DOCSLIB.ORG

T13016 Felihkatubbe.Pdf (1001.Kb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

STRUCTURE AND DECONSTRUCTION IN THE ELECTRA MYTH AND BEYOND A Thesis by Jason Myles Felihkatubbe Bachelor of Business Administration, Wichita State University, 2009 Bachelor of Arts, Wichita State University, 2007 Submitted to the Department of Liberal Studies and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Master of Arts May 2013 © Copyright 2013 by Jason Myles Felihkatubbe All Rights Reserved STRUCTURE AND DECONSTRUCTION IN THE ELECTRA MYTH AND BEYOND The following faculty members have examined the final copy of this thesis for form and content, and recommend that it be accepted in partial fulfillment of the requirement for the degree of Master of Arts with a major in Liberal Studies. Wilson Baldridge, Committee Chair David Soles, Committee Member Jens Kreinath, Committee Member iii “J’ai seul la clef de cette parade sauvage.” “Parade,” Illuminations and Other Poems, Arthur Rimbaud iv ACKNOWLEDGEMENTS Yakoke: Wilson Baldridge Dorothy Billings Janice Ewing Jens Kreinath Kimberly McDowell David Soles Without you all this work would not be possible. v ABSTRACT This research examines the ideas of myth and intertextuality. The Electra myth is utilized and various versions of the Electra myth are examined from different cultures through the world starting with the earliest known version of the Electra myth up to the 20th century before focusing on Jean-Paul Sartre’s telling of the Electra myth, The Flies. A structural analysis according to Lévi-Strauss is conducted on The Flies. A deconstruction according to Derrida is then performed not simply on the ideas presented by Sartre in The Flies, but on the entire idea of myth, itself. This deconstruction then leads to the idea that myth is nothing more than a metaphor, providing further evidence to Lévi-Strauss’ idea that all problems are linguistic ones. When viewed as existing within Derrida’s idea of espacement one finds that myth isn’t simply a metaphor, or the “beginning,” but there exists a co-constitution of both μύθος and λόγος. vi TABLE OF CONTENTS Chapter Page 1. INTRODUCTION……………………………………………………………………………………………………….……..1 2. THE IDEA OF MYTH…………………………………………………………..………………………………..………....6 2.1 Introduction to the Idea of Myth………………………………………………………………..……...6 2.2 Myth and Popular Usage…………………………………………………………………………………....6 2.3 Theories of Myth………………………………………………………………………………………….…....7 2.3.1. The Greeks and Myth………………………………………………………………………………8 2.3.2 The Beginning of Modern Thought on Myth……………………………………...…..9 2.3.3 Myths and Fiske………………………………………………………………………………..…...9 2.3.4 Malinowski and Myth………………………………………………………………………..…10 2.3.5 The 1950s-1980s- An Explosion of Myth……………………………………………….13 2.3.6 Myth in Recent Years……………………………………………………………………….……19 2.4 Claude Lévi-Strauss and Myth………………………………………………………………………..…20 2.4.1. Interpretations and Criticisms of Lévi-Strauss…………………………….……..…20 2.4.2 Lévi-Strauss: The Source…………………………………………………………….………...26 2.4.3 Lévi-Strauss: The Method…………………………………………………………….……….34 3. THE IDEA OF INTERTEXTUALITY…………………….………………..……………………………….............37 3.1 The Idea of Intertextuality………………………………………………………………………………..37 3.2 The Earliest Known Version of the Electra Myth……………………………………………...42 3.2.1 The Nostoi…………………………………………………………………………………………….43 3.2.2 The Odyssey………………………………………………………………………………………….43 3.2.3 The Oresteia-The Story..……………………………………………………………………….45 3.2.4 The Oresteia- Comment……………………………………………………………………….49 3.3 The Greeks: Euripides and Sophocles……………………………………………………………….50 3.3.1 Electra- Euripides- The Story..…………………………………………………………….…50 3.3.2 Electra- Euripides- Comment…………………………………………………………………54 3.3.3 Electra- Sophocles- The Story………………………………………………………………..54 3.3.4 Electra- Sophocles- Comment……………………………………………………………….57 3.4 The Americans: Ezra Pound and Rudd Fleming………………………………………..........57 3.4.1 Elektra- The Story………………………………………………………………………………….57 3.4.2 Elektra- Comment…………………………………………………………………………………59 3.5 The Latin Americans: Gabriela Mistral and Magaly Alabau……………………………….60 vii TABLE OF CONTENTS (continued) Chapter Page 3.5.1 Electra en la niebla- The Poem.................................................................60 3.5.2 Electra en la niebla- Comment……………………………………………………………..61 3.5.3 Clitemnestra- The Poem………………………………………………………………………..62 3.5.4 Clitemnestra- Comment………………………………………………………………………..63 3.5.5 Electra, Clytemnestra- The Poems……………………………………………………..64 3.5.6 Electra, Clytemnestra- Comment……………………………………………………….66 3.6 The French: Jean Giraudoux and Jean-Paul Sartre………………………………………….67 3.6.1 Electra- Giraudoux- The Story…………………………………………………………….67 3.6.2 Electra- Giraudoux- Comment……………………………………………………………70 3.6.3 The Flies- Sartre- The Story………………………………………………………….70 3.6.4 The Flies- Sartre- Comment…………………………………………………………75 4. MYTH AND INTERTEXTUALITY……………………………………………………………………………………76 4.1 Myth and Intertextuality: An Introduction………………………………………………….…76 4.2 The Flies, the Incest Taboo…………………………………………..………………………………..78 4.3 Structural Analysis of The Flies…….………………………………………………………………..79 5. SARTRE’S The Flies………..…………………………………………………………………………………………...85 5.1. Introduction…………………………………………………………………………………………………….85 5.2 The Beginning………………………………………………………………………………………………...86 5.3 Time…………………………………………….……………………………………………………………..….89 5.4 The Idea of Freedom in TheFlies……………………………………………………………………..92 5.5 Problems with the Idea of Freedom……………………………………………..………………..96 6. LA CLÉ SELON DERRIDA…………………………….……………………………………………………………….98 6.1 La Structure et Derrida………………………………………………………………………………....98 6.2 Freeplay and Structure……………………………………………………………………….………….99 6.3 Freeplay, Derrida, and Lévi-Strauss……………………………………………………………….100 6.4 The Missing Link…………………………………………………………………………………..……….101 6.5 Différance…………………………………………………………………………………………………….102 6.6 Espacement………………………………………………………………………………………………....103 6.7 Espacement and Myth…………………………………………………………………………………..104 6.8 Myth as Metaphor…………………………………………………………………………………….….107 viii TABLE OF CONTENTS (continued) Chapter Page 7. CONCLUSION…………………………………………………………………………………………………..……….110 7.1 λόγος ……………………………………………………………………………………………………………110 7.2 A Return to the Beginning……………………………………………..…………………………..…114 7.3 Rapprochement: A New “Theory” of Myth………………………………………………….117 BIBLIOGRAPHY……………………………………………………………………………………………………………...119 ix LIST OF TABLES Table Page 1. Oedipus Mythemes……………………………………………………………………………………………………35 2. Structural Analysis of The Flies………………………………………………………………………………….81 3. Electra Mythemes……………………………………………………………………………………………….…….83 x LIST OF FIGURES Figure Page 1. Hierarchal Pyramid of Culture………………………………………………………………………………..2, 115 2. Myth and Intertextuality at Work According to Lévi-Strauss and Kristeva……………….…..77 3. The Flies as Drama……………………………………………………………………………………………………….78 4. A Detailed Interpretation of Lévi-Strauss’ Work on Myth……………………………………………..87 5. Sartre’s Ideas of Time Applied to Lévi-Strauss’ Ideas of Myth………………………………………91 xi CHAPTER 1 INTRODUCTION If men have always been concerned with only one task-how to create a society fit to live in-the forces which inspired our distant ancestors are also present in us. Nothing is settled; everything can still be altered. What was done, but turned out wrong, can be done again. ‘The Golden Age, which blind superstition had placed behind [or ahead of] us, is in us.’ The brotherhood of man acquires a concrete meaning when it makes us see, in the poorest tribe, a confirmation of our own image and an experience, the lessons of which we can assimilate, along with so many others. We may even discover a pristine freshness in these lessons. Since we know that, for thousands of years, man has succeeded only in repeating himself, we will attain to that nobility of thought which consists in going back beyond all repetitions and taking as the starting-point of our reflections, the indefinable grandeur of man’s beginnings. Being human signifies, for each one of us, belonging to a class, a society, a country, a continent and a civilization (Lévi- Strauss 393). This quote comes from Lévi-Strauss’ Tristes Tropiques. When I read this quote, I see the works and ideas of Lévi-Strauss, Malinowski, Sartre, Hegel, Rousseau, and Derrida all at play. I have chosen to open the introduction with this quote by Lévi-Strauss because for me it so eloquently describes what this research and work is about: 1) Examining the work of “our distant ancestors” which is “present in us.” 2) Examining “our own images.” 1 3) Going back to the beginning, “…beyond all repetitions.” In this work I have chosen the subject of myth because myth is one of the building blocks of culture. To better understand this, I refer the reader to Maslow’s hierarchal pyramid. At the very top of the pyramid is “self-actualization” and every building block is nothing more than a step towards self-actualization. If one were to apply Maslow’s hierarchal pyramid to the subject of culture, then it would look something like this: Self- Actualization Freedom Science Written Word Culture Myth μύθος and λόγος Figure 1: Hierarchal Pyramid of Culture Figure 1 makes things much easier for the reader to see what it is that I am discussing. All things, as can be seen, are descended from myth, which in turn descends from μύθος and λόγος, or very simply language and thought, respectively. Any one point in time, a culture is at one of these levels, with the most “primitive” of cultures being towards the bottom and the most “advanced” at the top. Therefore to understand
Recommended publications
  • An Examination of the Correlation Between the Justification and Glorification of War in Charles Mee's Iphigenia

    An Examination of the Correlation Between the Justification and Glorification of War in Charles Mee's Iphigenia

    An Examination of the Correlation Between the Justification and Glorification of War in Charles Mee’s Iphigenia 2.0: A Director’s Approach Caroline Donica Table of Contents Chapter One: Charles Mee and the History Behind Iphigenia 2.0 4 Introduction 4 The Life and Works of Charles Mee 4 Just War 8 Production History and Reception 11 Survey of Literature 13 Conclusion 15 Chapter Two: Play Analysis 16 Introduction 16 Synopsis 16 Given Circumstances 24 Previous Action 26 Dialogue and Imagery 27 Character Analysis 29 Idea and Theme 34 Conclusion 36 Chapter Three: The Design Process 37 Introduction 37 Production Style 37 Director’s Approach 38 Choice of Stage 38 Collaboration with Designers 40 Set Design 44 Costumes 46 Makeup and Hair 50 Properties 52 Lighting 53 Sound 55 Conclusion 56 Chapter Four: The Rehearsal Process 57 Introduction 57 Auditions and Casting 57 Rehearsals and Acting Strategies 60 Technical and Dress Rehearsals 64 Performances 65 Conclusion 67 Chapter Five: Reflection 68 Introduction 68 Design 68 Staging and Timing 72 Acting 73 Self-Analysis 77 Conclusion 80 Appendices 82 A – Photos Featuring the Set Design 83 B – Photos Featuring the Costume Design 86 C – Photos Featuring the Lighting Design 92 D – Photos Featuring the Concept Images 98 Works Consulted 102 Donica 4 Chapter One Charles Mee and the History Behind Iphigenia 2.0 Introduction Charles Mee’s Iphigenia 2.0 is a significant work in recent theatre history. The play was widely recognized and repeatedly produced for its unique take on contemporary issues, popular culture, and current events set within a framework of ancient myths and historical literature.
  • De Novis Libris Iudicia ∵

    De Novis Libris Iudicia ∵

    mnemosyne 70 (2017) 347-358 brill.com/mnem De Novis Libris Iudicia ∵ Carrara, L. L’indovino Poliido. Roma, Edizioni di Storia e Letteratura, 2014. xxiv, 497 pp. Pr. €48.00. ISBN 9788863726688. In this book Laura Carrara (C.) offers an edition with introduction and com- mentary (including two appendices, an extensive bibliography and indexes) of three fragmentary plays by Aeschylus, Sophocles and Euripides, which focus on the story of a mythical descendant of Melampus, the prophet and sorcerer Polyidus of Corinth, and his dealings with the son of Minos, Glaucus, whose life he saved. These plays are the Cressae, Manteis and Polyidus respectively. In the introduction C. gives an extensive survey of the sources on Polyidus in earlier periods and in literary genres other than tragedy. He plays a sec- ondary part in several stories (as in Pi. O. 13.74-84, where he is helping Bellerophon to control Pegasus) and only in the Cretan story about Glaucus he is the main character. C. observes that in archaic literature we find no traces of this story, but even so regards it as likely that the tragic poets did not invent it (perhaps finding it in an archaic Melampodia). Starting from Il. 13.636-672, where Polyidus predicts the death of his son Euchenor, C. first discusses the various archaic sources in detail and then goes on to various later kinds of prose and poetry, offering a full diachronic picture of the evidence on Polyidus. In the next chapter C. discusses a 5th century kylix, which is the only evidence in visual art of the Cretan story and more or less contemporary with the tragic plays.
  • The Zodiac: Comparison of the Ancient Greek Mythology and the Popular Romanian Beliefs

    The Zodiac: Comparison of the Ancient Greek Mythology and the Popular Romanian Beliefs

    THE ZODIAC: COMPARISON OF THE ANCIENT GREEK MYTHOLOGY AND THE POPULAR ROMANIAN BELIEFS DOINA IONESCU *, FLORA ROVITHIS ** , ELENI ROVITHIS-LIVANIOU *** Abstract : This paper intends to draw a comparison between the ancient Greek Mythology and the Romanian folk beliefs for the Zodiac. So, after giving general information for the Zodiac, each one of the 12 zodiac signs is described. Besides, information is given for a few astronomical subjects of special interest, together with Romanian people believe and the description of Greek myths concerning them. Thus, after a thorough examination it is realized that: a) The Greek mythology offers an explanation for the consecration of each Zodiac sign, and even if this seems hyperbolic in almost most of the cases it was a solution for things not easily understood at that time; b) All these passed to the Romanians and influenced them a lot firstly by the ancient Greeks who had built colonies in the present Romania coasts as well as via commerce, and later via the Romans, and c) The Romanian beliefs for the Zodiac is also connected to their deep Orthodox religious character, with some references also to their history. Finally, a general discussion is made and some agricultural and navigator suggestions connected to Pleiades and Hyades are referred, too. Keywords : Zodiac, Greek, mythology, tradition, religion. PROLOGUE One of their first thoughts, or questions asked, by the primitive people had possibly to do with sky and stars because, when during the night it was very dark, all these lights above had certainly arose their interest. So, many ancient civilizations observed the stars as well as their movements in the sky.
  • Seagate Crystal Reports

    Seagate Crystal Reports

    GREEK VERSUS MODERN TRAGEDY IN ' EUGENE O’NEILL Maria do Perpétuo Socorro Rego e Reis Cosme Universidade Federal de Santa Catarina Pós - Graduação em Inglês e Literatura Correspondente Greek Versus Modern Tragedy in Eugene O’Neill Maria do Pérpetuo Socorro Rego Reis Cosme Tese submetida à Universidade Federal de Santa Catarina para a obtenção do Grau de Doutora em Letras opção Inglês e Literatura Correspondente. Florianópolis Esta tese foi julgada adequada e qjrovada em sua. forma. finaL pelo Programa de Pós- Gràduação em Inglês para obtenção do grau de Doutora em Letras Opção Inglês e Literatura-Correspondente Dra. Bárbara O Baptista Coordenadora Dra. Bamadete Pasold Orientadora Banca Examinadora Dra Bemadete PasoId(OrientaíWora) Dr. Donaldo Schüler ( examinador) Dr. Joséy^oberto O' Shea (examinador) Dra Patrícia Vaüghan (examinadora) Florianópolis, 30 de março de 1998 Dedico essa Tese com muita saudade ao meu querido pai: José Reis (In Memoriam)que durante a sua vida sempre sonhou com a minha obtenção do Grau de Doutora. Esta pesquisa também é dedicada com muito amor a : minha mãe Lauríta Reis pelo estímulo perene no decorrer do doutorado; meu esposo Antonio Cosme Neto pela força e coragem para que eu não desistisse do doutorado; meus filhos Márcio Elysio , Lysianne e principalmente o querido “editor “Erick Elysio por toda a compreensão e confiança na capacidade da mãe para terminar o “sofrido” doutorado; meus irmãos e parentes pela amizade e solidariedade ; todos os meus amigos e colegas de profissão que sempre confiaram na minha capacidade e pelo estimulo constante para eu continuar apesar de tudo. Acknowledgements I would like to thank Professor Dra.
  • Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell

    Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell

    STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind.
  • Aeschylus' Libation Bearers

    Aeschylus' Libation Bearers

    Libation Bearers By Aeschylus Translated by Jim Erdman Further Revised by Gregory Nagy At the tomb of Agamemnon. Orestes and Pylades enter. Orestes Hermes of the nether world, you who guard the powers [kratos] of the ancestors, prove yourself my savior [sōtēr] and ally, I entreat you, now that I have come to this land and returned from exile. On this mounded grave I cry out to my father to hearken, 5 to hear me... [There is a gap in the text.] [Look, I bring] a lock of hair to Inakhos1 in compensation for his care, and here, a second, in token of my grief [penthos]. For I was not present, father, to lament your death, nor did I stretch forth my hand to bear your corpse. 10 What is this I see? What is this throng of women that advances, marked by their sable cloaks? To what calamity should I set this down? Is it some new sorrow that befalls our house? Or am I right to suppose that for my father’s sake they bear 15 these libations to appease the powers below? It can only be for this cause: for indeed I think my own sister Electra is approaching, distinguished by her bitter grief [penthos]. Oh grant me, Zeus, to avenge my father’s death, and may you be my willing ally! 20 Pylades, let us stand apart, that I may know clearly what this band of suppliant women intends. They exit. Electra enters accompanied by women carrying libations. Chorus strophe 1 Sent forth from the palace I have come to convey libations to the sound of sharp blows of my hands.
  • ELECTRA by Sophocles Translated by R. C. Jebb CHARACTERS in THE

    ELECTRA by Sophocles Translated by R. C. Jebb CHARACTERS in THE

    ELECTRA by Sophocles translated by R. C. Jebb CHARACTERS IN THE PLAY ORESTES, son of Agamemnon and CLYTEMNESTRA ELECTRA } sister of ORESTES CHRYSOTHEMIS} " " " AN OLD MAN, formerly the PAEDAGOGUS or Attendant Of ORESTES CLYTEMNESTRA AEGISTHUS CHORUS OF WOMEN OF MYCENAE Mute Persons PYLADES, son of Strophius, King of Crisa, the friend Of ORESTES. A handmaid of CLYTEMNESTRA. Two attendants of ORESTES ELECTRA ELECTRA (SCENE:- At Mycenae, before the palace of the Pelopidae. It is morning and the new-risen sun is bright. The PAEDAGOGUS enters on the left of the spectators, accompanied by the two youths, ORESTES and PYLADES.) PAEDAGOGUS SON of him who led our hosts at Troy of old, son of Agamemnon!- now thou mayest behold with thine eyes all that thy soul hath desired so long. There is the ancient Argos of thy yearning,- that hallowed scene whence the gadfly drove the daughter of Inachus; and there, Orestes, is the Lycean Agora, named from the wolf-slaying god; there, on the left, Hera's famous temple; and in this place to which we have come, deem that thou seest Mycenae rich in gold, with the house of the Pelopidae there, so often stained with bloodshed; whence I carried thee of yore, from the slaying of thy father, as thy kinswoman, thy sister, charged me; and saved thee, and reared thee up to manhood, to be the avenger of thy murdered sire. Now, therefore, Orestes, and thou, best of friends, Pylades, our plans must be laid quickly; for lo, already the sun's bright ray is waking the songs of the birds into clearness, and the dark night of stars is spent.
  • Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus

    Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus

    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides.
  • Aristotle and Sophocles' Electra

    Aristotle and Sophocles' Electra

    ARISTOTLE AND SOPHOCLES' ELECTRA ]. C. Kamerbeek viro de Soplwcle optinu merito 1. The key element of Aristotle's Poetics is the idea that each product of 1roi710-Ls is the imitation1 of an action. This action is defined as an ordered arrangement (<TVv0€0-LS or o-vo,ao-ts) of actions/events. The requirements to be met by the course of action, in this sense, provide the primary criteria for determining the quality of the individual pieces. A good <TUO-TaO"LS (alias: µ.v0os, for lack of a better term usually translated as 'plot') is a whole, consisting of a beginning, a middle and an end. The internal structure of the action is described with the aid of the central concepts €lKos and avayKa'iov: the events which, together, constitute the plot have to show close coherence in the sense that each subsequent event necessarily, or at least with a large degree of pro­ bability, follows from the preceding events. The ideal action is an action in which coincidence does not play a major part: everything is as it is because, in the light of preceding events, 2 it could not or could hardly have been otherwise. Judged by these fundamental criteria, Sophocles' Electra is far from satisfactory. The action in the restricted sense is summarized by Orestes (verse 38 ff.) as follows: Orestes, Pylades and the Pedagogue have come to Argos to take revenge on Clytaemnestra and Aegisthus for the murder of Agamemnon - an act which Apollo advised them to undertake 'by stratagem'. For this purpose, th<;_ Pedagogue will enter the palace to reconnoitre the situation and to bring the news of Orestes' death.
  • Meet the Philosophers of Ancient Greece

    Meet the Philosophers of Ancient Greece

    Meet the Philosophers of Ancient Greece Everything You Always Wanted to Know About Ancient Greek Philosophy but didn’t Know Who to Ask Edited by Patricia F. O’Grady MEET THE PHILOSOPHERS OF ANCIENT GREECE Dedicated to the memory of Panagiotis, a humble man, who found pleasure when reading about the philosophers of Ancient Greece Meet the Philosophers of Ancient Greece Everything you always wanted to know about Ancient Greek philosophy but didn’t know who to ask Edited by PATRICIA F. O’GRADY Flinders University of South Australia © Patricia F. O’Grady 2005 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Patricia F. O’Grady has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identi.ed as the editor of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington Surrey, GU9 7PT VT 05401-4405 England USA Ashgate website: http://www.ashgate.com British Library Cataloguing in Publication Data Meet the philosophers of ancient Greece: everything you always wanted to know about ancient Greek philosophy but didn’t know who to ask 1. Philosophy, Ancient 2. Philosophers – Greece 3. Greece – Intellectual life – To 146 B.C. I. O’Grady, Patricia F. 180 Library of Congress Cataloging-in-Publication Data Meet the philosophers of ancient Greece: everything you always wanted to know about ancient Greek philosophy but didn’t know who to ask / Patricia F.
  • Electra 250.Pdf

    Electra 250.Pdf

    Electra 250™ Introduction Introduction: ® Thank you for purchasing the American DJ Electra 250.™ To optimize American DJ the performance of this product, please read these operating instruc- tions carefully to familiarize yourself with the basic operations of this unit. This new and improved unit includes a thermal shutoff that will automatically shut down the unit if it gets too hot, and automatically restart it after it has cooled down. It also comes with a bright 24v/250w bulb and a new high tech, light weight case design. The Electra 250™ is a multi-colored rotating moon flower effect. The unit comes with a three position mode switch that allows the unit to operate in two differ- ent sound-active modes or a static mode. Customer Support: American DJ® provides a toll free customer support line, to provide set up help and to answer any question should you encounter problems during your set up or initial operation. You may also visit us on the web at www.americandj.com for any comments or suggestions. Service Hours are Monday through Friday 9:00 a.m. to 6:00 p.m. Pacific Standard Time. Voice: (800) 322-6337 Fax: (323) 582-2610 E-mail: [email protected] To purchase parts online visit http://parts.americandj.com Warning! To prevent or reduce the risk of electrical shock or fire, do not expose this unit to rain or moisture. Caution! There are no user serviceable parts inside this unit. Do not attempt any repairs yourself, doing so will void your manufactures war- ranty. In the unlikely event your unit may require service please contact American DJ.
  • The Oresteia of Aeschylus

    The Oresteia of Aeschylus

    The Oresteia of Aeschylus The Libation Bearers Translated in verse by Robin Bond (2014) University of Canterbury, Christchurch, New Zealand The Oresteia of Aeschylus : The Libation Bearers by Robin Bond (Trans) is licensed under a Creative Commons Attribution 4.0 International License. Available at: http://hdl.handle.net/10092/10503 The Libation Bearers Dramatis Personae Orestes, son of Agamemnon and Clytemnestra Pylades, his friend Electra, his sister Chorus of foreign serving women A servant (doorkeeper) Clytemnestra, now wife of Aegisthus Cilissa the Nurse Aegisthus A follower of Aegisthus Various attendants (all silent) The Oresteia of Aeschylus : The Libation Bearers Page 2 Orestes Lord Hermes, guide to the dead and guardian of my father's realm be now my safeguard and companion in answer to my prayers. For I have come back home, returned to this land of mine Here at the mound of my father's tomb I speak aloud to him, that he may hear and mark my words... one lock of hair I dedicate to Inachus who reared me, and here a second lock to mark my grief... I was not here to grieve your fate in person, father, nor did I stretch out my hand to carry out your corpse. But what is this I see? What is this group of women 10 that hurries along all dressed in robes of black? What chance event should I imagine to have taken place? Or does some fresh disaster tyrannize the house? Perhaps these women bring my father gifts and offerings to pour for him as please the dead? That is the truth and nothing else; for there I do believe I see Electra.