This essay initially distinguishes Athenian democracy from what I call ‘hyphenated-democracies’, each of which adds a conceptual framework developed in early modern Europe to the language of democracy: representative-democracy, liberal-democracy, constitutional-democracy, republican-democracy. These hyphenated-democracies emphasize the restraints placed on the power of political authorities. In contrast, Athenian democracy with the people ruling over themselves rested on the fundamental principle of equality rather than the limitations placed on that rule. However, equality as the defining normative principle of democracy raises its own (...) problems, namely: How do we – of limited vision – identify who is equal, and what injustices attend the criteria used to establish who is equal? Consideration of several ancient tragedies illustrates how the Athenian playwrights explored these questions and how they identified the challenges faced by those who understand democracy as grounded on egalitarian principles. (shrink)

Westworld is a political show in the ancient Greek sense, involving everyone in a storyline that looks into the deepest social and ethical issues. This chapter explores the impact of ancient Greek literary forms and traditions to discuss both the aesthetics of the series and its specific concepts of suffering, time, and becoming. If Westworld is a tragedy it will offer people a catharsis, purging feelings of fear and pity. The catharsis in Westworld comes from (...) sympathizing with the hosts’ pain and seeing innocence and beauty in them in contrast to the own cold selfish race. In Westworld, people are introduced to a human race and to a robotic race. These two forces represent the modern conflict, shaping the modern myth, with all the questions we must face sooner or later about how people interact with what and who they create. (shrink)

In some cases discussed below, the present form of the Septuagint is not representative of how Ancient Greek Tragedies were received by the LXX translators, but of how Old Testament traditions in Greek form were received by the tragedians.

The paper deals globally with the history of human and social values from Homer and Hesiod to the end of the fifth century. Special emphasis is given on the moral and social concepts expressed in some fundamental texts of the three major tragic poets. The paper is particularly focused on the significant discrimination between the competitive values, such as wealth and noble origin, and the cooperative ones, expressed in the concepts of justice, wisdom, temperance, modesty, and nobility of character, as (...) well as the respect for the law and the human and political rights, which shaped the development of democracy. (shrink)

Intergenerational justice and democratic theory -- A narrative turn -- Archê, finitude, and community in Aristophanes -- Mothers, powerlessness, and intergenerational agency in Euripides -- Freedom, responsibility, and transgenerational orientation in Aeschylus -- Art, space, and possibilities for intergenerational justice in our time.

Greek tragedy is easily one of the most dynamic fields in Classics. In addition to its perennial appeal and popularity among diverse audiences, every few years its study is reinvented and redefined as scholars and students apply new theories and critical lenses, many of which stem from contemporary concerns. In the last 50 years, for example, a rich body of work began to explore the manifold intersections between Greek tragedy and Athenian ritual and social practices, in (...) line with rising interest in the social sciences. Over the past few decades scholars have slowly but steadily turned their gaze towards the performance and staging of tragedy and ancient Greek drama. To a large degree this interest has been fuelled by contemporary performance practice and experience, particularly as productions and adaptations of ancient plays have proliferated across the globe. Whereas the scholarship on the myriad ways in which Greek tragedy has been adapted and performed across the globe is itself a growing subfield deserving of its own profile, my focus here is on recent scholarly and creative work produced in the last ten years that illuminates Athenian performance practices. As I illustrate, we have come a long way since the seminal works of N.C. Hourmouziades (Production and Imagination in Euripides: Form and Function of the Scenic Space [1965]) and O. Taplin (The Stagecraft of Aeschylus: the Dramatic Use of Exits and Entrances in Greek Tragedy [1977]), who were among the first to draw attention to tragedy as a performed art. (shrink)

In this essay, I attempt to explore Dennis Schmidt’s pervasive claim throughout his work of a deep affinity between aesthetic experience and ethical life. In a discussion of what Schmidt calls the intensification of life, the essay shows how for Schmidt birth and death are moments that have a peculiar capacity to reveal what he calls the idiom of the ethical. At the end of the essay, I turn to Schmidt’s discussion of Greek tragedy as an exemplary site (...) for his unique sense of original ethics. (shrink)

In this illuminating work, Dennis J. Schmidt examines tragedy as one of the highest forms of human expression for both the ancients and the moderns.

This title tells the story of democracy through the perspective of tragic drama. It shows how the ancient tales of greatness and its loss point to the potential dangers of democracy then and now.

This book is a study of ancient views about 'moral luck'. It examines the fundamental ethical problem that many of the valued constituents of a well-lived life are vulnerable to factors outside a person's control, and asks how this affects our appraisal of persons and their lives. The Greeks made a profound contribution to these questions, yet neither the problems nor the Greek views of them have received the attention they deserve. This book thus recovers a central dimension (...) of Greek thought and addresses major issues in contemporary ethical theory. One of its most original aspects is its interrelated treatment of both literary and philosophical texts. The Fragility of Goodness has proven to be important reading for philosophers and classicists, and its non-technical style makes it accessible to any educated person interested in the difficult problems it tackles. This new edition features an entirely new preface by Martha Nussbaum. (shrink)

This historical survey of Greek literature from 700 BC to 550 AD concentrates on the principal authors and quotes many passages from their work in translation, to allow the reader to form his own impression of its quality, including Homer, Plato, Aristophanes, and Euripides. Attention is drawn both to the elements in Greek literature and attitudes to life which are unfamiliar to us, and to the elements which appeal most powerfully to succeeding generations. Although it is recognized that (...) this appeal lies above all in the most creative and inventive period, an account is given of the eight hundred years which followed, which saw the impact of earlier inspirations. Poetry, tragedy, comedy, history, science, philosophy, and oratory are all examined through the available literature. This new edition has been revised to take account of recent scholarship, such as the influence of oriental traditions of Greek literature, and includes several new translations and a thoroughly updated bibliography. (shrink)

This is a book about the religious life of the Greeks from the eighth century BC to the fifth century AD, looked at in the context of a variety of different cities and periods. Simon Price does not describe some abstract and self-contained system of religion or myths but examines local practices and ideas in the light of general Greek ideas, relating them for example, to gender roles and to cultural and political life (including Attic tragedy and the (...) trial of Socrates). He also lays emphasis on the reactions to Greek religions of ancient thinkers - Greek, Roman, Jewish and Christian. The evidence drawn on is of all kinds: literary texts, which are translated throughout; inscriptions, including an appendix of newly translated Greek inscriptions; and archaeology, which is highlighted in the numerous illustrations. (shrink)

Dans la seconde moitié du xxe siècle, l’étude de la mythologie grecque a connu, sous l’influence du structuralisme lévi-straussien, un profond renouvellement théorique et méthodologique, qui n’est cependant pas allé sans désillusions ni remises en question. La plus violente d’entre elles fut sans doute portée par l’ouvrage de Marcel Detienne, L’invention de la mythologie, publié en 1981. L’auteur y dénonçait les errances du structuralisme alors dominant, en insistant sur l’impossibilité de su...

Among modern scholars of ancient Greek it is almost universally accepted that the historical present is only used for events and not for states and activities. A survey of the extant complete tragedies shows that this view is untenable: there are passages where static verbs like κεῖμαι ‘lie’ and εὕδω ‘sleep’ are used in the historical present and where the historical present describes a state or activity which is extended in time. On the one hand this shows that (...) punctuality or decisiveness cannot be regarded as the basic function of the historical present; on the other it leads to new interpretations of a number of passages in Greek tragedy. (shrink)

An incisive exploration of the way Greek myths empower us to defeat tyranny. As tyrannical passions increasingly plague twenty-first-century politics, tales told in ancient Greek epics and tragedies provide a vital antidote. Democracy as a concept did not exist until the Greeks coined the term and tried the experiment, but the idea can be traced to stories that the ancient Greeks told and retold. From the eighth through the fifth centuries BCE, Homeric epics and Athenian tragedies (...) exposed the tyrannical potential of individuals and groups large and small. These stories identified abuses of power as self-defeating. They initiated and fostered a movement away from despotism and toward broader forms of political participation. Following her highly praised book Enraged: Why Violent Times Need Ancient Greek Myths, the classicist Emily Katz Anhalt retells tales from key ancient Greek texts and proceeds to interpret the important message they hold for us today. As she reveals, Homer's Iliad and Odyssey, Aeschylus's Oresteia, and Sophocles's Antigone encourage us—as they encouraged the ancient Greeks—to take responsibility for our own choices and their consequences. These stories emphasize the responsibilities that come with power (any power, whether derived from birth, wealth, personal talents, or numerical advantage), reminding us that the powerful and the powerless alike have obligations to each other. They assist us in restraining destructive passions and balancing tribal allegiances with civic responsibilities. They empower us to resist the tyrannical impulses not only of others but also in ourselves. In an era of political polarization, Embattled demonstrates that if we seek to eradicate tyranny in all its toxic forms, ancient Greek epics and tragedies can point the way. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Archive Feelings: A Theory of Greek Tragedy by Mario TelòSean LambertTelò, Mario. Archive Feelings: A Theory of Greek Tragedy. Ohio State University Press, 2020. 344pp.In Archive Feelings: A Theory of Greek Tragedy, Mario Telò takes aim at one of the most canonical (if also one of the most contested) features of Greek tragedy: its potential to deliver catharsis (12).1 Through (...) careful close readings of Greek tragedies informed by psychoanalytic theory and deconstruction, Telò makes a persuasive case that tragedy is anti-cathartic. “The Freudian take on catharsis is complicated, or even undercut,” he writes in the introduction, “by its own anti-cathartic latencies… We can accordingly look at tragedy as a form of dramatic poetry that finds its affective raison d’être… in these anti-cathartic feelings” (34).Telò states that the intent of Archive Feelings is mainly to intervene in the age-old debate, asking: “why do human beings enjoy tragedy?” (14). He suggests that the pleasure of tragedy is, in fact, a masochistic one: a denial of release or pleasure (such as would come from catharsis) that an audience or reader enjoys in its specifically joyless jouissance. At stake is “feeling material,” a “fantasy” of “merging into the impersonal, anorganic, universal matter of elemental life” (44) evoked in tragedy’s death-driven withdrawal from action. With this concept in mind, Telò goes beyond even his own ambitions for his project. More than merely intervening in debates about the pleasures of tragedy, he argues powerfully for the continuing relevance of Greek tragedy for critical theory today, particularly in light of the so-called “affective” and “material” turns in the humanities. Archive Feelings is thus a useful book for classicists conducting interdisciplinary and/or trans-historical research, but even more so for any scholar working within the constellation of psychoanalysis, deconstruction, queer theory, affect theory or critical race theory. Telò makes a persuasive case for tragedy as a lodestar within this firmament–a vital tool for thinking through problems within and across disciplines.In striking contradistinction to previous theorists of Greek tragedy, including Aristotle and Nietzsche, Telò locates the engine of Greek tragedy in the death drive. In so doing, he reads in ancient narratives a number of experiences such as “acceleration, hoarding, vertiginous suspension, [End Page 113] breathless looping, affective bulimia or binge-eating, serial cutting, trying to enter or fold in upon oneself, auto-immune inflammation” (14), and finds in “the orgasm as an unfinished, non-teleological pleasure,” a desire to return to a state of “inert matter” (13).2 Noting that the original meaning of the Greek word archê is “origin,” Telò connects this impulse to once again become “inert” with the desire to create archives. Thus, Telò sees Greek tragedies as both a model for projects of archival reconstruction as well as archival projects themselves: they are “anxious and debilitating” attempts to “re-create the past as it was” (13).3Telò’s study is divided into three parts: Archival Time, Archival Space, and Archival Endings, which attempt to “structurally reproduce the psychological temporalities of the archive” (49). In each of his five chapters, Telò elaborates the diverse narrative masochisms of Greek tragedy, exploring the various stakes and species of tragic anti-catharsis. In Chapter 1, Telò reads the “archive fever” of Sophocles’ Oedipus at Colonus against the “archive fatigue” of Euripides’ Phoenissae, finding in both of these plays—near the end of the epoch of ancient tragedy—an impulse toward “textual hoarding” (76) that both undermines the possibility of catharsis and “exhausts” (106) the possibilities of the genre (107). In both the “synchronic gathering of disparate fragments of experience” into the body of Oedipus before his death and the aesthetics of boredom, fatigue, and inertia that suffuse the Phoenissae, Telò locates a desire to store up, rather than purge, emotions such as pity and fear, in a flouting of the normal formula for catharsis (73).In Chapter 2, Telò looks at the figures of Heracles and Medea in their original myths and tragic incarnations, seeing in both the compulsion to recircle around scenes of their respective “primordial traumas” (145). In Euripides’s Medea, this move manifests in repeated references... (shrink)

This book examines Greek engagements with the past as articulations of memory formulated against the contingency of chance associated with temporality. Based on a phenomenological understanding of temporality, it identifies four memorializing strategies: continuity , regularity , development, and acceptance of chance. This framework serves in pursuing a twofold aim: to reconstruct the literary field of memory in fifth-century bce Greece; and to interpret Greek historiography as a memorializing mode. The key contention advanced by this approach is that (...) acts of memory entailed an “idea of history” that was articulated not only in historiography, but also in epinician poetry, elegy, tragedy, and oratory. The book offers a rich account of poetic conventions and contexts through which each of these genres counterbalanced contingency through the use of exemplary and traditional modes of memory. This fine analysis highlights the grip of the present on the past as a significant feature of both historiographical and nonhistoriographical genres.The essay argues that this work fills a disciplinary gap by extending the reflection on memory to a new period, Greek antiquity. The retrospective positioning of this period at the outset of Western historical thought brings Grethlein's investigation to the center of debates about memory, temporality, and the meaning history. In engaging with the book's argument, the essay suggests that historiographical memory emerged in Greece not as a first-order encounter with time, but as a second-order encounter with forgetting. This confrontation marked a certain separation of historiography from other memorializing genres. Whereas poetic and rhetorical memories were posited against contingency, historiography sought to retrieve those aspects of the past that may otherwise have been irretrievably lost and forgotten. In doing so, it formulated the historiographical imperative as a negation of forgetting that problematized the truth-value of memory and the very act of remembering the past. (shrink)

Originally published in 1991, this book focuses on the concept of virtue, and in particular on the virtue of wisdom or knowledge, as it is found in the epic poems of Homer, some tragedies of Sophocles, selected writings of Plato, Aristotle, and the Stoic and Epicurean philosophers. The key questions discussed are the nature of the virtues, their relation to each other, and the relation between the virtues and happiness or well-being. This book provides the background and interpretative framework to (...) make classical works on Ethics, such as Plato’s _Republic_ and Aristotle’s _Nicomachean Ethics_, accessible to readers with no training in the classics. (shrink)

From the curator of The New York Times's "The Stone," a provocative and timely exploration into tragedy--how it articulates conflicts and contradiction that we need to address in order to better understand the world we live in. We might think we are through with the past, but the past isn't through with us. Tragedy permits us to come face to face with what we do not know about ourselves but that which makes those selves who we are. Having (...) Been Born is a compelling examination of ancient Greek origins in the development and history of tragedy--a story that represents what we thought we knew about the poets, dramatists, and philosophers of ancient Greece--and shows them to us in an unfamiliar, unexpected, and original light. (shrink)

The Routledge Handbook of Women and Ancient Greek Philosophy is an essential reference source for cutting-edge scholarship on women, gender, and philosophy in Greek antiquity. The volume features original research that crosses disciplines, offering readers an accessible guide to new methods, new sources, and new questions in the study of ancient Greek philosophy and its multiple afterlives. Comprising 40 chapters from a diverse international group of experts, the Handbook considers questions about women and gender in (...) sources from Greek antiquity spanning the period from 7th c. BCE to 2nd c. BCE, and in receptions of Greek antiquity from the Roman Imperial period, through the European Renaissance to the current day. Chapters are organized into five major sections: I. Early Greek antiquity – including Sappho, Presocratic philosophy, Sophists, and Greek tragedy – 700s–400s BCE II. Classical Greek antiquity – including Aeschines, Plato, and Xenophon – 400s–300s BCE III. Late Classical Greek to Hellenistic antiquity – including Cyrenaics, Cynics, the Hippocratic corpus, and Aristotle – 300s–200s BCE IV. Late Greek antiquity to Roman Imperial period – including Pythagorean women, Stoics, Pyrrhonian Skeptics, and late Platonists – 200s BCE to 700s CE V. Later receptions – including Shakespeare, the European Renaissance, Anna Julia Cooper, W.E.B. DuBois, Jane Harrison, Sarah Kofman, and Toni Morrison The Routledge Handbook of Women and Ancient Greek Philosophy is a vital resource for students and scholars in philosophy, Classics, and gender studies who want to gain a deeper understanding of philosophy’s rich past and explore sources and questions beyond the traditional canon. The volume is a valuable resource, as well, for students and scholars from history, humanities, literature, political science, religious studies, rhetorical studies, theatre, and LGBTQ and sexuality studies. (shrink)

In postwar Western culture, the myth of Antigone has been the subject of noted literary, literary-critical, dramatic, philosophical, and philological treatments, not least due to the strong influence of one of the key plays of the twentieth century, Jean Anouilh’s Antigone. The rich discussion of the myth has often dealt with its most famous formulation, Sophocles’ Antigone, but has paid less attention to the broader ancient context; the epic sources (the Iliad, Odyssey, Thebaid, and Oedipodea); the other tragic versions (...) (Aeschylus’s Seven Against Thebes and his lost Eleusinians; Euripides’s Suppliants, Phoenician Women, and Antigone, of which only a few short fragments have been preserved); and the responses of late antiquity. This paper analyses the basic features of this nearly thousand-year-long ancient tradition and shows how they connect in surprising ways – sometimes even more directly than Sophoclean tragedy does – with the main issues in some unique contemporary traditions of its reception (especially the Slovenian, Polish and Argentine ones): the question of burying the wartime (or postwar) dead and the ideal of reconciliation. (shrink)

This is a major study of conceptions of selfhood and personality in Homer and Greek Tragedy and Philosophy. The focus is on the norms of personality in Greek psychology and ethics. Gill argues that the key to understanding Greek thought of this type is to counteract the subjective and individualistic aspects of our own thinking about the person. He defines an "objective-participant" conception of personality, symbolized by the idea of the person as an interlocutor in a (...) series of psychological and ethical dialogues. (shrink)

De nombreuses études ont été consacrées au vocabulaire psychologique et aux fonctions intellectuelles dans la littérature grecque et singulièrement au théâtre notamment depuis les travaux de Br. Snell jusqu’aux ouvrages de S. D. Sullivan. L’article ici proposé est à la fois modeste et précis : il analyse comment le théâtre tragique est un corpus privilégié pour saisir la manière dont l’intelligence peut se présenter de manière traditionnelle avec un sens concret lié à l’agir, mais également s’enrichir en s’écartant de ces (...) emplois, ou même apparaître plus abstraitement comme une réflexion sur le sens de l’action humaine, dans un drame où celle-ci est à la fois mise en scène et mise en question. L’étude ne porte pas seulement sur la distinction entre des sens traditionnels et des significations novatrices, mais sur les contextes dramatiques dans lesquelles ces notions sont employées, car ceux-ci peuvent contribuer à renouveler l’emploi d’un sens apparemment traditionnel (ainsi des contextes à valeur politique plus marquée chez Sophocle ou Euripide). De même, l’examen ne se limite pas à nous et noein : il prend en compte, d’une part les créations lexicales propres à un auteur pour mesurer leur éventuelle importance sur l’évolution de la notion (Eschyle), et d’autre part certains dérivés et composés — pour autant qu’ils font intervenir la notion d’intelligence — comme ἐννοεῖν, ἔννους, πρόνοια, ou comme l’antonyme ἄνοια : ces mots, verbes, noms ou adjectifs, permettent en effet de sérier des emplois liés à l’action pratique, mais où la notion d’intelligence revêt une portée essentielle, et qui sont parfois proches de ceux présents chez les historiens contemporains comme Hérodote ou Thucydide. L’analyse montre comment le théâtre tragique, dans sa forme dialogique elle-même, présente des situations conflictuelles où est questionné le sens même du nous selon les points de vue divers des personnages, ainsi que les réflexions des personnages ou du chœur sur ces conflits, en mettant en scène des prises de décision qui se traduisent ou non en actions. Le corpus tragique est ainsi un corpus important pour l’étude de l’évolution de la notion d’intelligence en Grèce antique avant Platon. (shrink)

McCoy examines how Greek epic, tragedy, and philosophy offer important insights into the nature of human vulnerability, especially how Greek thought extols the recognition and proper acceptance of vulnerability. Beginning with the literary works of Homer and Sophocles, she also expands her analysis to the philosophical works of Plato and Aristotle.

How were the Greeks of the sixth century BC able to invent philosophy and tragedy? In this book Richard Seaford argues that a large part of the answer can be found in another momentous development, the invention and rapid spread of coinage which produced the first ever thoroughly monetised society. By transforming social relations, monetisation contributed to the ideas of the universe as an impersonal system and of the individual alienated from his own kin and from the gods. Seaford (...) argues that an important precondition for this monetisation was the Greek practice of animal sacrifice, as represented in Homeric Epic, which describes a premonetary world on the point of producing money. This book combines social history, economic anthropology, numismatics and the close reading of literary, inscriptional, and philosophical texts. Questioning the origins and shaping force of Greek philosophy, this is a major book with wide appeal. (shrink)

In this work, published here as a single volume, the authors present a disturbing and decidedly non-classical reading of Greek tragedy that insists on its radical discontinuity with our own outlook and with our social, aesthetic, and psychological categories.

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedAndrianou, Dimitra. The Furniture and Furnishings of Ancient Greek Houses and Tombs. Cambridge: Cambridge University Press, 2009. xvi + 213 pp. 24 black-and-white figs. Cloth, $80.Andrisano, Angela Maria, and Paolo Fabbri, eds. La favola di Orfeo: Letteratura, immagine, performance. Ferrara: UnifePress, 2009. 255 pp. 41 black-and-white figs. Paper, €15.Bartsch, Shadi, and David Wray, eds. Seneca and the Self. Cambridge: Cambridge University Press, 2009. ix + 304 (...) pp. 1 black-and-white ill. Cloth, $99.Bers, Victor. Genos Dikanikon: Amateur and Professional Speech in the Courtrooms of Classical Athens. Hellenic Studies 33. Washington, D.C.: Center for Hellenic Studies, 2009. Dist. by Harvard University Press. ix + 159 pp. Paper, $15.95.Bowie, Ewen, and Jaś Elsner, eds. Philostratus. Greek Culture in the Roman World. Cambridge: Cambridge University Press, 2009. xii + 401 pp. 14 black-and-white ills. Cloth, $135.Bowlby, Rachel. Freudian Mythologies: Greek Tragedy and Modern Identities. Oxford: Oxford University Press, 2009. viii + 251 pp. Paper, $49.95.Calame, Claude. Poetic and Performative Memory in Ancient Greece: Heroic Reference and Ritual Gestures in Time and Space. Hellenic Studies 18. Washington, D.C.: Center for Hellenic Studies, 2009. Dist. by Harvard University Press. xii + 267 pp. 9 black-and-white figs. Paper, $19.95Collins, Paul. Assyrian Palace Sculptures. With photographs by Lisa Baylis and Sandra Marshall. Austin: University of Texas Press, 2009. 144 pp. Numerous color ills. Cloth, $45.Coltman, Viccy. Classical Sculpture and the Culture of Collecting in Britain Since 1870. Classical Presences. Oxford: Oxford University Press, 2009. xiv + 315 pp. 85 black-and-white figs., 32 color plates. Cloth, $99.Comoth, Katharina. Gott selbst und die Idee. Beiträge zur Philosophie. Heidelberg: Universitätsverlag Winter, 2009. 86 pp. 2 black-and-white ills. Paper, €10.Connelly, Joan Breton. Portrait of a Priestess: Women and Ritual in Ancient Greece. Princeton, N.J.: Princeton University Press, 2007. xv + 421 pp. Numerous black-and-white figs., 27 color plates, 3 maps. Paper, $35. [End Page 345]Eezzuduemhoi, James. I. A. A Fundamental Greek Course. Ed. Glenn Storey. Lanham, Md.: University Press of America, 2009. xxxv + 547 pp. Paper, $65.Erskine, Andrew, ed. A Companion to Ancient History. Blackwell Companions to the Ancient World. Malden, Mass.: Wiley-Blackwell, 2009. xxxvii + 693 pp. 27 black-and-white figs., 5 maps. Cloth, $199.95.Flower, Harriet I. Roman Republics. Princeton, N.J.: Princeton University Press, 2010. xv + 204 pp. Cloth, $29.95.Föllinger, Sabine. Aischylos: Meister der griechischen Tragödie. Munich: C. H. Beck, 2009. 224 pp. 5 black-and-white ills. Cloth, €24.90.Goldhill, Simon, and Edith Hall, eds. Sophocles and the Greek Tragic Tradition. Cambridge: Cambridge University Press, 2009. xvi + 336 pp. Cloth, $99.Grethlein, Jonas, and Antonios Rengakos, eds. Narratology and Interpretation. Trends in Classics 4. Berlin: Walter de Gruyter, 2009. vii + 630 pp. Cloth, €93.41.Haziza, Typhaine. Le Kaléidoscope hérodotéen: Images, imaginaire et représentations de l'Égypte à travers le livre II d'Hérodote. Études anciennes 142. Paris: Les Belles Lettres, 2009. 393 pp. 7 black-and-white figs. Paper, €45.Jouanna, Jacques, and Franco Montanari, eds. Eschyle: À l'aube du théâtre occidental. Entretiens Hardt 55. Geneva: Fondation Hardt, 2009. Dist. by Vandoeuvres. xi + 510 pp. Cloth: SFr 85.Johnson, Mark J. The Roman Imperial Mausoleum in Late Antiquity. Cambridge: Cambridge University Press, 2009. xviii + 296 pp. Numerous black-and-white figs., 16 color plates. Cloth, $95.Kronenberg, Leah. Allegories of Farming from Greece and Rome: Philosophical Satire in Xenophon, Varro, and Virgil. Cambridge: Cambridge University Press, 2009. xi + 223 pp. Cloth, $99.Loukopoulou, Louisa D., and Selene Psoma, eds. Thrakika Zetemata. Vol. 1. In collaboration with Athéna Iakovidou. Meletemata 58. Athens: Research Centre for Greek and Roman Antiquity of the National Hellenic Research Foundation, 2008. Dist. by Boccard. 175 pp. Numerous black-and-white figs. Paper, price not stated.Lowrie, Michèle, ed. Horace: Odes and Epodes. Oxford Readings in Classical Studies. Oxford: Oxford University Press, 2009. viii + 472 pp. Cloth, $199; paper, $75.Martin, Gunther. Divine Talk: Religious Argumentation in Demosthenes. Oxford Classical Mongraphs. Oxford: Oxford University Press, 2009. ix + 345 pp. Cloth, $125. [End Page 346]Mendoni, Lina G., and Sophia B... (shrink)

This paper argues that contemporary philosophy of mind and action could learn much from the structure of action explanation manifested in ancient Greek tragedy, which is less deterministic than typically supposed and which does not conflate the motivation of action with its causal production.

Jean Pierre-Vernant and Pierre Vidal-Naquet are leaders in a contemporary French classical scholarship that has produced a a stunning reconfiguration of Greek thought and literature. In this work, published here as a single volume, the authors present a disturbing and decidedly non-classical reading of Greek tragedy that insists on its radical discontinuity with our own outlook and with our social, aesthetic, and psychological categories. Originally published in French in two volumes, this new single-volume edition includes revised essays (...) from volume one and is the first English translation of both volumes.Pierre Vidal-Naquet is Director of Studies and Professor of Sociology at the Ecole Pratique des Hautes Etudes in Paris. Jean Pierre-Vernant is Professor Emeritus of Comparative Study of Ancient Religions at the Collège de France. Janet Lloyd is a translator and writer living in England. Distributed for Zone Books. (shrink)

Jean Pierre-Vernant and Pierre Vidal-Naquet are leaders in a contemporary French classical scholarship that has produced a a stunning reconfiguration of Greek thought and literature. In this work, published here as a single volume, the authors present a disturbing and decidedly non-classical reading of Greek tragedy that insists on its radical discontinuity with our own outlook and with our social, aesthetic, and psychological categories. Originally published in French in two volumes, this new single-volume edition includes revised essays (...) from volume one and is the first English translation of both volumes.Pierre Vidal-Naquet is Director of Studies and Professor of Sociology at the Ecole Pratique des Hautes Etudes in Paris. Jean Pierre-Vernant is Professor Emeritus of Comparative Study of Ancient Religions at the Collège de France. Janet Lloyd is a translator and writer living in England. Distributed for Zone Books. (shrink)

Hegel’s viewpoint on Greek tragedy is a valuable way-station in any theoretical as well as practical consideration of dramatic play. Hegel considered Greek tragedy from the perspective of his dialectical system, thereby indirectly influencing dramaturgical practice in the 19th and 20th centuries. This is why the paper explores Sophocle’s tragedy Oedipus Rex from the viewpoint of Hegel’s theoretical perspective, as well as practical perspectives based on an influential textbook on playwriting by Lajos Egri. The paper (...) further explores the different understandings of dialectics in philosophical and dramatic dialogue. Also, it addresses the kind of applied dialecticism in the work of Greek artists of the 5th century BC. Finally, the text explores the early Greek literary form gnome, which is – hypothetically speaking – the source of the later Greek understanding of dialectics. (shrink)

Tragedy plays a central role in Hegel's early writings on theology and politics. Hegel’s overarching aim in these texts is to determine the kind of mythology that would best complement religious and political freedom in modernity. Peter Wake claims that, for Hegel at this early stage, ancient Greek tragedy provided the model for such a mythology and suggested a way to oppose the rigid hierarchies and authoritarianism that characterized Europe of his day. Wake follows Hegel as (...) he develops his idea of the essence of Christianity and its relation to the distinctly tragic expression of beauty found in Greek mythology. (shrink)

SUMMARYThe essay identifies and explores the intellectual formation of a hitherto overlooked constellation of ‘anthropologists’ in Edwardian Cambridge. Three core members of this group were William Ridgeway, Hector Munro Chadwick, and William H. R. Rivers, who today are more normally associated with Classics, Anglo-Saxon studies, and Anthropology. However, in the decade before World War I all three were active members of the new Board of Anthropology, and each, in his particular field of study, began to turn away from established evolutionary (...) explanation to investigate social phenomena as arising out of the contact of different peoples. The essay first shows the connections between the work of Chadwick and Rivers, and then suggests that both were following a path recently beaten down by Ridgeway who, in his disputes with the so-called Cambridge Ritualists, advanced an account of ancient Greek tragedy as arising out of a fusion of native and intrusive performances, both relating to the commemoration of the dead. (shrink)

The field of study we call Classics is an ideological construction. It assumes that the Greece and Rome of antiquity belong to the modern West in some singular, privileged way, as our antiquity, their works our classics, and that these civilizations were largely self-invented. In this antiquity there are no diaspora, no hybrids, no minorities, often no women or slaves. Democratic, philosophical Athens is the antitype of a cosmopolis: hermetic, autochthonous, owing nothing to the civilizations of Africa, India, or the (...) Near East. But the classical lines of demarcation and exclusion have eroded under globalization. We are beginning to understand how antiquity was everywhere mixed and riven by difference. DuBois envisions a new classical studies, less insular, engaged with larger debates in the humanities. She brings a classical scholar’s expert knowledge on Alexander, Epimenides, Oedipus, Sparticus, and St. Paul to bear on questions in the work of Agamben, Badiou, Butler, Negri, and Rancière. She reads Sapho, and exposes the impulse of scholarship to efface the traces of the past, transfixed by an imaginary original. They might better study the forces of fragmentation and the genealogy of canons. She studies the politics and religion of dramatic tragedy in Athens, and finds resources to undermine a neoconservative account of the stability, superiority, and homogeneity of Western civilization. (shrink)

The object of this paper is partly to plead a cause, partly to proclaim a grievance. The last domain of ancient Greek life to attract the serious attention and study of modern scholars has been that of Greek Religion; and the exposition of it has revealed its many vital points of contact with the moral and spiritual energy and the artistic and poetic monuments of the ancient Hellenic race. An enthusiastic votary of this study might venture (...) to hope that some general acquaintance with its facts and ideas would henceforth be recognized as belonging to the general curriculum of Hellenic culture. But any one merely interested in the good workmanship of the classical commentary ought at least to insist that something more than a general acquaintance with this subject should be regarded by those who set themselves to edit certain portions of the Greek classics as an essential preliminary and as a necessary part of their scholarly equipment. The authors to whom this rule specially applies are Hesiod, Pindar and the Attic Dramatists. A satisfying commentary on Hesiod is still a desideratum; and for such an achievement a long apprenticeship in anthropology and religious studies would be a necessity. (shrink)

Machine generated contents note: Introduction; Part I. Theoretical Views about Pity and Fear as Aesthetic Emotions: 1. Drama and the emotions: an Indo-European connection? 2. Gorgias: a strange trio, the poetic emotions; 3. Plato: from reality to tragedy and back; 4. Aristotle: the first 'theorist' of the aesthetic emotions; Part II. Pity and Fear within Tragedies: 5. An introduction; 6. Aeschylus: Persians; 7. Prometheus Bound; 8. Sophocles: Ajax; 9. Euripides: Orestes; Appendix: catharsis and the emotions in the definition of (...) tragedy in the Poetics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Economy, Society, Tragedy: Moral Reflections in an Age of Crisis and Austerity LOUIS A. RUPRECHT JR. Precisely their tragedies prove that the Greeks were not pessimists... In this sense, I have the right to understand myself as the first tragic philosopher—that is to say, the most extreme antithesis and antipode of a pessimistic philosopher. —Nietzsche, Ecce Homo, “The Birth of Tragedy” Orgiastic religion leads most readily to (...) song and music; ritualistic religion inclines toward the pictorial arts; religions enjoining love favor the development of poetry and music. In all of this, the one important fact for us is the significance of the marked rejection of all distinctively aesthetic devices by those religions which are rational, in our special sense. —Max Weber, The Sociology of Religion tragedy and society The title of this review essay is taken from Max Weber’s posthumous magnum opus, Economy and Society,1 an ambitious and wide-ranging comparative sociological analysis of economic orders, social orders and the normative structures that both emerge from and lend meaning to the intersecting economic, political and religious spheres in which complex human arion 28.2 fall 2020 Kathryn A. Kozaitis, Indebted: An Ethnography of Despair and Resilience in Greece’s Second City (New York, NY: Oxford University Press, 2021), 248 pages. This book is the fifteenth in Oxford’s important series, “Issues of Globalization: Case Studies in Contemporary Anthropology,” edited by Carla Freeman and Li Zhang. 138 economy, society, tragedy societies take shape. To Weber’s grand and capacious sociological categories, economy and society, I have added a third literary and philosophical term: tragedy. Now, to be sure, Weber thought a great deal about tragedy,2 and was drawn to tragic themes in many of his most salient and influential sociological studies. One need think only of his account of the bureaucratic “routinization” of prophetic charisma in The Sociology of Religion,3 or his depiction of modern humanity’s self-imposed “iron cage” in the rousing final pages of The Protestant Ethic and the Spirit of Capitalism,4 a text to which I will return at the end of this essay.5 But tragedy entails far more than systemic collapse or self-inflicted disaster. In this essay, I want to explore some of the implications of combining close attention to the lived experience of concrete individuals to the highly theoretical, systems-level analysis inspired by such Weberian categories. Put another way, how may Cultural Anthropology, and more specifically Ethnography, deepen such a globally-oriented Sociology? Here, I intend to supplement Weber’s sociological dyad, economy and society, with a conception of tragedy drawn from the cognate social sciences of Comparative Religion and Cultural Anthropology; I will be using Attic Greek tragedy as a benchmark. More specifically, I wish to highlight some of the ways in which the first book-length ethnographic study of the Greek economic crisis may add vital nuance to Weber’s more theoretical, world-systems approach. That book is Kathryn Kozaitis’s Indebted: An Ethnography of Despair and Resilience in Greece’s Second City, an ethnographic study of the lived reality of Greeks experiencing the double -whammy of a sovereign debt crisis and externally imposed austerity regimes in the Greek city of Thessaloniki; the book is the fifteenth to appear inOxford’s “Issues of Globalization: Case Studies in Contemporary Anthropology” series, edited by Carla Freeman and Li Zhang. As Kozaitis demonstrates with sensitivity and eloquence, by zeroing in on the people, rather than the economic policies or the social and administrative structures, Louis A. Ruprecht Jr. 139 certain normative categories and ethical stances become more relevant, many of them implicated in ancient Greek tragedy, and drama more broadly. tragic crises appropriately to a work of cultural ethnography, Kozaitis links the personal to her profession; further still, she weaves her own personal story into the story of the people to whom she is attempting to give voice. This, she notes, constitutes “the auto-ethnography in this ethnography” (4–6). How, then, did this professor of Cultural Anthropology, based in the United States, find her way to Greece’s “second city”? The path was circuitous, and its destination unclear for quite some time. That Kozaitis’s personal... (shrink)

The ancient Greeks hard‑wired a tragic sensibility into their culture. By looking disaster squarely in the face, by understanding just how badly things could spiral out of control, they sought to create a communal sense of responsibility and courage—to spur citizens and their leaders to take the difficult actions necessary to avert such a fate. Today, after more than seventy years of great‑power peace and a quarter‑century of unrivaled global leadership, Americans have lost their sense of tragedy. They (...) have forgotten that the descent into violence and war has been all too common throughout human history. This amnesia has become most pronounced just as Americans and the global order they created are coming under graver threat than at any time in decades. In a forceful argument that brims with historical sensibility and policy insights, two distinguished historians argue that a tragic sensibility is necessary if America and its allies are to address the dangers that menace the international order today. Tragedy may be commonplace, Brands and Edel argue, but it is not inevitable—so long as we regain an appreciation of the world’s tragic nature before it is too late. (shrink)

According to True Detective's creator, Nic Pizzolatto, season two aimed at tragedy, taking inspiration from the archetypical tragedy Oedipus Rex to focus on characters confronting a knowledge that has ultimately fated their path. But, where Aristotle identified the necessity of including "incidents arousing pity and fear" to bring about tragedy's famous katharsis, season two speaks more to Friedrich Nietzsche's views on tragedy—specifically, his views of the ancient Greek dramatist Euripides. Where tragedy once focused (...) on only the "grand and bold traits" of the human condition, Nietzsche says, Euripides focused on the moral concerns of the masses. Against season two's backdrop of civic corruption—land‐grabs and pork‐barrels—the tragedy takes up a modern form of morality for the masses that creates a barrier to tragic wisdom: namely, feminist morality. Rust's philosophical outlook establishes the Apollonian function of tragedy by providing a filter through which to confront the "difficulties of the human condition" expressed in the mysteries of Carcosa. (shrink)

This is the first comprehensive study of Nietzsche's earliest (and extraordinary) book, The Birth of Tragedy (1872). When he wrote it, Nietzsche was a Greek scholar, a friend and champion of Wagner, and a philosopher in the making. His book has been very influential and widely read, but has always posed great difficulties for readers because of the particular way Nietzsche brings his ancient and modern interests together. The proper appreciation of such a work requires access to (...) ideas that cross the boundaries of conventional specialisms. This is now provided by M. S. Silk and J. P. Stern in their joint study of Nietzsche's book. They examine in detail its content, style and form; its strange genesis and hybrid status; its biographical background and the controversy engendered by its publication; its value as an account of ancient Greek culture and as a theory of tragedy and music; its relation to other theories of tragedy; and its place in the history of German ideas and in Nietzsche's own philosophical career. (shrink)