Emotion In Action Thucydides And The Tragic Chorus
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Emotion in Action: Thucydides and the Tragic Chorus by Eirene Visvardi Pdf
Emotion in Action offers a new approach to the tragic chorus by focusing on the performance of collective emotion. Eirene Visvardi redefines choral action, analyzes choruses that enact fear and pity, and juxtaposes them to the Athenian dêmos in Thucydides.
Greek Tragedy and the Emotions (Routledge Revivals) by W. B. Stanford Pdf
According to Aristotle the main purpose of tragedy is the manipulation of emotions, and yet there are relatively few accessible studies of the precise dynamics of emotion in the Athenian theatre. In Greek Tragedy and the Emotions, first published in 1993, W.B. Stanford reviews the evidence for ‘emotionalism’ – as the great Attic playwrights presented it, as the actors and choruses expressed it, and as their audiences reacted to it. Sociological aspects of the issue are considered, and the whole range of emotions, not just ‘pity and fear’, is discussed. The aural, visual and stylistic methods of inciting emotion are analysed, and Aeschylus’ Oresteia is examined exclusively in terms of the emotions that it exploits. Finally, Stanford’s conclusions are contrasted with the accepted theories of tragic ‘catharsis’. Greek terms are transliterated and all quotations are in translation, so Greek Tragedy and the Emotions will appeal particularly to those unfamiliar with Classical Greek.
From Agent to Spectator by Emily Allen-Hornblower Pdf
This book looks at witnesses to suffering and death in ancient Greek epic (Homer’s Iliad) and tragedy. Internal spectators abound in both genres, and have received due scholarly attention. The present monograph covers new ground by dealing with a specific subset of characters: those who are put in the position of spectator to (and, often, commentator on) their own deed(s). By their very nature, protagonists are confined to the role of witness to the suffering (or deaths) they have caused only for brief stretches of time — often a single scene or even just the length of a speech — but every instance is of central importance, not just to our understanding of the characters in question, but also to the articulation of fundamental themes within the poetic works under examination. As they shift from the status of agent to that of witness, these protagonists, qua spectators to the consequences of their actions, give voice to, dramatize, and enact the tragic motifs of human helplessness and mortal fallibility that lie at the core of Homeric epic and Greek tragedy and that define the human condition, in a manner that leads the audience looking on to ponder their own.
Style and Necessity in Thucydides by TOBIAS. JOHO Pdf
Ancient literary critics were struck by what they described as Thucydides' "nominal style," a term that refers to Thucydides' fondness for abstract nominal phrases. As this book shows, Thucydides frequently uses these phrases instead of approximately synonymous verbal and personalconstructions. These stylistic choices tend to deemphasize human agency: people find themselves in a passive role, exposed to incidents happening to them rather than being actively in charge of events. Thus, the analysis of the abstract style raises the question of necessity in Thucydides.On numerous occasions, Thucydides and his speakers use impersonal and passive language to stress the subjection of human beings to transpersonal forces that manifest themselves in collective passions and an inherent dynamic of events. These factors are constitutive of the human condition and becomea substitute for the notion of divine fatalism prevalent in earlier Greek thought. Yet Thucydidean necessity is not absolute. It stands in the tradition of a type of fatalism that one finds in Homer and Herodotus. In these authors, the gods or fate tend to settle the outcome of the most significantevents, but they leave leeway for the specific way in which these pivotal events come to pass. Thus, the Greeks endorsed a malleable variant of necessity, so that considerable scope for human choice persists within the framework fixed by necessity. Pericles turns out to be Thucydides' prime exampleof an individual who uses the leeway left by necessity for prudent interventions into the course of events.
Off-Stage Groups in Athenian Drama by Alexandra Hardwick Pdf
Despite the crucial roles they often play, no study yet compares the off-stage assemblies, armies, and populations found in surviving Athenian dramatic works. Covering fifth- and early fourth-century tragedy and comedy, Off-Stage Groups in Athenian Drama analyses how off-stage groups influence and respond to events on stage, and how characters interact with these groups. Drama exploits these groups' off-stage nature by depicting them through different characters' viewpoints: characters often struggle to define, predict, or control off-stage groups, which obscures and challenges the audience's ability to interpret them. The interaction between multivalent and sometimes contradictory narratives of off-stage groups demands a new interpretive framework. Off-Stage Groups in Athenian Drama provides this framework, offering new readings of several prominent comedies and tragedies. However, the importance of this framework extends beyond drama. The first chapter surveys depictions of group decision-making in fifth-century prose, in order to demonstrate how Athenian drama responds to prose depictions of group psychology. Athenian drama engages with the early ideas of group psychology circulating in fifth- and early fourth-century Athens; it creates fictive worlds where stereotypical depictions of collective emotion can be probed, explored and taken to their logical extremes. Studying off-stage groups therefore allows us to rethink our understanding of narrative, politics, and social psychology in drama, and the ways in which these fields intersect.
Praise and Blame in Greek Tragedy by Kate Cook Pdf
Exploring the use of praise and blame in Greek tragedy in relation to heroic identity, Kate Cook demonstrates that the distribution of praise and blame, a significant social function of archaic and classical poetry, also plays a key role in Greek tragedy. Both concepts are a central part of the discourse surrounding the identity of male heroic figures in tragedy, and thus are essential for understanding a range of tragedies in their literary and social contexts. In the tragic genre, the destructive or dangerous aspects of the process of kleos (glory) are explored, and the distribution of praise and blame becomes a way of destabilising identity and conflict between individuals in democratic Athens. The first half of this book shows the kinds of conflicts generated by 'heroes' who seek after one kind of praise in tragedy, but face other characters or choruses who refuse to grant the praise discourses they desire. The second half examines what happens when female speakers engage in the production of these discourses, particularly the wives and mothers of heroic figures, who often refuse to contribute to the production of praise and positive kleos for these men. Praise and Blame in Greek Tragedy therefore demonstrates how a focus on this poetically significant topic can generate new readings of well-known tragedies, and develops a new approach to both male heroic identity and women's speech in tragedy.
Ever since Aristotle opened the discussion on the role of the chorus in Greek tragedy, theories of the chorus have continued to proliferate and provoke debate to this day. The tragic chorus had its own story to tell; it was a collective identity, speaking within and to a collective citizen body, acting as an instrument through which stories of other times and places were dramatized into resonant heroic narratives for contemporary Athens. By including detailed case studies of three different tragedies (one each by Aeschylus, Euripides and Sophocles), Claude Calame's seminal study not only re-examines the role of the chorus in Greek tragedy, but pushes beyond this to argue for the 'polyphony' of choral performance. Here, he explores the fundamentally choral nature of the genre, and its deep connection to the cultic and ritual contexts in which tragedy was performed.
At the Crossroads of Greco-Roman History, Culture, and Religion by Sinclair W. Bell,Lora L. Holland Pdf
Papers in honour of Carin M. C. Green (1948-2015) are presented under 3 headings: (1) Greek philosophy, history, and historiography; (2) Latin literature, history, and historiography; and (3) Greco-Roman material culture, religion, and literature
The Music of Tragedy offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Naomi Weiss demonstrates that Euripides' allusions to music-making are not just metatheatrical flourishes or gestures towards musical and religious practices external to the drama but closely interwoven with the dramatic plot. Situating Euripides' experimentation with the dramaturgical effects of mousike within a broader cultural context, she shows how much of his novelty lies in his reinvention of traditional lyric styles and motifs for the tragic stage. If we wish to understand better the trajectories of this most important ancient art form, The Music of Tragedy argues, we must pay closer attention to the role played by both music and text.
A Cultural History of Tragedy in Antiquity by Emily Wilson Pdf
In this volume, tragedy in antiquity is examined synoptically, from its misty origins in archaic Greece, through its central position in the civic life of ancient Athens and its performances across the Greek-speaking world, to its new and very different instantiations in Republican and Imperial Roman contexts. Lively, original essays by eminent scholars trace the shifting dramatic forms, performance environments, and social meanings of tragedy as it was repeatedly reinvented. Tragedy was consistently seen as the most serious of all dramatic genres; these essays trace a sequence of different visions of what the most serious kind of dramatic story might be, and the most appropriate ways of telling those stories on stage. Each chapter takes a different theme as its focus: forms and media; sites of performance and circulation; communities of production and consumption; philosophy and social theory; religion, ritual, and myth; politics of city and nation; society and family, and gender and sexuality.
Forms of Emotion analyses how drama, theatre and contemporary performance present emotion and its human and nonhuman diversity. This book explores the emotions, emotional feelings, mood, and affect, which make up a spectrum of ‘emotion’, to illuminate theatrical knowledge and practice and reflect the distinctions and debates in philosophy, neuroscience, psychology, and other disciplines. This study asserts that specific forms of emotion are intentionally unified in drama, theatre, and performance to convey meaning, counteract separation and subversively champion emotional freedom. The book progressively shows that the dramatic and theatrical representation of the nonhuman reveals how human dominance is offset by emotional connection with birds, animals, and the natural environment. This book will be of great interest to students and researchers interested in the emotions and affect in dramatic literature, theatre studies, performance studies, psychology, and philosophy as well as artists working with emotionally expressive performance.
Author : Regina M. M. Loehr Publisher : Taylor & Francis Page : 275 pages File Size : 52,9 Mb Release : 2024-01-23 Category : Literary Criticism ISBN : 9781003835165
Emotion and Historiography in Polybius’ Histories by Regina M. M. Loehr Pdf
This volume explores emotion and its importance in Polybius’ conception of history, his writing of historiography, and the benefits of this understanding to readers of history. How and why did ancient historians include emotions in their texts? This book argues that in the Histories of Polybius – the Greek historian who recorded Rome’s rise to dominion in the ancient Mediterranean – emotions play an effective role in history, used by the historian to explain the causes of actions, connect events, and make sense of human behavior. Through analysis of the emotions in the narrative and theory of Polybius’ Histories using critical terminology and frameworks from modern philosophy, psychology, and political science, this work calls into question assumptions that emotions were purely irrational and detrimental in ancient history, politics, and historiography. Emotions often positively shape Polybius’ historical narrative, provide criteria for the success and morality of agents, actions, and even historians, and aid the historian in guiding readers to become intelligent leaders and citizens of a new world centered on Rome. Emotion and Historiography in Polybius’ Histories is a fascinating read for students and scholars of ancient historiography and history, as well as those working on ancient political thought, emotions in the ancient Greek world, and emotion in history and literature more broadly.
A COMPANION TO EURIPIDES A COMPANION TO EURIPIDES Euripides has enjoyed a resurgence of interest as a result of many recent important publications, attesting to the poet’s enduring relevance to the modern world. A Companion to Euripides is the product of this contemporary work, with many essays drawing on the latest texts, commentaries, and scholarship on the man and his oeuvre. Divided into seven sections, the companion begins with a general discussion of Euripidean drama. The following sections contain essays on Euripidean biography and the manuscript tradition, and individual essays on each play, organized in chronological order. Chapters offer summaries of important scholarship and methodologies, synopses of individual plays and the myths from which they borrow their plots, and conclude with suggestions for additional reading. The final two sections deal with topics central to Euripidean scholarship, such as religion, myth, and gender, and the reception of Euripides from the 4th century BCE to the modern world. A Companion to Euripides brings together a variety of leading Euripides scholars from a wide range of perspectives. As a result, specific issues and themes emerge across the chapters as central to our understanding of the poet and his meaning for our time. Contributions are original and provocative interpretations of Euripides’ plays, which forge important paths of inquiry for future scholarship.
Scholars have often focused on understanding Aristotle's poetic theory, and particularly the concept of catharsis in the Poetics, as a response to Plato's critique of pity in the Republic. However, this book shows that, while Greek thinkers all acknowledge pity and some form of fear as responses to tragedy, each assumes for the two emotions a different purpose, mode of presentation and, to a degree, understanding. This book reassesses expressions of the emotions within different tragedies and explores emotional responses to and discussions of the tragedies by contemporary philosophers, providing insights into the ethical and social implications of the emotions.