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"Sophocles Language."
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Sophocles and the Language of Tragedy
This book offers a revolutionary take on Sophocles’ tragic language – and on how we talk about tragedy as a genre. The first section explores how Sophocles excitingly develops the resources of Greek tragedy: it looks at Sophocles’ manipulation of irony, his construction of dialogue, his deployment of the actors, the role of the chorus, and reveals the playwright’s distinctive brilliance. The second section explores how the critical understanding of tragedy as a genre developed in the nineteenth century: how did Victorian critics develop a distinctive way of talking about irony, the chorus, the development of the actor’s role? Goldhill reveals the deep debt of modern critics to their nineteenth-century forebears. Finally, the book explores the foundational question of literary criticism raised by these two sections: how historical, how historically self-conscious should a reading of Greek tragedy be? This book makes a
telling contribution to the discussion of tragedy, of literary criticism, and of how the past is understood.
eBook
Sophocles, Use of Psychological Terminology
At once reference text and literary foray, this work is designed to engage both specialists and non-specialists. It offers detailed discussion of the Greek text for those who have a knowledge of the language while also making all readings available in translation and transliterated forms. Sophocles' Use of Psychological Terminology will be an enduring resource for anyone interested in Athenian tragedy and especially for those interested in how the early Greeks viewed what we now think of as psychological activity.
eBook
Brill's Companion to the Reception of Sophocles
Brill's Companion to the Reception of Sophocles offers a comprehensive account of the reception of Sophocles' plays over the centuries, across cultures and within a range of different fields, such as literature, intellectual history, visual arts, music, dance, stage and cinema.
eBook
Authorship Analysis and the Ending of Seven Against Thebes: Aeschylus' Antigone or Updating Adaptation?
The present paper revisits the discussion concerning the authenticity of a crucial part in Aeschylus' Seven Against Thebes: the highly controversial ending of the play. Much has been written on the subject by various scholars, and even though there is now a general consensus that at some point in antiquity the ending of the play was \"touched\" by an author other than Aeschylus, the problem still remains unresolved in its devilish details. The question is of critical importance for classicists and theatre practitioners but also for anyone interested in classical literature, since, if the ending in the manuscripts is in fact Aeschylean, then Aeschylus could have been the first dramatist—long before Sophocles—to put on stage a defiant Antigone, eager to bury her brother Polyneices despite the civic prohibition. If the ending is spurious, then this will decisively affect how the play in question is read, studied, and staged. To address the problem, we used various tried and tested computer authorship attribution methods: Common n-grams, Support Vector Machines, and n-gram tracing. Thus, this study sheds new, interdisciplinary light on an old and perplexing philological question.
Journal Article
Intertextual Philomela: Queering the Past from a Gendered Perspective
In order to thank him, the Athenian King Pandion gives him his daughter Procne in marriage. The first major text that contributed to the association between Philomela and feminism is Patricia Klindienst Joplin's essay \"The Voice of the Shuttle is Ours,\" which is a response to another essay, written by Geoffrey Hartman and titled, \"The Voice of the Shuttle': Language from the point of View of Literature\" In that essay, Hartman investigates the way literary language functions. Through metonymy and synecdoche, therefore, the expression suggests Philomela's lost voice. Because the trope relies both on \"aesthetic distance\" (through the substitution of terms indicating the effects for those indicating the cause) and on \"iconicity\" (because of the emphasis on concrete and visual terms), Hartman considers it to stand for the literary functioning of language: \"The tension of this figure from Sophocles is like the tension of poetics\" (338). Responding to Hartman's reading, Jane Marcus (in \"Liberty, Sorority, Misogyny\", 1983) as well as Patricia Klindienst Joplin (in \"The Voice of the Shuttle is Ours,\" 1984) stress that Hartman, who exclusively celebrates Language and Literature, forgets that the \"voice\" in question is that of the raped woman.
Journal Article
‘Horse Race, Rich in Woes’: Orestes’ Chariot Race and the Erinyes in Sophocles’ Electra
This article offers a new, ironic reading of the false narrative of Orestes’ chariot accident in Sophocles’ Electra (680–763). It argues that the speech exploits an established connection between the ancestral evils of the Atreids and the thematic nexus of horses, chariot racing and disaster to evoke Orestes’ flight from the Erinyes following the matricide. Focusing on the language and structure of the narrative as well as drawing on other versions of the story (notably the surviving plays by Aeschylus and Euripides), the article demonstrates, in contrast to previous readings, that the speech is much more than an over-elaborate means to an end. Instead, in an ominous and profoundly ironic twist, the Paedagogus’ fictional narrative of the chariot race offers a possible vision of the trials awaiting the real Orestes. The matricide and murder, far from ending the ancestral woes of the Atreids, may well bring about Orestes’ pursuit by the Erinyes.
Journal Article
Scholia vetera in Sophoclis \Oedipum Coloneum\
The ancient scholia to Sophocles' Oedipus at Colonus shed light on Alexandrian ways of engaging with this play, and are richer than those to the other Sophoclean plays.The last editor, Vittorio de Marco (1952), established a better text of these scholia than his predecessors, in as much as he had a fuller knowledge of their manuscript tradition.
eBook
“Christianity is an epidemic”: on Hölderlin and the plague
Throughout literary history the event of a plague has been an interpretation event typically split into two mutually exclusive stances. On one side, the plague is interpreted as the manifestation of divine punishment (for example, Homer’s Iliad) or, more ambiguously, as a test of faith. On the other side, it is understood in terms of its material causes in the absence of God (for example, Lucretius’ De rerum natura). However, there is an important liminal space in which the plague is understood neither as evidence of divine presence nor as evidence of divine absence but as a sign of discord between the human and the divine and discord in the divine. In this space, both humanity and God are infected by a finitude and contingency that the plague, perhaps more than any other phenomenon, renders palpable and unavoidable. It is in and of this temporal space that Friedrich Hölderlin wrote. This article begins with an explication of Jacques Lacan and Jean-Claude Milner’s understanding of the plague as an affront to the belief in the existence of an exception to finitude and contingency (the immortal Absolute in the form of God or the soul) and then combines this with David Farrell Krell’s elucidation of the effect on German idealism’s poets and philosophers of an awareness of this ailing or “tragic Absolute..” It then turns to Hölderlin’s translation of Oedipus Rex and later poems and fragments where the plague is obliquely referenced in order to show how what Wilhelm Scherer diagnosed as Hölderlin’s “spiritual epidemic”—his struggle, to the point of madness, with a universe in which the divine exception is a presentified absence—is the result of a recognition that, in Lacan’s provocative terms, “Christianity is an epidemic.”
Journal Article
‘Dancing in Chains’: Resolution in Sophocles’ Trimeters
Abstract
It now seems clear that Euripides’ motive in progressively admitting more
resolution in his iambic trimeters was to widen his vocabulary, but no such
development is detectable in his near contemporary, Sophocles. The object of
the following paper is to initiate examination into ways in which Sophocles
avoided resolution and initial substitution and what effect such avoidance
had on his vocabulary. For that purpose, I examine in particular verbs compounded
with disyllabic prepositions and the devices by which Sophocles still
contrived to use them.
Journal Article