By P. E. Easterling
This e-book offers historical Greek tragedy within the context of late-twentieth-century examining, feedback and function. The twelve chapters, written by way of seven exceptional students, conceal tragedy as an establishment within the civic lifetime of old Athens, various ways to the surviving performs, and altering styles of reception, variation and function from antiquity to the present.
"No dry instruction manual purveying traditional knowledge with an air of authority, this quantity is the manufactured from a bunch of students doing a little of the main fascinating paintings on Greek tragedy. They give a contribution essays on such matters because the civic context of Athenian theater, Dionysus, the composition of the viewers, pictorial representations of tragedy, the sociology of tragedy (gender, class), tragic language, and the development of the plot, concluding with chapters on glossy diversifications and performances and up to date serious techniques. One may well seek advice the quantity on specific issues or learn it conceal to hide: the essays are vigorous and the remedies thorough with no suppressing person kinds and views....Highly steered for all classics collections." D. Konstan, Choice
"It isn't really purely ironic, yet a welcome signal of starting to be theoretical sophistication between classicists, that the ebook should still display so convincingly the advantages - certainly, the need - of learning Greek tragedy from greater than basically literary views. the overall caliber of the essays is remarkably excessive: they deal with themes of principal curiosity with either methodological information and (where acceptable) command of suitable textual element. In sum, i feel that critical scholars of Greek tragedy will locate this to be a boon spouse certainly, and should go back to their basic texts with pleasure and gratitude for a heightened appreciation of tragedy's advanced cultural significance." Southern Humanities Review
This booklet offers old Greek tragedy within the context of overdue twentieth-century examining, feedback and function. The twelve chapters, written by way of seven exceptional students, conceal tragedy as an establishment within the civic lifetime of historic Athens, various methods to the surviving performs, and altering styles of reception, edition and function from antiquity to the current. (Amazon reports)
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Additional info for The Cambridge Companion to Greek Tragedy (Cambridge Companions to Literature)
41 However, for all the social cohesion that the myth of autochthony and other applications of ideological cement may have engendered in the male citizens as distinct from or in opposition to their women, no amount of symbolic mythmaking could prevent a recrudescence of the class-based political stasis within the citizenry that had briefly afflicted Athens in the late 460s and early 450s and increasingly convulsed the entire Greek world during the course of the Peloponnesian War. Most of our surviving tragedies were composed during this war, by Sophocles and his younger contemporary Euripides (Aeschylus having died in Sicily in 456).
Dodds (1966); Goldhill (1992). Antigone, various readings of: Steiner (1984). v. Bacchae: Segal (1986) ch. 9; Vernant & Vidal-Naquet (1988) 381-412. Cambridge Companions Online © Cambridge University Press, 2006 'Deep plays': theatre as process in Greek civic life is also much to be said for the modern view that the Great or City Dionysia did not become formalised as a theatre festival of tragic (and satyric) drama until about 500 BC; on this view, the festival in its new guise was a strictly democratic creation.
For a review of recent findings on mystery cult see Bremmer (1994) 84-97. Cf. p. 269 below, on Auden and Kallman. On Winnington-Ingram see M. L. West's account (1994) 584-5: 'There is no explicit reference in Euripides and Dionysus to the events of the thirties. But in his [unpublished] memoir he states outright that the book was haunted by the Nuremberg rallies. ' As West points out, Winnington-Ingram and E. R. Dodds were in close touch, and each influenced the other's work; Dodds's commentary on Bacchae (first published in 1944) and his The Greeks and the Irrational (1951) have both contributed powerfully to the reading of Dionysus in the second half of the twentieth century.
The Cambridge Companion to Greek Tragedy (Cambridge Companions to Literature) by P. E. Easterling