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Dissertations / Theses on the topic 'Sophocles Sophocles'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Spiegel, Francesca. "Exclusion in Sophocles." Doctoral thesis, Humboldt-Universität zu Berlin, 2020. http://dx.doi.org/10.18452/21979.

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"Exclusion in Sophocles" dass Exklusion als Motiv sich durch alle erhaltenen Sophoklesstücke zieht nebst einiger der längeren Fragmente. Auffällig ist die Vielfalt des Motivs, welches sich auf einen Ausschluss aus der Familie (Elektra), der Stadt (Ödipus-Dramen), der Armee (Philoktet), der Gemeinschaft der Menschen (Tereus) und noch vieles Weitere bezieht. Diese Arbeit sammelt, ordnet und analysiert sophokleische Exklusionsszenarien. Insbesondere wird der Gebrauch von Tropologien des Un/Menschlichen in der extrinsischen Charakterisierung der tragischen Protagonisten herausgestellt sowie damit verbundene Metaphern des Pathologischen, Monströsen, Bestialen und sog. Primitiven als Marker und Auslöser von strukturellen Exklusionen. Dabei wird das Exklusionsmotiv nicht als vollendete Tatsache erfasst, sondern als dynamischer und sich teilweise über ganze Plots hinweg erstreckender Prozess, als Narrativ eines ehemals gut Eingegliederten und von der Gemeinschaft nach und nach Exkludierten. Gleichwohl diese Entwicklung vom tragischen Protagonisten in eloquenten und selbstdarstellerischen Reden vehement kritisiert wird, erwächst im Bereich der Metaphern und rhetorischen Bildsprache der Gemeinschaft eine regelrechte Ausradierung und Neuzuweisung seiner Identität. Durch eine vergleichende Gegenüberstellung beider Standpunkte stellt sich heraus, wie tiefgreifend die als Exkludierend handelnde Gemeinschaft in das Vorantschreiten des tragischen Geschehens involviert ist und die Dramen eben nicht nur—wie in zahlreichen Forschungsstandpunkten festgehalten—die Manci des Exkludierten Protagonisten als moralische Fabel vorführen.
Social exclusion as a literary theme is common to all of Sophocles' fully extant plays as well as some of the longer fragments. The variety of settings is wide, between exclusion from the family like for example in Electra, exclusion from the city as in the case of Oedipus, from a regiment of the armed forces like in Ajax or Philoctetes, or even humankind, like with Tereus. This inquiry sets out to present, taxonomize and unpack Sophoclean discourses of exclusion and their attaining literary tropes of the pathological, the bestial, the brutish, the monstrous, and the so-called uncivilized. The aim is to demonstrate how deeply implicated the whole cast of characters and their language are in the process of a tragedy unfolding, rather than the causes of tragedy being lodged in the doings of one protagonist alone. One key point argued here is that, instead of taking 'the isolation of the tragic hero' as fait accompli, exclusion is a dynamic process that often takes up the entire plot arc of a tragedy. In the space of extrinsic characterization, it is argued that a process of rhetorical erasure and overwriting of identity takes place, where peer groups gradually dismantle a formerly well-established identity and re-assign a new and undesirable one. It is shown how the protagonists seek to resist, lament or somehow negotiate this process through long and expansive speeches of futile self-reinstatement. In the synthesis of both, it is argued that Sophocles' deployment of the theme puts a critical spotlight on the rhetorics of exclusion and its discourses of the bestial, the brutal, and especially the pathological, which embed and frame the work's overall literary, cultural and dramatic effects.
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2

Daly, James. "Horizontal resonance as a principle of composition in the plays of Sophocles." New York : Garland, 1990. http://books.google.com/books?id=l8xfAAAAMAAJ.

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3

Ridd, Stephen John. "Sophocles' 'Philoctetes' : a study." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335730.

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4

Maggel, Avgi-Anna. "Silence in Sophocles' tragedies." Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267075.

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5

Okell, Eleanor Regina. "Practising politics in Sophocles." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288366.

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6

Budelmann, Felix Johannes. "Sophocles : language and communality." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624885.

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7

Post, Doris Juliane Elisabeth. "Choral authoritativeness in Sophocles." Thesis, Open University, 2018. http://oro.open.ac.uk/54915/.

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The ‘authority’ of the chorus in Greek tragedy has been a matter of discussion for a very long time. The word authority, however, has two distinct meanings: it can refer to the status of the chorus within the dramatic world and to the truthfulness or reliability of the choral discourse. To avoid this confusion, I use the term authoritativeness in this thesis to indicate the extent to which we can trust what the chorus are saying, chanting, or singing. In chapter 1, I establish a number of textual and linguistic markers which suggest whether a choral discourse can potentially be regarded as authoritative. One important factor is identifying where the chorus operate as a stage figure and where qua chorus. The subsequent chapters are taken up by case studies in which I closely analyse the language and context of the chorus’s utterances in three of Sophocles’ seven extant tragedies. I have chosen the Philoctetes, the Antigone, and the Electra because, in each, the chorus is used in a different way. Altogether, my analysis shows how Sophocles constantly experiments with the use of the choral voice: some markers raise the expectations that choral comments and judgements can be taken as a reliable guide for an interpretation of the action. At the same time, however, different devices undermine this potential authoritativeness, making the precise meaning of the discourse ambiguous or multivalent and contributing to the continuing disagreements on the precise interpretation of the tragedies.
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8

Spiegel, Francesca [Verfasser]. "Exclusion in Sophocles / Francesca Spiegel." Berlin : Humboldt-Universität zu Berlin, 2020. http://d-nb.info/1222512513/34.

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9

Janz, Timothy. "The scholia to Sophocles' Philoctetes." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419030.

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10

Ray, Nicholas. "Tragedy and otherness : Sophocles, Shakespeare, psychoanalysis." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3052/.

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The thesis is concerned with the relationship between psychoanalysis and tragedy, and the way in which psychoanalysis has structured its theory by reference to models from tragic drama - in particular, those of Sophocles and Shakespeare. It engages with some of the most recent thinking in contemporary French psychoanalysis, most notably the work of Jean Laplanche, so as to interrogate both Freudian metapsychology and the tragic texts in which it claims to identify its prototypes. Laplanche has ventured an ‘other-centred’ re-reading of the Freudian corpus which seeks to go beyond the tendency of Freud himself, and psychoanalysis more generally, to unify and centralise the human subject in a manner which strays from and occults some of the most radical elements of the psychoanalytic enterprise. The (occulted) specificity of the Freudian discovery, Laplanche proposes, lies in the irreducible otherness of the subject to himself and therefore of the messages by which subjects communicate their desires. I argue that Freud’s recourse to literary models is inextricably bound up with the ‘goings-astray’ in his thinking. Laplanche’s work, I suggest, offers an important perspective from which to consider not only the function which psychoanalysis cells upon them to perform, but also that within them for which Freud and psychoanalysis have remained unable to account. Taking three tragic dramas which, more or less explicitly, have borne a formative impact on Freud’s thought, and which have often been understood to articulate the emergence of ‘the subject’, I attempt to set alongside Freud’s own readings of them, the argument that each figures not the unifying or centralising but the radical decentring of its principal protagonists and their communicative acts. By close textual analyses of these three works, and by reference to their historical and cultural contexts, the crucial Freudian motif of parricide (real or symbolic) which structures and connects them is shown ultimately to be an inescapable and inescapably paradoxical gesture: one of liberty and autonomy at the cost of self-division, and of a dependence at the cost of a certain autonomy.
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11

Ditmars, Elizabeth Van Nes. "Sophocles' "Antigone" : lyric shape and meaning /." Pisa : Giardini, 1992. http://catalogue.bnf.fr/ark:/12148/cb35599318v.

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12

Pearcey, Linda. "The Erinyes in Sophocles' Oedipus at Colonus /." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68129.

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Chapter One of this thesis explores the identity of the Eumenides, the resident deities in Sophocles' Oedipus at Colonus. By examining the language and contents of two important ritual acts in the play, it is proven that their title is euphemistic; these goddesses are the transformed Erinyes of Aeschylus.
Oedipus and his sinfulness is the focus of Chapter Two. Although he has committed the heinous crimes of incest and parricide, Oedipus seems to be exempt from the Erinyes' hounding. By reviewing the charges laid against him, it is revealed that Oedipus is a morally innocent man.
The final chapter deals with Oedipus' apotheosis and the role played by the Eumenides. By examining the play's dramatic action, it is demonstrated that Oedipus, a man of innate heroic nature, is deserving of heroization. But to reach his exalted end, the championship of the Eumenides is required.
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13

Walsh, Susan V. M. "Traditional and political heroism in Sophocles' Ajax." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq24938.pdf.

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14

Valakas, Konstantinos. "Homeric mimesis and the Ajax of Sophocles." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/283656.

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15

Finglass, Patrick. "A commentary on Sophocles' Electra, lines 251-870." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401449.

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16

Ryan, Cressida. "Eighteenth-century responses to Sophocles' Oedipus at Colonus." Thesis, University of Nottingham, 2010. http://eprints.nottingham.ac.uk/14467/.

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This thesis is a synchronic reception study of a single play, the Oedipus at Colonus. Rather than providing a commentary, or extracting one or two themes in isolation for examination, it considers the play through the lens of the eighteenth century. In so doing it offers a variety of disciplinary approaches, looking at the QC through the eyes of an aesthetic philosopher, creative writer, textual critic, artist, politician, historian, art historian, composer, musicologist, teacher or clergyman. After an introduction outlining some basic presuppositions for the thesis, chapter 1 covers aesthetic philosophy, chapter 2 books, chapter 3 staged reworking, chapter 4 paintings and chapter 5 opera. In reflecting on the play from such a broad range of perspectives, a range of insights emerge. The major theme is the way in which aesthetics develops over time and how these developments are reflected in the wide range of material under discussion. This thesis is about the sublime. Reading the DC through eighteenth-century eyes prioritises certain aspects of it which can, in various guises and at various times, be understood as sublime. This places great emphasis on themes such as religion and the role of landscape, while diminishing others, such as that of blindness, which might usually seem obvious ways to think about the play. Each act of reception draws out something slightly different from the Greek model, and by examining a range of material, our overall appreciation of the play and the eighteenth century is significantly enhanced, particularly in respect to the aforementioned themes.
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17

Budelmann, Felix. "The language of Sophocles : communality, communication, and involvement /." Cambridge : Cambridge University, 2000. http://www.loc.gov/catdir/toc/cam023/99013645.html.

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18

Haley, Maria Louise. "Reconstructing revenge : Thyestes tragedies from Sophocles to Seneca." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22862/.

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This thesis reconstructs the Attic and Republican fragments of lost Thyestes tragedies, in order to track the development of the revenge theme through the tragic tradition. Here I reconstruct Sophocles' and Euripides' Thyestean plays by analogy with each tragedian's extant corpus by comparing extracts that resemble the fragments in language and content. To develop an understanding of Thyestes' myth in Attic tragedy, I consider references to Thyestes and his ancestors in the tragedies featuring his descendants, providing points of contrast with Seneca's extant Thyestes. When reconstructing the Republican fragments of Ennius' Thyestes and Accius' Atreus, I consider the quotation context of the fragment, be it in Cicero, the grammarians or later scholia, in order to examine the themes in the surviving lines and their reception. This allows me to explore how the use of Thyestes' myth in the political texts of the Roman Republic shaped Ennius' Thyestes, Accius' Atreus and, in turn, Seneca's Imperial Thyestes. Though I contextualise these fragments in the trend of Thyestes tragedies written by minor Roman tragedians, often politicians, the few fragments of these tragedies and the political careers of the tragedians prevent me from reconstructing them here, since they are not indicative of changing presentations of revenge in tragedy more broadly. Similarly, I have not included sections on the fourth-century Greek fragments of Thyestes tragedies here, given that little in the surviving fragments pertains to the revenge theme. Though my complete monograph would include these 'minor' tragedians, for the purposes of the comparative methodology set out in this thesis I have included the best known playwrights of Thyestes tragedies. This has allowed me to incorporate fragmenta incerta, fragments from mythically relevant tragedies and a discussion of the texts in which the fragments are quoted to provide a more detailed understanding of Thyestes' myth before Seneca. Ultimately, by reconstructing Atreus' motives, supernatural influences and the presentation of Thyestes' feast in Sophocles', Euripides' Ennius' and Accius' works, this thesis argues that Seneca's Thyestes is not a uniquely violent revenge play.
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19

Coo, Lyndsay Mei-Ling. "Sophocles' Trojan fragments : a commentary on selected plays." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609525.

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20

Fitzpatrick, David. "Opening strategies in Sophoclean tragedy." Thesis, University of Nottingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246498.

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21

Antonopoulos, Andreas. "Sophocles' Ichneutai 1-220, edited with introduction and commentary." Thesis, University of Exeter, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529280.

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22

Spaulding, Gerald R. "Sophocles' Antigone an exploration of modern and contemporary versions /." Diss., Connect to online resource - MSU authorized users, 2007.

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23

Axelgard, Christian Wiggo. "Speaking for Himself: Odysseus and Rhetoric in Sophocles' Philoctetes." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3694.

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In order to reconcile the deus ex machina at the end of Sophocles' Philoctetes with the actions of the rest of the play, this project analyzes the role of Odysseus within the play with special attention to rhetoric. By considering the character of Odysseus as a complex construct referencing both literary and historical contexts, this study suggests that Neoptolemus in fact errs in siding with Philoctetes to the degree that he does by the tragedy's end. The themes of the play involving Philoctetes and Neoptolemus then become warnings against inappropriate emotional responses, again consistent with Heracles' advice in the deus ex machina at the play's end.
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24

Marren, Marina. "APhilosophical Study of Tyranny in Plato, Sophocles, and Aristophanes:." Thesis, Boston College, 2017. http://hdl.handle.net/2345/bc-ir:108693.

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Thesis advisor: John Sallis
Plato’s interlocutors discuss at length about psychology, politics, poetry, cosmology, education, nature, and the gods, in short, about the things that inscribe the transcendent and the grounding poles of human life. It stands to reason that what we wish to glean from Plato’s thinking will show itself more readily if we remain attentive to the self-undermining and the subversive elements of the dialogues. I call the interpretation, which follows the shape- and, hence, meaning-shifting structure of Plato’s writing, “paradigmatic procedure.” By this I do not mean that we ought to find, explain, and then interpretively apply to the whole of Plato’s thought any particular passages from the Republic, the Timaeus, or the Statesman, which mention paradigms. However, I, following Benardete, propose that “Plato must have learned from poets” who produced epos, tragedy, comedy, and myth. This means that Plato borrows these poetic elements and form when he writes the philosophical dialogues. Paradigmatic method of interpretation is conscious of the dramatic form. It situates and analyzes the arguments made both through speeches and through actions as these arise out of the play of literary images. The latter, in their turn, are made up of the tripartite convergence between the dialogical characters, their speeches, and their deeds. Depending on the colorations that the three impart to one another, the images of Plato are comic, tragic, or, which is most often the case, they are tragicomic. The dramatic tone of a given image, once it is detected, reflects back onto the dialogical discussion or account and presents the argument in this newly discovered light. It often happens that the difference between the initial and the paradigmatic reading is so drastic that the straightforward meaning of the studied passage is undone as Plato’s writing begins to show its self-undermining nature. This does not mean that Plato’s philosophizing, also, is undone. On the contrary, when we begin to think together with and through Plato’s subversive writing, instead of retrofitting our lives to some systems that may arise out of it and instead of forcing it to substantiate our views, then we begin to get a sense for the liberating force of Plato’s philosophy. In chapter one, I explain the relationship between paradigms and the tragicomic character of Plato’s writing. Consequently, I offer a reading of select passages from the Timaeus and from the Republic. My discoveries showcase how paradigms inform and how the paradigmatic reading uncovers the tragic dimension of the Timaeus. I show how comedy shines through the, seemingly, most serious passages in the Republic. Plato’s dialogues do not strictly divide into the tragic, comic, epic, mythic, sophistic, or pre-Socratic ones, but rather, most are woven out of all of these orientations. Nonetheless, it is safe to say that within parts or passages, such as those from the Republic, for example, a given form and theme is most pronounced. I turn to the examination of tragedy in the second chapter. There, I first argue that Sophocles’ Oedipus is a tyrant and then I expose the relationship between the psychopathology of tyranny, tragedy, and poetry in books VIII and IX of the Republic. The third chapter carries on the exploration of pathology and offers an examination of tyranny and the soul in the Timaeus. Paradigmatic analysis plays up the theatricality of the Timaeus and identifies several axes around which the dialogical accounts revolve. The three main horizons are made up of nous, necessity, and dream or choric logic. These are fleshed out by the distention given to the dialogical arguments through the enmeshment of φύσις, μῦθος, and πόλις. The fourth kind of emphasis, senselessness, ushers the dialogue’s grotesquely humorous ending and prepares the readers for the considerations of comedy in the fourth chapter of the present work. The comedy of divisions, mythic tall tales, the halving and the fitting cuts, with which Plato’s Statesman is woven through and through, reveal statesmanship’s sinister underbelly. If it were not for the comedic tone, the fourth chapter argues, the monstrousness of tyranny, which is interred in all of the paradigms entertained as models of rule in the Statesman, would have remained unseen. Attunement to the comical passages and references, in the Statesman, is made expedient by an analysis of tyranny in Aristophanes’ Lysistrata. The fifth and final chapter sees to the convergence of the speciously opposite forms and themes. Tragedy is brought together with comedy, poetry with philosophy, and theater with ordinary life under the auspices of the twice-born god, Dionysus. The Dionysian, duplicitously evasive, nature is shown to be contemporaneous with the double-edged nature of shame. The contemplation of shame in Sophocles’ Oedipus and Aristophanes’ Clouds, aids the investigation of the humanity preserving and the corrupting role of shame in Plato’s Gorgias. The findings of the final chapter serve to locate the pressure points of pathology and tyranny as these recede into the tragicomic dramas of our lives
Thesis (PhD) — Boston College, 2017
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Philosophy
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25

Moodie, Glenn A. "Tragic beginnings and beginning tragedy in Sophocles and Euripides." Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269366.

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Markantonatos, Andreas. "Tragic narrative : a narratological study of Sophocles' Oedipus at Colonus." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365532.

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Goward, Barbara Louise. "Narrative strategies : communication in the plays of Aeschylus and Sophocles." Thesis, University College London (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244297.

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Muhammad, M. M. "Aeschylus, Sophocles and Samuel Beckett : some origins of an absurdism." Thesis, University of Essex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332505.

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Markantonátos, Gerásimos An. "Tragic narrative : a narratological study of Sophocles' "Oedipus at Colonus /." Berlin : W. de Gruyter, 2002. http://catalogue.bnf.fr/ark:/12148/cb40004855x.

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Kaferly, Diane Helene Amelia. "Katà stoixēion : the collected letters of Aristophanes, Euripides and Sophocles." Thesis, University of St Andrews, 1986. http://hdl.handle.net/10023/15437.

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This research, a computer-assisted analysis of fifth century drama covering thirty-six plays: eleven of Aristophanes, eighteen of Euripides, and seven of Sophocles, contains detailed information concerning the distribution of letters in their works. 4 A general letter count was refined in terms of vowels and consonants, and the six consonant groups: gutturals, labials, dentals, liquids, aspirates, and sibilants. Each play was examined individually first as a whole and then in part, the trimeter sections, for as a letter or a group is to the whole so should it be to the part. And if not, why not. A principal consideration was the contribution of sibilants as a 'sound*, Sigma was regarded adversely by literary critics in antiquity; this provides a useful link between quantity and quality. With a view to objectivity, the programmed research was designed with few assumptions and the raw data collected without bias. That is, no a-priori assignments of subjective factors such as 'harshness' were made. The frequency of every letter in an initial, medial, or final position within a phonetic-word and within a verse-line was recorded. Each play, and subsequently each author, was described in terms of vowel to consonant ratio, consonant group representation, consonant group position (i, m, or f), and consonant group alliteration in trimeter scenes. Rudimentary 'voice-prints' for each author emerged indicating individual traits, preferences, and time-dependent features of an author's style. Differences between Comedy and Tragedy were measured and the question of Euripides' alleged excessive sigmaticism examined in full. Evidence of Aristophanes' comic characterisation of Euripides was presented in some detail.
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Reinhart, Leslie A. "Restoring the Classics: Teaching Morality in Sophocles' Antigone Through Film." University of Dayton / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1310584393.

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Van, Essen-Fishman Lucy. "Character through interaction : Sophocles and the delineation of the individual." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:c23353ec-cc60-453e-8c58-b13d01840a19.

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In this thesis, I argue that Sophoclean characters take shape through a number of different kinds of interaction. On the most basic level, interaction occurs between characters; interactions between characters, however, provide a framework for interactions between those characters and a variety of more abstract concepts. These interactions, by allowing characters to situate themselves with respect to concepts such as, for example, the social roles which shape the society of the play, provide a more complex picture of the personalities depicted onstage; a fuller view of Antigone’s personality, for example, emerges both from her own interactions with the concept of sisterhood and from the differences between her interactions with that concept and Ismene’s. At the same time, these interactions involve the audience in both the construction and the interpretation of Sophoclean characters; as they watch figures interact with each other onstage, the audience, in turn, interact with their own prior knowledge of the concepts which drive the characters of a play. In my five chapters, I discuss five different areas of interaction. In my first chapter, I look at interactions between characters and myth, arguing that Sophoclean characters emerge out of a tension between novelty and familiarity. In my second chapter, I discuss the interactions between characters and their social roles, looking at the problem of appropriate role performance as it applies to Sophoclean characters. My third chapter deals with characters and their memories; I argue that Sophoclean characters shape and are shaped by their memories of past events depending on shifting present circumstances. In my fourth chapter, I discuss the interactions between characters and the passage of time and suggest that Sophoclean figures are characterized by the ways in which they move through time and respond to its passage. In my final chapter, I look at the use of general statements by Sophoclean characters, arguing that the ability of characters to generalize successfully provides a useful measure of their ability to function in the world of the play.
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Christianaki, Elpida. "Political rebellion in Sophocles Antigone, Anouilhs Antigone and Fugards The Island." Thesis, University of Kent, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443779.

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34

Athanassiou, Nikolaos. "Marginalia and commentaries in the papyri of Euripides, Sophocles and Aristophanes." Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/1348751/.

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The purpose of the thesis is to examine a selection of papyri from the large corpus of Euripides, Sophocles and Aristophanes. The study of the texts has been divided into three major chapters where each one of the selected papyri is first reproduced and then discussed. The transcription follows the original publication whereas any possible textual improvement is included in the commentary. The commentary also contains a general description of the papyrus (date, layout and content) as well reference to special characteristics. The structure of the commentary is not identical for marginalia and hypomnemata: the former are examined in relation to their position round the main text and are treated both as individual notes and as a group conveying the annotator's aims. The latter are examined lemma by lemma with more emphasis upon their origins and later appearances in scholia and lexica. After the study of the papyri follows an essay which summarizes the results and tries to incorporate them into the wider context of the history of the text of each author and the scholarly attention that this received by the Alexandrian scholars or later grammarians. The main effort is to place each papyrus into one of the various stages that scholarly exegesis passed especially in late antiquity. Special treatment has been given to P.Wurzburg 1, the importance of which made it necessary that it occupies a chapter by itself. The last chapter of the thesis deals with the issue of glosses, namely their origin and use in the margins of papyri. The focus is again on the history of early collections of tragic and comic vocabulary and their appearance in the margins or hypomnemata. The parallel circulation of hypomnemata and glossaries often compiled by the same people and some special features of the glosses in our material led to the conclusion that most glosses at least in the earlier periods were copied from hypomnemata. The thesis ends with a presentation of all conclusions from the previous chapters in relation to the history of scholarship and book production in late antiquity
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Kampen, Angeliek van Verfasser], and Hartwin [Akademischer Betreuer] [Brandt. "The generations of Sophocles. Analyses of generational awareness, generational relations and generation conflicts within the Sophoclean tragedies / Angeliek van Kampen. Betreuer: Hartwin Brandt." Bamberg : Otto-Friedrich-Universität Bamberg, 2009. http://d-nb.info/1058478451/34.

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36

Levitan, Linda. "The sense of place in Sophocles : a study in the landscape of experience." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63835.

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Lianeri, Alexandra. "Translation as a socially symbolic act : translations of the ancient Greek concept of 'democracy' in nineteenth-century Britain." Thesis, University of Warwick, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369621.

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Taousiani, A. "Sophocles' lying tale : a study of dolos and fiction in the Philoctetes." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1336531/.

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For 5th century Athens, deceit is a contemporary reality; it is also a problem. When Athens thought about deception, which was not often, it applied to it a double standard: to deceive is condemnable in theory, expedient in practice. How does, however, this double standard translate to a genre which neither theorizes nor practises, but invites interpretation of events that are in themselves both multidimensional and -indeed-fictional? (Introduction and Chapter 1). This thesis examines the presentation and interpretation of deceit in a late 5th century tragic context. Sophocles’ Philoctetes is the focus of this enquiry because of deceit’s varied character in the play, and because of its Sophoclean authorship, with all its associations -both in ancient and in modern contexts- of idealism and traditionalism. My thesis argues that polarizations regarding deceit, Philoctetes and its author circumscribe our understanding of all. In terms of deception, instead of a simple condemnation, the play confronts its audience with a misconceived and mishandled deceit, whose limitations are in place precisely to leave space for a deceit that can be structurally, rhetorically and morally appropriate (Chapters 2, 3, 4). At the same time, the failed deceit of the Philoctetes or ‘play within a play’ recreates the viewing experience for the theatre audience, and offers them different models of spectatorship to ponder on when negotiating their own critical approach to performance (Chapter 5). In terms of the Philoctetes, deceit emerges as the overarching element that allows the play to comment on a number of topical and diachronic concerns of 5th century Athens such as morality, rhetoric, friendship, and performative fiction. By revisiting deceit alongside those issues, I hope to demonstrate the multifaceted character of deceit itself, its legitimate position in Athenian life and (tragic) fiction, and the very pragmatic need for its conditioning. Finally in terms of its author, my interpretation of the play’s deceit challenges the conventional perception of Sophocles as a traditional idealist, and replaces it with an (Euripidean) image of a realist and a thinker engaged with the intellectual trends and socio-political demands of his time. I hope that my reading will lead to a new appreciation of the many dimensions of dolos, the Philoctetes, and its dramatist.
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39

Antoniou, Michaela. "Acting tragedy in twentieth-century Greece: the case of Electra by Sophocles." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/6383/.

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This thesis discusses the acting techniques employed by actors for tragedy of the Greek stage during the twentieth century. It argues that there were two main acting schools - 'school' here meaning an established unified style of acting shared by a group of actors and directors. The first, starting with the 1936 production of Electra by Sophocles directed by Dimitris Rontiris's at the National Theatre of Greece and running through roughly to the late 1970s, developed from a vocal/rhetorical/text-based approach. The second, established by Karolos Koun's Art Theatre in 1942 and which can be said to have ended with his death in 1987, was based on a bodily/physical one. The thesis examines the ways in which these two schools combined and influenced acting, creating new tendencies in the last three decades of the twentieth century. The focus here is on tragedy because this genre is presented on the Greek stage regularly, and, therefore, it is an eloquent example of the evolution of acting in Greece. Sophocles's Electra has been chosen as a case study not only because the play was frequently staged throughout the twentieth century, but primarily because it was acted and directed by important actors and directors who occupied quite different positions within the Greek theatre field. Thus it is a play that provides the most potent example of the development of the acting schools in question. This thesis is an empirical study using Greek actors and directors as its primary source. In giving them a strong voice, it follows their creative process and their perception of their roles and productions. At the same time, it provides a historical context for understanding the conditions of Greek theatre life and their impact on Greek actors and their work.
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Kennedy, Rebecca Futo. "Athena/Athens on Stage: Athena in the Tragedies of Aeschylus and Sophocles." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1053353618.

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Thesis (Ph. D.)--Ohio State University, 2003.
Document formatted into pages; contains viii, 204 p.; contains ills., map. Includes bibliographical references (p. 193-204). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 May 19.
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Penha, Ferreira Vieira Mariana. "On the razor-edge of fate : perceptions of destiny in Sophocles' Theban plays." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9907.

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The goal of this thesis is to analyse the differences and similarities in the perceptions of fate and aleatory events in the Antigone, the Oedipus Tyrannus, and the Oedipus at Colonus of Sophocles. Rather than dwelling on the anachronistic question of “determinism versus freewill”, the focus will be on the ways in which the characters themselves interpret the things that happen to them in their lifespan, in terms of luck, fate, or things that could have been different had they known better at a given moment of time. The conditions in which they perform the determining actions of their lives will be under scrutiny. Actions that seem to arise from contingency, from the previous moves of other actors, from accidental miscalculation, or even from voluntary offence will be contrasted with those for which there is no visible chain of cause and effect, and that are thus attributed to the desires of the gods or to inborn misfortune. There is, from one play to another, a contrast between authoritative assertions of characters with acknowledged prophetic power (Tiresias in the first two works, Oedipus in the later play) that lead the audience to hope for different things: in the Antigone, it shall be argued, there is more room for the possibility of a timely solution for the conflict, than in the Oedipus Tyrannus, where everything has happened already before the start of the play. In the Oedipus at Colonus, Oedipus’ new status means that he has understood more about the functioning of reality and the workings of destiny. The ways in which the plot structure itself conveys a view on the workings of fate will also be analysed, from the series of coincidences in the Oedipus Tyrannus to the function of the episodes in the other two plays. Even though the Theban plays are not philosophy treatises, the echoes of contemporary philosophical ideas are a constant in their text. Wherever relevant, a contrast with the Presocratic corpus has been made in an attempt to identify some of the thought patterns reused and adapted by Sophocles for his specific purposes and portrayals of the human position in the vaster cosmos.
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42

Andronikashvili, Zaal. "Die Erzeugung des dramatischen Textes ein Beitrag zur Theorie des Sujets." Berlin Erich Schmidt, 2005. http://d-nb.info/989459632/04.

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Talboy, Thomas H. J. U. "Phaidra and Hippolytos in Greek and Roman literature, with special emphasis on Sophocles, Phaidra." Thesis, University of Nottingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403701.

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Arvaniti, Ekaterini. "The representation of women in contemporary production of Greek tragedies based on the myth of Orestes, with special reference to the theme of matricide." Thesis, University of Kent, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308830.

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Soman-Çelik, Türkan. "Die ethischen Werte in Sophokles', Bertolt Brechts und Kemal Demirels Antigone." Berlin Avalon, 2009. http://d-nb.info/999315838/04.

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46

Cormack, Raphael Christian. "Oedipus on the Nile : translations and adaptations of Sophocles' Oedipus Tyrannos in Egypt, 1900-1970." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23624.

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Between 1900 and 1970 seven different versions of Sophocles’ play Oedipus Tyrannos were performed or published in Arabic in Egypt. This thesis looks at the first 71 years’ history of this iconic Greek tragedy in Arabic and the ways it can be used to think through the cultural debates of the period. The long history of contact between Greece and Egypt and the 19th and 20th century interpretations of this history can be used to look at different models of colonial and post-colonial cultural interaction. Classicism offered Egyptian writers a constructive way of looking at their cultural identity and contemporary world – a way which takes in to account the legacies of colonialism but also engages Greek literature to create their own models of nationhood. Following the history of performance and adaptation of the play throughout the 20th century, this thesis offers close readings of the most prominent adaptations of Oedipus, particularly those of Farah Antun (whose text was used for Actor-Director George Abyad’s first version of the play in 1912), Tawfiq al-Hakim (1949), Ali Ahmed Bakathir (1949) and Ali Salem (1970). Using performance and translation theory, I show how performance of translated plays like Oedipus was a crucial but complex part of the formation of an Egyptian dramatic tradition through the dynamic interaction of diverse views of what the theatre should be, using, for instance, the role of singing in turn of the century drama. This thesis also revisits and revises misconceptions about the relationship between Islam and theatre. In addition to examining Egyptian Oedipus’ 19th and 20th century context, I also stress the contribution of performance and adaptation to readings of the original text. In particular, these versions of Oedipus ask questions about monarchical rule and democracy that form one link between this classical play and 20th century Egypt. Through its interdisciplinary approach as well as the close readings it offers, this thesis aims to make valuable contributions to the fields of Arabic Theatre Studies and Classical Reception in Colonial and Post-Colonial contexts as well as Performance and Translation Theory.
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Cruz, Akirov Alexandra. "Help or do no harm : medical imagery in Sophocles' Oedipus Tyrannus and Oedipus at Colonus." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46259.

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There is a vast amount of scholarly work devoted to Oedipus Tyrannus and Oedipus at Colonus. However, the number of studies relating these plays to Hippocratic medical thought is small and, in the case of OC, almost non-existent. Bernard Knox???s study Oedipus at Thebes (1957) constitutes the most direct approach to medical thought in OT. He describes how Oedipus shifts between being a physician, a patient, and ultimately, a disease at different stages of the play (1957: 139-147). Knox supports these role shifts by comparing some of the vocabulary of selected passages in the tragedy with their occurrence in the medical writings of the Hippocratic Corpus. The approach I propose in this study is to account for these role shifts from the standpoint of the doctor-patient relationship as described in different writings of the Hippocratic Corpus. I will focus on how the elements of the doctor-patient relationship (i.e., disease, patient, and physician) are represented and the reconfigurations they undergo in the plays. In the first chapter, I will examine how the doctor-patient relationship was viewed among the authors of the medical writings. In addition, I will examine Sophocles??? involvement in the cult of Asclepius in order to determine how this aspect of his life might have influenced his work. In the second chapter I will analyze how the doctor-patient relationship fluctuates in OT. I will use as reference the set of guidelines established in the first chapter regarding the notion of the doctor-patient relationship. In the third chapter, I will suggest that OC provides two complementary approaches to account for the doctor-patient relationship: the Hippocratic model and a new metaphor in which Oedipus stands for a healing god. The medical imagery of the doctor-patient relationship found in OT and OC indicates that Sophocles was well aware of the medical practices of his time. Furthermore, I will suggest that his involvement in the cult of Asclepius is reflected in the metaphor of Oedipus as a healing god at the end of OC.
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DeVito, Carie Roberta. "Speaking Pound's Language: The Role of Elektra in Sophocles' Elektra, a Version by Ezra Pound." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392052031.

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49

Greenspan, Daniel Joshua. "Kierkegaard and the rebirth of tragedy philosophy, poetry and the problem of the irrational (with constant reference to Aristotle and Sophocles) /." Click here for download, 2006. http://proquest.umi.com/pqdweb?did=1251828771&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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50

Rockensies, Regina Marie. "Leading the chorus : the creation and performance of the role of the lead chorus woman in Sophocles' Elektra." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209656820.

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