Greek/ Mythology Group 2
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Surviving Antigone: Anouilh, Adaptation, and the Archive
SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh’s Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh’s Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh’s Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year. -
THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V). -
Llt 121 Classical Mythology Lecture 32 Good Morning
LLT 121 CLASSICAL MYTHOLOGY LECTURE 32 GOOD MORNING AND WELCOME TO LLT 121 CLASSICAL MYTHOLOGY IN WHICH WE RESUME OUR ADVENTURES IN THE CITY OF THEBES. THE CITY THAT THE GODS SEEM TO LOVE TO HATE. THE ORIGINAL FOUNDER TURNS INTO A SNAKE. WE'VE GOT THAT AT THEBES. A YOUNG MAN IS TURNED INTO A STAG FOR SEEING ARTEMIS BATHING IN THE NUDE. YES, WE HAVE THAT AT THEBES. THE SON KILLS THE FATHER. WE HAVE GOT THAT. WE DO THAT AT THEBES. THE SON MARRIES MOTHER. WE DO THAT TOO. BROTHER KILLS BROTHER, YEP. IF IT'S BAD AND IT HAPPENED IN ANCIENT GREEK MYTHOLOGY YOU CAN BET IT HAPPENED AT ANCIENT THEBES. I'VE ALREADY TOLD YOU WHY THAT IS. IT HAPPENS TO BE RIGHT NEXT DOOR TO ATHENS. WHERE I WANT TO START TODAY IS WITH ONE OF THE MOST FAMOUS CHARACTERS IN ALL WESTERN CIVILIZATION, ONE OF THE MOST COMPLEX PEOPLE YOU'LL EVER WANT TO MEET. THIS GUY IS BY THE NAME OF OEDIPUS. OEDIPUS STARTS OFF AS A LITTLE BABY. HE IS A CUTE LITTLE BABY. HE USED TO BE A LITTLE BOY. THEN HE WINDS UP AS THIS SAD, MULING, PUKING, UNHAPPY MAN WHO HAS POKED HIS OWN EYES OUT WITH A BROOCH. THIS IS THE GORE DRIPPING OUT OF HIS EYES AND ALL OF THAT BECAUSE HE SUFFERS FROM CLASSICAL GREEK MYTHOLOGY'S WORST DOCUMENTED CASE OF ARTIMONTHONO. NOW I GET IT. I PAUSE FOR YOUR QUESTIONS UP TO THIS POINT. WHEN LAST WE LEFT OFF LAIUS HAD BECOME KING AFTER A LONG WAIT WITH SOME INTERESTING MATHEMATICS BEHIND IT IF YOU'LL RECALL. -
A Psychoanalytic Study of Sophocles' Antigone Authors: Almansi, Renato, J
EBSCOhost http://web.ebscohost.com/ehost/delivery?sid=6f63c990-0c3e-4396-979b... Record: 1 Title: A Psychoanalytic Study of Sophocles' Antigone Authors: Almansi, Renato, J. Source: Psychoanalytic Quarterly, 1991; v. 60, p69, 17p ISSN: 00332828 Document Type: Article Language: English Abstract: This paper examines, in a detailed and comprehensive fashion, the unconscious motivations of the main protagonists of Sophocles' Antigone and the play's general structure as a psychoanalytically coherent whole. This examination helps to foster an understanding of the conceptual place of Antigone within the Oedipus Trilogy, its relationship to Oedipus Rex, and the complementary character of these two tragedies. Accession Number: PAQ.060.0069A Database: PEP Archive A Psychoanalytic Study of Sophocles' Antigone Renato J. Almansi, M.D.; 200 East 89th St., Apt. 41B New York, NY 10128 ABSTRACT This paper examines, in a detailed and comprehensive fashion, the unconscious motivations of the main protagonists of Sophocles' Antigone and the play's general structure as a psychoanalytically coherent whole. This examination helps to foster an understanding of the conceptual place of Antigone within the Oedipus Trilogy, its relationship to Oedipus Rex, and the complementary character of these two tragedies. Antigone was first produced in the year 442 B.C., the first of the three plays of the Oedipus Trilogy. Oedipus Rex was produced between 430 and 425 B.C., and Oedipus at Colonus posthumously in 401 B.C. As we shall see, this sequence may be psychologically significant. Since the very beginning, Antigone has been the object of great interest: it immediately made Sophocles famous, and throughout the ages it has caused an outpouring of comments and hypotheses stimulated by the multiplicity of political, social, and philosophical issues the play seems to raise and by its enigmatic quality. -
Sophocles' Antigone Reworked in the Twentieth
NEW VOICES IN CLASSICAL RECEPTION STUDIES Issue 12 (2018) SOPHOCLES’ ANTIGONE REWORKED IN THE TWENTIETH CENTURY: THE CASE OF HASENCLEVER’S ANTIGONE (1917) © Rossana Zetti (University of Edinburgh) INTRODUCTION AND CONTEXTUALIZATION This article examines a little-known example of Antigone’s reception in the twentieth century: the adaptation by the German expressionist writer Walter Hasenclever. This version is the first and arguably most innovative of several European adaptations of Sophocles’ play to appear in the first half of the twentieth century. Although successful at the time of its production, Hasenclever’s Antigone is scarcely read in contemporary scholarship and is discussed mainly in German-language scholarship.1 Whereas Flashar’s wide-ranging study, in German, refers to Hasenclever’s drama (Flashar 2009: 127– 29), in Fischer-Lichte’s 2017 book Tragedy’s Endurance, in English, Hasenclever appears only in one endnote (Fischer-Lichte 2017: 143). The only English translation of the play available (Ritchie and Stowell 1969: 113–60) is rather out of date and inaccessible. Hasenclever’s Antigone is briefly mentioned in Steiner’s essential reference book Antigones (Steiner 1984: 142; 146; 170; 218), in the chapter on Antigone in the recent Brill’s Companion to the Reception of Sophocles (Silva 2017: 406–7) and in Cairns’ 2016 book on Sophocles’ Antigone (Cairns 2016: 133). However, it is absent in some of the most recent contributions dedicated to the play’s modern reception, including Wilmer’s and Žukauskaitė’s edited collection on Antigone in postmodern thought (2010), Mee’s and Foley’s essays (2011) discussing adaptations of Antigone staged around the world, and Morais’, Hardwick’s and Silva’s recent volume (2017).2 The absence of Hasenclever from contemporary scholarship can be explained by the fact that his Antigone lacks the complexity of later adaptations, such as Anouilh’s and Brecht’s. -
Hercules Father the Immortal Zeus and His Mother Was Mortal Her Name Is Alcmene Went Through
Hercules ● Father the immortal Zeus and his mother was mortal her name is Alcmene ● Went through "Twelve Labours" to win immortality ● Went mad and killed his wife and kids causing him to lose his immortality and put through a series of punishments were his was assassinated ● This allusion is seen in Shakespeare's Hamlet where prince hamlet kills his father in law causing his soon to be wife to commit suicide Sources "Hercules." Allusions. N.p., n.d. Web. 08 Sept. 2015. "Heracles | Hercules." Heracles | Hercules. N.p., n.d. Web. 09 Sept. 2015. Antigone ● Daughter of Oedipus ● Sentenced to death by King Creon for going against him and burying her deceased brother Polyneicius ● Hung herself in a cave ● Her love Haemon King Creon's son committed suicide along her ● This allusion is seen in Shakespeare's Romeo and Juliet where they can't be together because of their family's conflicts which is what happens with her, Haemon and her can't share their love so they both prefer death. Sources "Antigone." Allusions. N.p., n.d. Web. 08 Sept. 2015. Britannica.com. N.p., n.d. Web. 9 Sept. 2015. Trojan War ● In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen from her husband Menelaus, king of Sparta. The war is one of the most important events in Greek mythology and has been narrated through many works of Greek literature, most notably through Homer's Iliad. The Iliad relates a part of the last year of the siege of Troy; the Odyssey describes the journey home of Odysseus, one of the war's heroes. -
©Copyright 2020 Anna E Simas
©Copyright 2020 Anna E Simas Killer Queen: Clytemnestra as Goddess, Heroine, and Monster Anna E Simas A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2020 Reading Committee: Ruby Blondell, Chair Olga Levaniouk Kathryn Topper Program Authorized to Offer Degree: Classics University of Washington Abstract Killer Queen: Clytemnestra as Goddess, Heroine, and Monster Anna E Simas Chair of the Supervisory Committee: Ruby Blondell Classics This dissertation examines the mythological figure of Clytemnestra across genre and time. From Homeric poetry through late Greek tragedy, this duplicitous husband-murderer reflects ancient Greek male anxieties about women. I argue that the conceptualization of Clytemnestra shifts over time and according to generic conventions, and that authors portray her as heroic, monstrous, or divine in order to advance their own agendas about the dangerousness of women to male society. We will see that there is no universal conception of Clytemnestra: while many authors treat her as an example of the threat of the feminine, others explore the complexities of her motives, even presenting relatively sympathetic discussions of her situation. Although she is never fully exculpated, her actions are often rationalized as a consequence of her mistreatment by Agamemnon. Such a topic naturally raises questions about structural misogyny in ancient Greece, but as we shall see, many modern scholars have reproduced this misogyny in scholarship on Clytemnestra. Thus, a major goal of this project is to identify and resist the sexism of such scholarship. This is the first comprehensive study of Clytemnestra across time and genre, and integrates both literary and visual sources with the goal of producing an anti-misogynistic, holistic portrait of this important cultural figure. -
Sophocles' Electra
Sophocles’ Electra Dramatic action and important elements in the play, scene-by-scene Setting: Mycenae/Argos Background: 15-20 years ago, Agamemnon (here named as grandson of Pelops) was killed by his wife and lover Aegisthus (also grandson of Pelops). As a boy, Orestes, was evacuated by his sister Electra and the ‘Old Slave’ to Phocis, to the kingdom of Strophius (Agamemnon’s guest-friend and father of Pylades). Electra stayed in Mycenae, preserving her father’s memory and harbouring extreme hatred for her mother Clytemnestra and her lover Aegisthus. She has a sister, Chrysothemis, who says that she accepts the situation. Prologue: 1- 85 (pp. 169-75) - Dawn at the palace of Atreus. Orestes, Pylades and the Old Slave arrive. Topography of wealthy Argos/Mycenae, and the bloody house of the Atreids. - The story of Orestes’ evacuation. ‘It is time to act!’ v. 22 - Apollo’s oracle at Delphi: Agamemnon was killed by deception; use deception (doloisi – cunning at p. 171 is a bit weak) to kill the murderers. - Orestes’ idea to send the Old Slave to the palace. Orestes and Pylades will arrive later with the urn containing the ‘ashes’ of Orestes. «Yes, often in the past I have known clever men dead in fiction but not dead; and then when they return home the honour they receive is all the greater» v. 62-4, p. 173 Orestes like Odysseus: return to house and riches - Electra is heard wailing. Old slave: “No time to lose”. Prologue: 86-120 (pp. 175-7) - Enter Electra, who addresses the light of day. -
Thebaid 2: Oedipus Descendants of Cadmus
Thebaid 2: Oedipus Descendants of Cadmus Cadmus = Harmonia Aristaeus = Autonoe Ino Semele Agave = Echion Pentheus Actaeon Polydorus (?) Autonoe = Aristaeus Actaeon Polydorus (?) • Aristaeus • Son of Apollo and Cyrene • Actaeon • While hunting he saw Artemis bathing • Artemis set his own hounds on him • Polydorus • Either brother or son of Autonoe • King of Cadmeia after Pentheus • Jean-Baptiste-Camile Corot ca. 1850 Giuseppe Cesari, ca. 1600 House of Cadmus Hyrieus Cadmus = Harmonia Dirce = Lycus Nycteus Autonoe = Aristaeus Zeus = Antiope Nycteis = Polydorus Zethus Amphion Labdacus Laius Tragedy of Antiope • Polydorus: • king of Thebes after Pentheus • m. Nycteis, sister of Antiope • Polydorus died before Labdacus was of age. • Labdacus • Child king after Polydorus • Regency of Nycteus, Lycus Thebes • Laius • Child king as well… second regency of Lycus • Zethus and Amphion • Sons of Antiope by Zeus • Jealousy of Dirce • Antiope imprisoned • Zethus and Amphion raised by shepherds Zethus and Amphion • Returned to Thebes: • Killed Lycus • Tied Dirce to a wild bull • Fortified the city • Renamed it Thebes • Zethus and his family died of illness Death of Dirce • The Farnese Bull • 2nd cent. BC • Asinius Pollio, owner • 1546: • Baths of Caracalla • Cardinal Farnese • Pope Paul III Farnese Bull Amphion • Taught the lyre by Hermes • First to establish an altar to Hermes • Married Niobe, daughter of Tantalus • They had six sons and six daughters • Boasted she was better than Leto • Apollo and Artemis slew every child • Amphion died of a broken heart Niobe Jacques Louis David, 1775 Cadmus = Harmonia Aristeus =Autonoe Ino Semele Agave = Echion Nycteis = Polydorus Pentheus Labdacus Menoecius Laius = Iocaste Creon Oedipus Laius • Laius and Iocaste • Childless, asked Delphi for advice: • “Lord of Thebes famous for horses, do not sow a furrow of children against the will of the gods; for if you beget a son, that child will kill you, [20] and all your house shall wade through blood.” (Euripides Phoenissae) • Accidentally, they had a son anyway. -
Iphigenia in Tauris. Translated by Anna Swanwick
rPT idZt> . 3 U.c HANDY LITERAL TRANSLATIONS. 90 VOLUMES " To one who is reading the Classics, a literal translation ts a con- ietit and legitimate help: .... and every -well-informed person itnU d th' Classics eithr.r in the original or in a translation.*' Caesar's Gallic War. The 7 Books Demosthenes' Olynthiacs, Philippics Caesar's Civil War Euripides' Alcestis, and hlectra Catullus Euripides'Bacchantes, Herc.Furens Cirero's Brutus Euripides' Hecuba, and Andromache Cicero's Defense of Roscius Euripides' I phig. In Aulis, In Tauris Cicero De Officiis Euripides' Medea Cicero On Old Age and Friendship Herodotus, Books VI and VII Cicero On Oratory Herodotus, Book VIII Cicero On the Nature of the Gads Homer's Iliad, tke 1st Six Bookt Cicero's Select Orations Homer's Odyssey, fst 12 Bookt Cicero's Select Letters. 2 rr>ts. Lucian's Select Dialogues, 2 volt. Cicero's Tusculan Disputations Lysias' Orations Cornelius Nepos, complete Plato's Apology, Crito, and Phaedo Eutropius Plato's Gorgias Horace, complete Plato's Inches (paper) Satires, eompUtt Plato's Protagoras, Euthyphroa tivenal'sivy. Books I and II Plato's Republic Uvy. Books XXI and XXII Sophocles' O7-d. Tyr. F.Iec., Antig O 'id's Metamorphoses, a voli. Thucydides, Books I-IV Phzdrjis' Fables Thucydides, Books V-VIII Plautus Captivi, and Mostelaria Xenophno's Anabasis, rst 4 Btokt Pbuius'Pseudolus; Miles Gloriosus Xenophon's Cyropaedia, 2 volumet Plant us'Trinummus.and Mensechmi Xenophon's Hqllenica, Symposium Pliny s Select Letters. 2 To/umes Xenophon's Memorabilia, compUt* Quintilian Books X and XII Roman Life in Lat. -
Sophocle's ANTIGONE Adapted by Lewis Galantiere from the Play By
Sophocle’s ANTIGONE Adapted by Lewis Galantiere From the play by Jean Anouilh Re-imagined for 5 Actors by Christopher Scott Dramatis Personae: Chorus/ Nurse Antigone Ismene/ Messenger Haemon/ The Guard Creon The Royal Palace in Thebes Chorus Well, here we are. These people that you see here are about to act out for you the story of Antigone. (He looks at Antigone,) That dark-haired girl sitting by herself, staring straight ahead, seeing nothing, is Antigone. She is thinking. She is thinking that the instant I finish telling you who's who and what's what in this play, she will burst forth as the dark, tense, serious girl, who is about to rise up and face the whole world alone—alone against the world and against Creon, her uncle, the King. Another thing that she is thinking is this: she is going to die. Antigone is young. She would much rather live than die. But there is no help for it. When you are on the side of the gods against the tyrant, of Man against the State, of purity against corruption—when, in short, your name is Antigone, there is only one part you can play; (Chorus turns and looks at her) and she will have to play hers through to the end. Mind you, Antigone doesn't know all these things about herself. I know them because it is my business to know them. That's what a Greek Chorus is for. All that she knows is that Creon won't allow her dead brother to be buried; and that despite Creon, she must bury him. -
Chapter 4 the Role of the Extended Family in Exacting Blood Revenge
1 Chapter 4 The Role of the Extended Family in Exacting Blood Revenge in Classical Athens1 Fiona McHardy University of Roehampton At the heart of Athenian conceptions of revenge is the image of Orestes, the dutiful son who avenges his father. For many, Orestes’ revenge is the archetypal act of revenge in which a close family member slaughters the man who killed his father (e.g., Burnett 1998: 113. See Homer Od. 3.196–8; Aristotle Rhet. 1401a38b1). The story is richly represented in extant tragedy, and the image was potent enough to form the backbone of a homicide prosecution written by Antiphon in which a young son depicts himself as Orestes avenging his father’s death by prosecuting his stepmother for homicide (see esp. 1.17; Apostolakis 2007). Much attention has also been paid to the character of Electra who plays a key role in egging on her brother to take revenge in tragic versions of the myth. In particular, it has been noted that she places the cause of her natal kin and the need for revenge for her father ahead of her own marriage (see e.g., Blundell 1989: Chapter 5; Burnett 1998: Chapters 4, 5 and 9; Foley 2001: Chapter 5; McHardy 2004: 108–10, 2008: 108–9). However less attention has been given to Pylades 1 I would like to thank Mike Edwards and Richard Seaford for their comments on drafts of this chapter. 2 who is shown as a steadfast supporter of Orestes helping him to achieve revenge in all the surviving tragic versions.