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Jasper Griffin's polemic, in this journal, against what he calls the ‘collectivist school’ of interpretation of Athenian tragedy is welcome, as it encourages clarification of fundamental differences. I do not have the space here to tackle him wherever I think he is wrong, still less construct an argument to the effect that Athenian tragedy was a ‘collective’ phenomenon. Rather I want to do two things. Firstly, the casual reader may have formed the impression that whereas the ‘collectivists’ operate with vague (...) No categories |
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Jasper Griffin's polemic, in this journal, against what he calls the ‘collectivist school’ of interpretation of Athenian tragedy is welcome, as it encourages clarification of fundamental differences. I do not have the space here to tackle him wherever I think he is wrong, still less construct an argument to the effect that Athenian tragedy was a ‘collective’ phenomenon. Rather I want to do two things. Firstly, the casual reader may have formed the impression that whereas the ‘collectivists’ operate with vague (...) |
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It is orthodox to state that tragedy encourages its audience to meditate on questions related to living in the polis with the resulting claim that it should promote self-examination among its citizen-spectators. The evidence that tragedy is political in some sense is incontrovertible. And yet, given what is sometimes seen on stage, it is worth exploring this orthodoxy a little and asking if there are limitations to it. In particular, what happens when the city of Athens itself is brought into (...) |
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Eurípides se distingue entre los autores de tragedia por la habilidad con que transforma los estereotipos mitológicos en seres con una identidad personal concreta. Son distintas las estrategias a las que recurre con este fin. Una de ellas consiste en presentarlos a través de otros mostrando a la vez su actuación y sus condicionantes psicológicos; otro recurso que utiliza es dejar entrever el???? de los personajes en los discursos que pronuncian, así como sus capacidades retóricas. Una tercera técnica es la (...) No categories |
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This paper argues that Aeschylus' Eumenides presents a coherent geography that, when associated with the play's judicial proceedings, forms the basis of an imperial ideology. The geography of Eumenides constitutes a form of mapping, and mapping is associated with imperial power. The significance of this mapping becomes clear when linked to fifth-century Athens' growing judicial imperialism. The creation of the court in Eumenides, in the view of most scholars, refers only to Ephialtes' reforms of 462 BC. But in the larger (...) |
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The paper offers a disjunctivist solution to the paradox of tragedy. The first part of the paper defends a version of disjunctivism as that doctrine is understood in the epistemology of perception, and contrasts it with its rival, conjunctivism. In the second part of the paper, it is argued that the traditional paradox of tragedy—the question why tragedy gives pleasure—can be solved by adopting a disjunctivist approach to the relevant felt emotions. The tragic audience does not really feel ‘sorrow, terror, (...) |
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Democracy and tragedy captured a delicate poise in ancient Athens. While many today perceive democracy as a finite, unquestionable and almost procedural form of governance that glorifies equality and liberty for their own sake, the Athenians saw it as so much more. Beyond the burgeoning equality and liberty, which were but fronts for a deeper goal, finitude, unimpeachability and procedural norms were constantly contradicted by boundlessness, subversion and disarray. In such a world, where certainty and immortality were luxuries beyond the (...) |
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Plato’s treatment of poetry is usually discussed without reference to other contemporary reception of Greek poetry, leading to divergent political or aesthetic accounts of its meaning. Yet the culture of the Greek polis, in particular Athens, is the defining context for understanding his aims. Four distinct points are made here, and cumulatively an interpretation of Plato’s opposition to poetry: on the basis of other evidence, including Aristophanes’ Frogs, that Plato would quite reasonably understand poetry to claim the craft of looking (...) |
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This article considers Sophocles’s Antigone as a potential resource for contemporary scholarship on democratic citizenship and the politics of public deliberation by exploring the play’s themes of speaking and listening. In so doing, it finds that the political implications of the play can be better understood with attention to the character of Haemon. Haemon endorses a conception of practical wisdom in which learning is achieved by speaking with and listening to others. A crucial step in Haemon’s education is his sympathetic (...) No categories |
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