Ritual Irony: Poetry and Sacrifice in EuripidesCornell University Press, 1985 - 285 pagini Examining Euripides' representation of sacrificial ritual against the background of late fifth-century Athens, Helene P. Foley shows that each of these plays confronts directly the difficulty of making an archaic poetic tradition relevant to a democratic society. She explores the important mediating role played by choral poetry and ritual in the plays, asserting that Euripides' sacrificial metaphors and ritual performances link an anachronistic mythic ideal with a world dominated by "chance" or an incomprehensible divinity. Foley utilizes the ideas and methodology of contemporary literary theory and symbolic anthropology, addressing issues central to the emerging dialogue between the two fields. Her conclusions have important implications for the study of Greek tragedy as a whole and for our understanding of Euripides' tragic irony, his conception of religion, and the role of his choral odes. |
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Pagina 206
... actor , and judge in his own festival , seeks to save the city by rejuvenating its dramatic art.3 Contemporary visual artists were just beginning to popularize the theatrical Dionysus , seated among actors who display the masks and ...
... actor , and judge in his own festival , seeks to save the city by rejuvenating its dramatic art.3 Contemporary visual artists were just beginning to popularize the theatrical Dionysus , seated among actors who display the masks and ...
Pagina 224
... actor before a play ( 925-44 ) ; he relishes his resemblance to his mother or her sisters and imagines that his ... acting thus become a central dramatic image for understanding [ 224 ] Ritual Irony.
... actor before a play ( 925-44 ) ; he relishes his resemblance to his mother or her sisters and imagines that his ... acting thus become a central dramatic image for understanding [ 224 ] Ritual Irony.
Pagina 245
... actors in the play , not spectators of the action . In contrast , the chorus , as spectators , simply imagine ... actor in Dionysiac theater may benefit from tragic experience , offers an implicit justification for the seemingly sub ...
... actors in the play , not spectators of the action . In contrast , the chorus , as spectators , simply imagine ... actor in Dionysiac theater may benefit from tragic experience , offers an implicit justification for the seemingly sub ...
Cuprins
Preface | 9 |
Drama and Sacrifice | 17 |
The Iphigenia in Aulis | 65 |
Drept de autor | |
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Termeni și expresii frecvente
Achilles Aeschylean Aeschylus Agamemnon Agave agōn Amphitryon animal Antigone Antigone's aretē argues Aristophanes Artemis Athenian Athens audience Aulis Bacchae becomes bowman brothers Burkert Cadmus celebration characters choral odes chorus cles Clytemnestra comedy comic context costume Creon crisis cult culture dance Detienne Dionysiac Dionysus discussion divine drama earlier Electra emphasizes epic epinician Eteocles Euripidean Euripides exile festival final scenes Girard god's gods Greek tragedy Helen Hera Heracles hero heroic heroism hoplite human sacrifice Iliad interpretation Iphigenia Jocasta killing literary Lycus madness maenads marriage marriage and sacrifice mask Mastronarde Megara Menoeceus messenger murder myth mythical Odysseus Oedipus offers onstage Orestes Panhellenic Pentheus peripety Phoenissae Pindar play plot poet poetic poetry polis political Polyneices praise prologue relation religious rites ritual role Rudhardt sacri sacrificial death social song Sophocles speech stasimon suppliant action symbolic theatrical Theban Thebes Theseus tion Tiresias tradition tragic Vernant victim violence women Zeus
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Pindar's Homer: The Lyric Possession of An Epic Past Gregory Nagy Nu există previzualizare disponibilă - 1994 |