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Branded by critics from Aristophanes to Nietzsche as sophistic, iconoclastic, and sensationalistic, Euripides has long been held responsible for the demise of Greek tragedy. Despite this reputation, his drama has a fundamentally conservative character. It conveys nostalgia for an idealized age that still respected the gods and traditional codes of conduct. Using deconstructionist and feminist theory, this book investigates the theme of the lost voice of truth and justice in four Euripidean tragedies. The plays' unstable mix of longing for a transcendent voice of truth and skeptical analysis not only epitomizes the discursive practice of Euripides' era but also speaks to our postmodern condition. The book sheds light on the source of the playwright's tragic power and enduring appeal, revealing the surprising relevance of his works for our own day.
Euripides and the Boundaries of the Human presents the first single-volume reading in nearly fifty years of all of Euripides’ surviving plays. Rather than examining one or a handful of dramas in monograph or article form, Mark Ringer insists on the thematic and stylistic parallels that unite a diverse canon of works. Euripides is often referred to as the most modern of the three Ancient Greek tragedians, but in what way can the work of this fifth-century B.C. artist be claimed as modern? The multi-layered presentation of character is new within the context of Athenian Tragedy. The plays also reveal equal concern with the preservation and re-vitalization of tradition, especially with respect to the portrayal of the Olympian gods. Euripidean drama upholds tradition just as vigorously as it posits a new kind of realism in character portrayal in the Ancient Theatre. Euripidean drama fuses what was old with what was new in order to revitalize and perpetuate the art of tragedy. This book will be of interest to professionals and students in the fields of classics, Greek drama in translation or in the original Greek, theater studies, comparative literature, tragedy, and religion.
This multiauthored volume, as well as bringing into clearer focus the notion of drama and oratory as important media of public inquiry and critique, aims to generate significant attention to the unified intentions of the dramatist and the orator to establish favourable conditions of internal stability in democratic Athens. We hope that readers both enjoy and find valuable their engagement with these ideas and beliefs regarding the indissoluble bond between oratorical expertise and dramatic artistry. This exciting collection of studies by worldwide acclaimed classicists and acute younger Hellenists is envisaged as part of the general effort, almost unanimously acknowledged as valid and productive, to explore the impact of formalized speech in particular and craftsmanship rhetoric in general upon Attic drama as a moral and educational force in the Athenian city-state. Both poet and orator seek to deepen the central tensions of their work and to enlarge the main themes of their texts to even broader terms by investing in the art of rhetoric, whilst at the same time, through a skillful handling of events, evaluating the past and establishing standards or ideology.
Ordálias da Interpretação analisa ordálias medievais, a leitura de dados no polígrafo e alguns métodos de tortura, ao mesmo tempo que lê textos como Hamlet e Macbeth. Este livro descreve a ambição por uma pedra de toque que demonstre a veracidade, ou autenticidade, de certas entidades. De notar que pedra-de-toque – basanos (Βάσαυος) – era um termo usado para denominar a pedra com que se testava em contextos mercantis a qualidade do ouro, mas que designava igualmente a ideia de teste, tortura e torturador. Para os intérpretes mencionados neste livro, a pedra de toque, que pode ser um objecto, uma pessoa ou um teste, teria a capacidade de nos auxiliar a distinguir amigos de inimigos, de identificar a qualidade de alguns versos e de iluminar a verdade. Argumenta-se, todavia, que a capacidade de fazer juízos precisos deriva de um entendimento técnico de interpretação conduzida por indivíduos hábeis, observando-se que a capacidade de descobrir “a verdade” depende da perícia de cada examinador, da sua intuição, da capacidade para aprender um método ou uma técnica específica, de detectar erros e fazer perguntas (qualidades importantes na actividade de um crítico literário).
Proceedings of a conference held at St. Mary’s University in Notre Dame, Indiana (2017), this volume presents a wide-ranging exploration of Time as experienced and contemplated. Included are offerings on ancient Mesopotamian archaeology, literature and religion, Biblical texts and archaeology, Chinese literature and philosophy, and Islamic law.
In Nostalgia and Political Theory, Lawrence Quill advocates the central importance of nostalgia as a theoretical response to the ‘historic’ past and a vertiginous present. He does so by offering detailed analyses of diverse theoretical approaches, from the ancient world to the modern day, in order to reassess the relation between nostalgia and politics. Quill proposes nostalgia as an organizing concept, silently (and not so silently) influencing theorists as they construct critiques of the present or visions of the political future. Nostalgia and Political Theory surveys key contributions to nostalgic and antinostalgic thinking from across the political spectrum. Assessing the influence of photography, radio, television, and personal computing on changing conceptions of the past, Quill also considers the relation between populism, nationalism, and nostalgia. By challenging those who would dismiss nostalgia as irrational or a symptom of cultural malaise, Quill concludes by advancing the case for a liberal theory of nostalgia. Nostalgia and Political Theory will be of interest to scholars and students in the fields of political theory, social theory, sociology, philosophy, political science, memory studies, and nostalgia studies.
Poetic elegies for lost or fallen cities are seemingly as old as cities themselves. In the Judeo-Christian tradition, this genre finds its purest expression in the book of Lamentations, which mourns the destruction of Jerusalem; in Arabic, this genre is known as the ritha al-mudun. In The City Lament, Tamar M. Boyadjian traces the trajectory of the genre across the Mediterranean world during the period commonly referred to as the early Crusades (1095–1191), focusing on elegies and other expressions of loss that address the spiritual and strategic objective of those wars: Jerusalem. Through readings of city laments in English, French, Latin, Arabic, and Armenian literary traditions, Boyadjian challenges hegemonic and entrenched approaches to the study of medieval literature and the Crusades. The City Lament exposes significant literary intersections between Latin Christendom, the Islamic caliphates of the Middle East, and the Armenian kingdom of Cilicia, arguing for shared poetic and rhetorical modes. Reframing our understanding of literary sources produced across the medieval Mediterranean from an antagonistic, orientalist model to an analogous one, Boyadjian demonstrates how lamentations about the loss of Jerusalem, whether to Muslim or Christian forces, reveal fascinating parallels and rich, cross-cultural exchanges.
Hecuba was the most widely read play of Euripides from antiquity to the Renaissance, appealing to readers and spectators for its controversial treatment of moral themes: revenge, war and slavery, violence, human sacrifice, gender and ethnic relations. It narrates the death of Hecuba's daughter Polyxena, sacrificed by the Greeks to placate the ghost of Achilles, and that of her son Polydorus, killed out of greed by the Thracian king who was supposed to protect him. Hecuba successfully plots a cruel and shocking revenge against the killer. The play is now at the centre of the attention of scholars and performing artists. This edition offers new textual and interpretive suggestions, and provides detailed guidance on problems of language as well as employing conceptual tools from contemporary linguistics. It will be useful for upper-level undergraduates and graduate students, as well as of interest to scholars.
Astyanax is thrown from the walls of Troy; Medeia kills her children as an act of vengeance against her husband; Aias reflects with sorrow on his son's inheritance, yet kills himself and leaves Eurysakes vulnerable to his enemies. The pathos created by threats to children is a notable feature of Greek tragedy, but does not in itself explain the broad range of situations in which the ancient playwrights chose to employ such threats. Rather than casting children in tragedy as simple figures of pathos, this volume proposes a new paradigm to understand their roles, emphasizing their dangerous potential as the future adults of myth. Although they are largely silent, passive figures on stage, children exert a dramatic force that transcends their limited physical presence, and are in fact theatrically complex creations who pose a danger to the major characters. Their multiple projected lives create dramatic palimpsests which are paradoxically more significant than their immediate emotional effects: children are never killed because of their immediate weakness, but because of their potential strength. This re-evaluation of the significance of child characters in Greek tragedy draws on a fresh examination of the evidence for child actors in fifth-century Athens, which concludes that the physical presence of children was a significant factor in their presentation. However, child roles can only be fully appreciated as theatrical phenomena, utilizing the inherent ambiguities of drama: as such, case studies of particular plays and playwrights are underpinned by detailed analysis of staging considerations, opening up new avenues for interpretation and challenging traditional models of children in tragedy.
Responding to Plato's challenge to defend the political thought of poetic sources, Marlene K. Sokolon explores Euripides's understanding of justice in nine of his surviving tragedies. Drawing on Greek mythological stories, Euripides examines several competing ideas of justice, from the ancient ethic of helping friends and harming enemies to justice as merit and relativist views of might makes right. Reflecting Dionysus, the paradoxical god of Greek theater, Euripides reveals the human experience of understanding justice to be limited, multifaceted, and contradictory. His approach underscores the value of understanding justice not only as a rational idea or theory, but also as an integral part of the continuous and unfinished dialogue of political community. As the first book devoted to Euripidean justice, Seeing with Free Eyes adds to the growing interest in how citizens in democracies use storytelling genres to think about important political questions, such as "What is justice?"