Euripides and the Poetics of Sorrow: Art, Gender, and Commemoration in <i>Alcestis, Hippolytus</i>, and <i>Hecuba</i>
Duke University Press, 19.10.1993 - 313 Seiten
Where is the pleasure in tragedy? This question, how suffering and sorrow become the stuff of aesthetic delight, is at the center of Charles Segal's new book, which collects and expands his recent explorations of Euripides' art.
Alcestis, Hippolytus, and Hecuba, the three early plays interpreted here, are linked by common themes of violence, death, lamentation and mourning, and by their implicit definitions of male and female roles. Segal shows how these plays draw on ancient traditions of poetic and ritual commemoration, particularly epic song, and at the same time refashion these traditions into new forms. In place of the epic muse of martial glory, Euripides, Segal argues, evokes a muse of sorrows who transforms the suffering of individuals into a "common grief for all the citizens," a community of shared feeling in the theater.
Like his predecessors in tragedy, Euripides believes death, more than any other event, exposes the deepest truth of human nature. Segal examines the revealing final moments in Alcestis, Hippolytus, and Hecuba, and discusses the playwright's use of these deaths--especially those of women--to question traditional values and the familiar definitions of male heroism. Focusing on gender, the affective dimension of tragedy, and ritual mourning and commemoration, Segal develops and extends his earlier work on Greek drama. The result deepens our understanding of Euripides' art and of tragedy itself.
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Euripides Muse of Sorrows and the Artifice of Tragic Pleasure
Cold Delight Art Death and the Transgression of Genre
Female Death and Male Tears
Admetus Divided House Spatial Dichotomies and Gender Roles
Language Signs and Gender
Theater Ritual and Commemoration
Confusion and Concealment Vision Hope and Tragic Knowledge
Golden Armor and Servile Robes Heroism and Metamorphosis
Andere Ausgaben - Alle anzeigen
Achilles action Admetus Aeschylus Agamemnon Alcestis appears Artemis associated audience barbarian becomes beginning body brings calls chapter chorus civic closing commemoration concealment concern contrast course dead death desire discussion divine effect emotional especially Euripides example experience expression eyes fact father female figure gender gives gods Greek Greek tragedy grief hand hearing Hecuba Heracles hidden Hippolytus human justice king lament language later lines look male marriage meaning moral motif mourning murderous myth nature Notes Odysseus passage Phaedra physical play pleasure Poetics of Sorrow Polymestor Polyxena present question realm relation reveals revenge ritual role says scene seems Segal sexual shows social song Sophocles space speaking speech stage statue suffering suggests takes tears Theseus tion traditional tragedy tragic Trojan universal values violence weeping woman women
Seite 7 - Horatio, what a wounded name, Things standing thus unknown, shall live behind me ? If thou didst ever hold me in thy heart, Absent thee from felicity a while, And in this harsh world draw thy breath in pain. To tell my story.
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