Aeschylus Seven Against Thebes
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The Dream Narrative As a Mode of Female Discourse in Epic Poetry
Transactions of the American Philological Association 140 (2010) 195–238 Incohat Ismene: The Dream Narrative as a Mode of Female Discourse in Epic Poetry* emma scioli University of Kansas summary: This article examines Ismene’s nightmare in book 8 of Statius’s Thebaid by contextualizing it within the epic’s narrative, comparing it with the dream narrations of other female characters in epic poetry, and aligning it with other typically female modes of subjective expression in epic, such as weaving, teichoscopy, and lamentation. My analysis shows that by exposing the diffi- culties inherent in retelling a dream, Statius demonstrates sympathy with the female perspective on the horrific war that constitutes the central action of his poem and foreshadows the subsequent inadequacy of words in reaction to such horror. i. introduction: ismene begins ismene, daughter of oedipus, is a character who has virtually no presence in the narrative of Statius’s Thebaid either before or after the small section devoted to the retelling of her dream and its aftermath (8.607–54); for this reason, the intricacy and allusiveness of this passage are all the more striking. In this scene, Ismene recounts to her sister Antigone a dream she has had, in which her wedding to her fiancé Atys is violently interrupted by a fire. After questioning the dream’s origin, Ismene discounts its meaning as incongruous with her understanding of her own waking reality and resumes * Shorter versions of this paper were delivered at the University of Rome, Tor Vergata, in 2004 and the 2005 APA meeting in Boston. I would like to thank audience members at both venues for useful feedback. -
Female Familial Relationships in Valerius' Argonautica and Statius
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2021 Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid Sophia Warnement Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Classical Literature and Philology Commons Recommended Citation Warnement, Sophia, "Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid" (2021). Undergraduate Honors Theses. Paper 1619. https://scholarworks.wm.edu/honorstheses/1619 This Honors Thesis -- Open Access is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Department of Classical Studies from The College of William and Mary by Sophia Irene Warnement Accepted for ______Honors___________________________ (Honors, Highest Honors) __Vassiliki Panoussi___________________ Vassiliki Panoussi, Director __Molly Swetnam-Burland____________ Molly Swetnam-Burland __Jennifer Gülly___ ____________________ Jennifer Gülly Williamsburg, VA May 07, 2021 Table of Contents ACKNOWLEDGMENTS .......................................................................................................................................... -
Jocasta and the Sin of Thebes Bernadette Waterman Ward
Jocasta and the Sin of Thebes Bernadette Waterman Ward ABSTRACT: The tragic victim of Oedipus the King is not Oedipus, who after his sufferings shall be raised to divinity; it is his mother Jocasta. She attempted the death by her torture of her own son. When she discovers that he has survived and is her husband, she seeks even to continue her mother-son incest so as to conceal her misdeeds. Cowardly silence among the citizens of doomed Thebes seals their collusion in evil. An examina- tion of the culture of the fatal city can bring the play more vitally into the world that our students actually inhabit, and serve as a warning against the moral collapse that encourages the killing of children. EDIPUS THE KING, the most famous drama of Sophocles, invites many approaches in the classroom. One can delve into such Oquestions as the proper limits of human knowledge, the relation of fate and freewill, responsibility for inadvertent crime, the proper understanding of piety and the power of the gods, and the relation of kingship and self-sacrifice. One can address hubris – pride, overreaching – and hamartia – the mistake or tragic flaw. One can trace dramatic irony in the images of vision and deliberate blindness, or perhaps, with Freud leering in the background, contemplate sexual taboos. Many scholars investigate the guilt of Oedipus, but rarely does the focus shift from the polluted scapegoat to the deep corruption in the scapegoating city of Thebes. The Thebans cast out Oedipus as impure, but in fact they cause their own destruction. By considering the fate of the city, rather than that of Oedipus, our students can make this play vital in the world that we actually inhabit. -
Antigone's Line
Bulletin de la Société Américaine de Philosophie de Langue Française Volume 14, Number 2, Fall 2005 Antigone’s Line Mary Beth Mader “Leader: What is your lineage, stranger? Tell us—who was your father? Oedipus: God help me! Dear girl, what must I suffer now? Antigone: Say it. You’re driven right to the edge.”1 Sophocles’ Antigone has solicited many superlatives. Hölderlin considered the play to be the most difficult, the most enigmatic and the most essentially Greek of plays. This paper treats a matter of enigma in the play, one that is crucial to understanding the central stakes of the drama. Its main purpose is to propose a novel account of this enigma and briefly to contrast this account with two other readings of the play. One passage in particular has prompted the view that the play is extremely enigmatic; it is a passage that has been read with astonishment by many commentators and taken to demand explanation. This is Antigone’s defense speech at lines 905-914. Here, she famously provides what appear to her to be reasons for her burying her brother Polynices against the explicit command of her king and uncle, Creon. Her claim is that she would not have deliberately violated Creon’s command, would not have ANTIGONE’S LINE intentionally broken his law or edict, had this edict barred her from burying a child or a husband of hers. She states that if her husband or child had died “there might have been another.” But since both her mother and father are dead, she reasons, “no brother could ever spring to light again.”2 Reasoning of this sort has a precedent in a tale found in Herodotus’ Histories, and Aristotle cites it in Rhetoric as an example of giving an explanation for something that one’s auditors may at first find incredible.3 To Aristotle, then, Antigone’s defense speech appears to have been “rhetorically satisfactory,” as Bernard Knox says.4 However, such a reception is rare among commentators.5 1. -
Antigone Introductory Lecture Notes Greek Drama and the Elements of Tragedy
Antigone Introductory Lecture Notes Greek Drama and the Elements of Tragedy Understanding Greek Theatre I. The Festival of Dionysus Dionysus - Festival of Dionysus - II. Conventions of Greek Drama Actors - Chorus - o Functions Costuming Scenery and Action Composition and Structure o Composition . o Structure . Prologue - . Parados - III. Tragedy Tragedy: Aristotle o Aristotle’s Unity of Time, Place, and Action . Time: . Place: . Action: o Action of the play arouses extreme pity and fear in the audience – pity for the protagonist and a sympathetic fear. (Tragedy cont.) o Purpose of tragedy: o Catharsis - Tragic Hero o Hamartia: o Paripateia: The Fall Revelation IV. Sophocles and the Oedipus Myth Sophocles Notes on Greek Burial Traditions: The Oedipus Myth o King Laius rules Thebes with his queen, Jocasta. An oracle prophesies that his son will grow to kill him, so Laius pierces his infant son’s ankles and feet and orders Jocasta to kill him. She cannot, so she sends a servant to do it, who leaves him for dead in the mountains. o The infant is found by a servant of the King of Corinth and is then raised by the King and Queen of Corinth, who name him Oedipus (meaning “swollen foot”). o When Oedipus is a young man, an oracle tells him that he will kill his father and marry his mother so, to try to escape his fate, he flees Corinth. Along the road, he gets into an argument with a stranger and kills him. That stranger is Laius. Part 1 of the prophecy is fulfilled. o Oedipus reaches Thebes, where a sphinx is plaguing the city, but will stop if someone answers a riddle. -
Languages of Mourning: Between Page and (Modern) Stage
Philosophy Study, ISSN 2159-5313 June 2014, Vol. 4, No. 6, 416-422 D DAVID PUBLISHING Languages of Mourning: Between Page and (Modern) Stage Justyna Biernat Jagiellonian University The aim of this essay is to provide an analysis of the Euripides’ “Phoenician Women” in terms of mourning. The author intends to set a parallel between the ancient tragedy and its modern adaptation staged by one of the most prominent Polish directors Krzysztof Warlikowski. In the essay, the author will discuss how suffering is depicted in the ancient drama and what changes of mourning motif are introduced into its modern performance. The author will examine the literary as well as the (modern) theatrical topos of grief by analyzing the poetics of tragedy (dramatic structure, metaphors of death, dramatis personae, funeral vocabularium, function of laments) and the poetics of performance (stage design, costumes and props, funerary symbolism, acting, directing solutions). The purpose of the paper is to argue against the insignificance of Euripides’ drama and the marginalization of Warlikowski’s “Phoenician Women.” Finally, the author will attempt to indicate the mourning motif as one of the essential and attractive for the ancient tragic plot and the modern performance as well. Keywords: Euripides, Krzysztof Warlikowski, Greek tragedy, mourning 1. Introduction In one of the central scenes of the Euripides’ “Phoenician Women,” the future king of Thebes Creon enters to expose and mourn the death of his younger son. He begins his lament with the characteristic, mourning question: Ah, ah, what shall I do? Shall I weep and groan for myself or my city1 and continues his weeping for the heroic self-sacrifice of Menoeceus and the ongoing war on the tainted Theban land. -
Antigona Van Tommaso Traetta Wo 2, Do 3 April 2003 Om Dramaturgische Redenen Zijn in De Partituur Enige Coupures Aangebracht
Muziektheater Transparant Antigona van Tommaso Traetta wo 2, do 3 april 2003 Om dramaturgische redenen zijn in de partituur enige coupures aangebracht. redactie programmaboekje deSingel en Janine Brogt druk Tegendruk duur van de voorstelling: deel 1 1 uur pauze 25 minuten deel 2 1 uur spreektaal Italiaans . boventiteling Nederlands bediening boventiteling Bart Boone gelieve uw GSM uit te schakelen! Muziektheater Transparant Antigona van Tommaso Traetta dirigent Paul Dombrecht assistent-dirigent Ewald Demeyere regie Gerardjan Rijnders regieassistent en voorstellingsleider Remi Beelprez muzikale uitvoering orkest Il Fondamento repetente Noémi Biro koor La Sfera del Canto verantwoordelijke dramaturgie Janine Brogt licht- en standenplan Tom Verheijen decor Paul Gallis verantwoordelijke belichting Luc De Vreese kostuums Rien Bekkers productieleiding Veerle Francke licht Reinier Tweebeeke technische leiding Roel Ghesquière beweging Bambi Uden lichttechnici Koen Ghesquière, Dag Jennes podiumtechnici Anton Devilder, Koen Ghesquière, rolverdeling Maarten Streefland Antigona, prinses van Thebe Raffaella Milanesi rigging Jan Hooyberghs Ismene, haar zuster Giorgia Milanesi coördinatie orkest en koor Philippe Severyns Creonte, haar oom Markus Brutscher vertaling libretto Janine Brogt Emone, Creonte’s zoon Maartje de Lint assistentie dramaturgie Bart Boone Adrasto, een Thebaans edelman David-Erich Fankhauser kleedsters Viviane Coubergs, Reintje Daens orkest kap en grime Sylvia Hiel, Leen Samyn viool Dirk Van Daele, Marianne Herssens, Maia Silberstein, -
The Story of Oedipus: Prequel to Antigone
The Story of Oedipus: Prequel to Antigone • LAIUS is left an orphaned minor by his father Labdacus • AMPHION AND ZETHUS rule Thebes (Build the Cadmeia) and exile Laius • Laius goes to live in Elis (PISA) with King Pelops (son of Tantalus son of Zeus) • Laius becomes very good friends with young Chrysippus, youngest child of King Pelops • Laius and Chrysippus run away together (or Laius rapes Chrysippus). Pelops curses Laius. • Laius returns to Thebes and becomes King • Laius marries his cousin Jocasta, but they are childless • Laius goes to Delphi and intends to ask Apollo's advice; Apollo announces that Laius will have a child who will kill him • Laius and Jocasta have a baby son (Oedipus) whom they plan to kill. The royal shepherd is ordered to dispose of the child on Mt. Cithaeron. Instead he gives Oedipus to the royal Corinthian shepherd. • The Royal Corinthian Shepherd takes the child back to the childless king and queen of Corinth (Polybus and Merope), who adopt him. • At about the age of 18, at a dinner party, one of Oedipus' friends makes a rude remark about his not being a real Corinthian but only adopted. Oedipus is shocked and shamed, and goes off to Delphi to ask Apollo about the truth. • Apollo tells Oedipus he is doomed to kill his father and sleep with his mother. • Oedipus unknowingly kills his father Laius (within hours, at The Three Ways) • Oedipus kills the SPHINX on the way from the Three Ways to Thebes • Oedipus is received at Thebes as a national hero, and invited to marry the recently widowed queen Jocasta. -
The Classification of Rural Settlements in Gjirokastra Region
E-ISSN 2281-4612 Academic Journal of Interdisciplinary Studies Vol 5 No 3 S1 ISSN 2281-3993 MCSER Publishing, Rome-Italy December 2016 The Classification of Rural Settlements in Gjirokastra Region Assoc. Prof. Albina Sinani Department of Geography, Faculty of Education and Social Sciences, “Eqrem Çabej” University Gjirokaster 6001, Albania; *[email protected] Doi:10.5901/ajis.2016.v5n3s1p24 Abstract The network of residential areas in the region of Gjirokastra has changed depending of a complex factors. This has affected to the utilization rate of the region's rural territories. Considering the economic orientation of rural settlements by relief factor, we look that in settlements that lie in the landscape field, dominates this main branch of the economy: agriculture, livestock, processing of agricultural and livestock products and trade. In settlements that lie in low relief and high montane prevail livestock and orchards, while in the mountainous terrain of petty farming prevails (in villages of municipalities Picar, Cepo, Pogon and Frashër). To achieve this classification serves the real estate registry, which contains books of plots, with surfaces by categories (arable land, orchard, vineyards, forests, pastures, unproductive land). Until 1990, social-economic factor determining in order to limit the application of the regulatory policies of rural settlements. The old system aimed the limiting of the occupation of agricultural land and increasing population density in the rural area. After 1990 have not been implemented proper policies for the development of rural areas. Gjirokastra region rural areas have outstanding value to the organization as space and landscape, as well as the architecture and internal organization of housing and other buildings, infrastructure etc. -
Excerpt Terms and Conditions
Excerpt terms and conditions This excerpt is available to assist you in the play selection process. You may view, print and download any of our excerpts for perusal purposes. Excerpts are not intended for performance, classroom or other academic use. In any of these cases you will need to purchase playbooks via our website or by phone, fax or mail. A short excerpt is not always indicative of the entire work, and we strongly suggest reading the whole play before planning a production or ordering a cast quantity. Jocasta Comedy/Tragedy by Sandra Perlman © Dramatic Publishing Company “Engages both the heart and the mind. … There are times when laughter and sadness are in close juxtaposition.” —The Monterey Herald Jocasta Comedy/Tragedy. By Sandra Perlman. Cast: 3w. Jocasta combines both comedy and tragedy in the story of three women—mother, daughter and servant—bound together by blood and loyalty. In this new twist on the Oedipus complex, we take a look at the myth from Jocasta’s complex point of view as a wife, devoted mother and conflicted daughter. On the night before Jocasta is to marry Oedipus, her mother, Ismene, arrives with a beautiful wedding gown. Ismene, a bawdy, hard- drinking tiger mom who loves being the mother of the queen, comes on a mission to convince Jocasta that being queen again will finally bring her happiness. And so begins a familiar mother-daughter dance. They drink wine and confess their sins in a night they will always remember—and we will never forget. Jocasta is hopeful, radiant and ready for the marriage bed one more time. -
Plays of Sophocles
E A TEACHER’S GuidE TO THE SiGNET CLASSiCS EDITiON OF SOPHOCLES: THE COMPLETE PLAYS by Laura reis Mayer SerieS editorS: Jeanne M. McGlinn and JaMeS e. McGlinn TEACHER’S Guid 2 A Teacher’s Guide to the Signet Classics Edition of Sophocles: The Complete Plays TabLe of ConTenTs introduction ........................................................................................................................3 list of characters .............................................................................................................3 SynopSiS of the oEdipuS triloGy ..............................................................................4 prereadinG activiTies .......................................................................................................5 DURING READING ACTIVITiES..........................................................................................10 AfTER READING ACTIVITiES .............................................................................................14 ABOUT THE AuTHoR OF THiS GUIDE ...........................................................................19 ABOUT THE EDIToRS OF THiS GUIDE ...........................................................................19 Copyright © 2010 by Penguin Group (USa) For additional teacher’s manuals, catalogs, or descriptive brochures, please email [email protected] or write to: PenGUin GroUP (USa) inC. in Canada, write to: academic Marketing department PenGUin BooKS CANADA LTD. 375 Hudson Street academic Sales new York, nY 10014-3657 90 eglinton -
CURRICULUM VITAE Prof. Dr. Dhimitër Çondi Name
1 CURRICULUM VITAE Prof. Dr. Dhimitër Çondi Name: Dhimitër Surname: Çondi Birthday: 07. 09. 1951 Birthplace: Sarandë Nationality: Albanian Marital Status: Married Current Workplace: Albanian Institute oF ArchaeoloGy Workplace Address: Instituti I ArkeoloGjisë, Bulevardi “Dëshmorë e Kombit”, Sheshi “Nënë Tereza” _ Tiranë, Albania Tel ++355 4 260 711 Fax ++355 4 260 712 Email: [email protected] Personal Address: Lagjia Nr. 1. Sarandë Tel: ++852 242 71 Mob: +355692488835 Email: [email protected] 2 Education 1967-1971 University studies at the Tirana University in the Faculty oF History and LanGuages branch oF History and GeoGraphy. 2. Employment and Specializations 1971-1976 Teacher in the HiGh school “Hasan Tahsini “, Sarandë. 1977-1982 Director oF the ArchaeoloGical Museum in Butrint. 1982 – to present ArchaeoloGist in the Institute oF ArchaeoloGy, Tiranë. Responsible oF the ArchaeoloGical Museum in Butrint. 1996 – to present. Head oF the ArchaeoloGical Department in Butrint. 1998 – to present. Lecturer in the University oF Ioanina and in the University oF CorFu. 2003 – to present. Lectrurer in the University “Eqrem Çabej” in Gjirokastër, at the Faculty oF Education and Social Sciences, Branch oF History and Georaphy 1982 Postgraduate studies For ArchaeoloGy, Tirane. 3 National and International specializations 1. 1990 – 1993 French School in Athens 2. 1994 German School in Athens 3. ProFessional Competences 1982 ScientiFic researcher at the Illyrian and Antiquity Department oF the Institute oF ArchaeoloGy 1994 “Doctor of Sciences” Doctoral thesis titled “FortiFied DwellinGs-Vilas in Kaoni” 2005 Associate professor 2011 Professor ForeiGn LanGuages: Greek – Fluent English – basic French – basic Italian – basic Participation in Research Projects 1971-1974 Ancient City oF AntiGonea, “The SurroundinG Wall” 1975-1976 Ancient City oF Butrint “Near the Towers Gate” 1977 Ancient City oF Butrint “New Inscriptions” 4 1978-1979 Ancient City oF Çuka e Ajtojit “DwellinG hose in CliFF” 1982 Ancient City oF Butrint “The Baptistery”.