Climate Tragedy." Cambridge Journal of Postcolonial Literary Inquiry 8, no. 2 (April 2021): 195–213. http://dx.doi.org/10.1017/pli.2020.39.
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I hypothesize that tragedy is the genre best suited to represent climate catastrophe. Tragedy, I contend, is committed to diagnosing the ideological and material conditions that make for mass, undeserved suffering—conditions of colonization and racialization, for instance, in Greek and modern drama and in modern tragic fiction. Not only does tragedy reveal injurious forms of power, it stages or incites rebellious collective action against them. These features of literary tragedy, I suggest, are non-Aristotelian. Aristotle lodges the source of crisis in individuals, who inadvertently cause their own misfortunes and suffer from them. The literary tragedy that I theorize, however, locates the origins of communal suffering in external agents of death and domination.
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Bridges, Emma, and Joanna Paul. "Reception." Greece and Rome 65, no. 2 (September 17, 2018): 277–82. http://dx.doi.org/10.1017/s0017383518000232.
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The cinematic and televisual reception of the ancient world remains one of the most active strands of classical reception study, so a new addition to the Wiley-Blackwell Companions series focusing on Ancient Greece and Rome on Screen is sure to be of use to students and scholars alike (especially given how often ‘Classics and Film’ courses are offered as a reception component of an undergraduate Classical Studies programme). The editor, Arthur Pomeroy, himself a respected and prolific ‘early adopter’ of this branch of scholarship, has assembled many of the leading names in cinematic reception studies (including Maria Wyke, Pantelis Michelakis, Alastair Blanshard, and Monica Cyrino), alongside a good number of more junior colleagues, resulting in a varied and rewarding compendium that will provide a useful accompaniment to more detailed explorations of this field. (Some, though not all, chapters offer further reading suggestions, and most are pitched at an accessible level.) The twenty-three contributions span the ‘canonical’ and already widely treated aspects of screen reception, from 1950s Hollywood epics to adaptations of Greek tragedy, as well as ranging across material which has only more recently began to attract the attention it deserves, such as TV documentary, or adaptations for younger audiences. The volume is not as easily navigable as it might be, with the four-part division of the chapters sometimes seeming a little arbitrary. (So, for example, a chapter which discusses ‘The Return of the Genre’ in films like Gladiator appears under the heading ‘Comedy, Drama, and Adaptation’, when it might have been better placed in the first section, on ‘The Development of the Depiction of Ancient Greece and Rome on Screen’.) But rich discussions are not hard to find, especially in those chapters which show how cinematic receptions are indicators of more widely felt concerns relating to our reception of the past, as in Blanshard's assessment of ‘High Art and Low Art Expectations: Ancient Greece in Film and Popular Culture’. Michelakis’ chapter on the early days of cinema is also a valuable distillation of some of his recent work on silent film, crisply and concisely setting out the plurality of approaches that must inform our understanding of the cinematic medium (for example, spectatorship, colour, and relationships to other media). More broadly, the collection makes a solid and welcome attempt to put this pluralism into practice, with Pomeroy stressing ‘the complexity of understanding film’ early in his introduction (3). Chapters focusing on music, and costumes, for example, allow us to see productions ‘in the round’, a panoptical perspective which is still too readily avoided by much classical reception scholarship. (It is also good to see at least one chapter which ranges beyond screen media in the West.) Other vital areas of film and TV studies could arguably have received more attention. Some contributors touch on the importance of assessing audience receptions of these films, or the impact of marketing and other industrial considerations (such as screening practices), but more chapters dedicated to these approaches might have been a more sustained reminder to readers of just how widely screen scholarship can (and often needs to) range. To that end, a particularly significant chapter in the book – one of only 3 by non-Classicists – is Harriet Margolis’ account of how film historians might evaluate ancient world film. Newcomers to this field should pay particular attention to this, and to Pomeroy's introductory comments on how we should regard film as much more than a quasi-literary medium.
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Fitch, John, and Siobhan McElduff. "CONSTRUCTION OF THE SELF IN SENECAN DRAMA." Mnemosyne 55, no. 1 (2002): 18–40. http://dx.doi.org/10.1163/156852502753776939.
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The characters of Senecan tragedy are more inward-looking than those of Greek tragedy. One aspect of their inwardness lies in their fierce attempts to define and assert identities for themselves, through their names, actions, family history, mythical precedents, social roles etc. These self-assertions are driven by desire in many forms, chiefly desire for recognition by others, and are closely connected with the tragic outcomes of the dramas. One section of the article is devoted to Oedipus, who insists on identifying with his guilty deeds despite his innocence of intention; another to Phaedra, who has multiple versions of herself and cannot choose between them.
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Constantinidis, Stratos E. "The Rebirth of Tragedy: Protest and Evolution in Modern Greek Drama." Comparative Drama 21, no. 2 (1987): 156–81. http://dx.doi.org/10.1353/cdr.1987.0028.
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Chou, Mark. "Postmodern Dramaturgy, Premodern Drama: The Global Resurgence of Greek Tragedy Today." Journal for Cultural Research 15, no. 2 (April 2011): 131–52. http://dx.doi.org/10.1080/14797585.2011.574053.
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Damen, Mark. "French Scenes in Greek Tragedy: The Scenic Structure of Classical Drama." Theatre Journal 55, no. 1 (2003): 113–34. http://dx.doi.org/10.1353/tj.2003.0014.
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