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First published in 1985, The Subject of Tragedy takes the drama of the sixteenth and seventeenth centuries as the starting point for an analysis of the differential identities of man and woman. Catherine Belsey charts, in a range of fictional and non-fictional texts, the production in the Renaissance of a meaning for subjectivity that is identifiably modern. The subject of liberal humanism – self-determining, free origin of language, choice and action – is highlighted as the product of a specific period in which man was the subject to which woman was related.
Stemming from Harvard University's Carl Newell Jackson Lectures, Christiane Sourvinou-Inwood's Tragedy and Athenian Religion sets out a radical reexamination of the relationship between Greek tragedy and religion. Based on a reconstruction of the context in which tragedy was generated as a ritual performance during the festival of the City Dionysia, Sourvinou-Inwood shows that religious exploration had been crucial in the emergence of what developed into fifth-century Greek tragedy. A contextual analysis of the perceptions of fifth-century Athenians suggests that the ritual elements clustered in the tragedies of Euripides, Aeschylus, and Sophocles provided a framework for the exploration of religious issues, in a context perceived to be part of a polis ritual. This reassessment of Athenian tragedy is based both on a reconstruction of the Dionysia and the various stages of its development and on a deep textual analysis of fifth-century tragedians. By examining the relationship between fifth-century tragedies and performative context, Tragedy and Athenian Religion presents a groundbreaking view of tragedy as a discourse that explored (among other topics) the problematic religious issues of the time and so ultimately strengthened Athenian religion even at a time of crisis in very complex ways-- rather than, as some simpler modern readings argue, challenging and attacking religion and the gods.
Here, for the first time in English, is celebrated French classicist Jacques Jouanna's magisterial account of the life and work of Sophocles. Exhaustive and authoritative, this acclaimed book combines biography and detailed studies of Sophocles' plays, all set in the rich context of classical Greek tragedy and the political, social, religious, and cultural world of Athens's greatest age, the fifth century. Sophocles was the commanding figure of his day. The author of Oedipus Rex and Antigone, he was not only the leading dramatist but also a distinguished politician, military commander, and religious figure. And yet the evidence about his life has, until now, been fragmentary. Reconstructing a lost literary world, Jouanna has finally assembled all the available information, culled from inscriptions, archaeological evidence, and later sources. He also offers a huge range of new interpretations, from his emphasis on the significance of Sophocles' political and military offices (previously often seen as honorary) to his analysis of Sophocles' plays in the mythic and literary context of fifth-century drama. Written for scholars, students, and general readers, this book will interest anyone who wants to know more about Greek drama in general and Sophocles in particular. With an extensive bibliography and useful summaries not only of Sophocles' extant plays but also, uniquely, of the fragments of plays that have been partially lost, it will be a standard reference in classical studies for years to come.
First published in 1985, The Subject of Tragedy takes the drama of the sixteenth and seventeenth centuries as the starting point for an analysis of the differential identities of man and woman. Catherine Belsey charts, in a range of fictional and non-fictional texts, the production in the Renaissance of a meaning for subjectivity that is identifiably modern. The subject of liberal humanism – self-determining, free origin of language, choice and action – is highlighted as the product of a specific period in which man was the subject to which woman was related.