By Denise Eileen McCoskey
This assortment deals a colourful exploration of the bonds among sexual distinction and political constitution in Greek tragedy. In how the acts of violence and tortured kinship family are depicted within the paintings of all 3 significant Greek tragic playwrights—Aeschylus, Sophocles, and Euripides—the members make clear the workings and failings of the Greek polis, and discover the skill through which sexual distinction and the town take form relating to one another. the amount enhances and expands the efforts of present feminist interpretations of Antigone and the Oresteia through contemplating the meanings of tragedy for historic Athenian audiences whereas additionally unveiling the reverberations of Greek tragedy’s formulations and dilemmas in glossy political lifestyles and for modern political philosophy.
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Extra info for Bound by the City: Greek Tragedy, Sexual Difference, and the Formation of the Polis
1978. Are Euripides’ Phoinissai 1104–1140 interpolated? Phoenix 32: 105–28. ———. 1994. Euripides, Phoenissae, ed. with Introduction and Commentary. Cambridge: Cambridge University Press. McClure, Laura K. 1999. Spoken like a woman: Speech and gender in Athenian drama. Princeton, NJ: Princeton University Press. City, Farewell! 45 O’Connor-Visser, E. A. M. E. 1987. Aspects of human sacriﬁce in the tragedies of Euripides. Amsterdam: B. R. Grüner. Patzer, Harald. 1958. Die dramatische Handlung der Sieben gegen Theben.
40. See Mastronarde 1994, 28, with further references. 41. Even Haemon is unsuitable, because betrothed to Antigone, 944–45. Elsewhere in Euripides, the sacrifice of “Macaria” (the traditional name of the maiden in Children of Heracles) and that (probably voluntary also) of one of the daughters of the king in the fragmentary Erechtheus are both designed to save besieged cities. In Iphigenia at Aulis, the heroine transforms herself into a voluntary victim whose death will permit the Greek expedition to sail against Troy.
The Aeschylean story of a fated fall is thus transformed into a story of self-destruction through the passionate pursuit of selﬁsh ends—from the perspective of the brothers’ motives and actions, at any rate, for as the Chorus keeps reminding us, the history of Thebes is a seemingly endless and inexorable succession of horror in expiation of earlier horror. DRAMA AND HISTORY I have been focusing largely on dramaturgy and the different ways in which the plays we are examining conﬁgure the personal and the political, the demands of kinship and the needs of the city, and the conventional roles of men and women in Athenian society and their distortion in the extreme situations of tragic legend.