Index of Subjects Acharnae 56 fear’s perception and representation in action 122n73 affect, emotion and 4, 13–18, 30, 31, 38, Laius 147 43, 240, 245, 248 Oedipus 147 collective emotion and 4, 31–32, 131, Oresteia 24n63, 94n1, 98, 116n56, 114, 186–189, 196–197, 205–212, 240 119nn63–64, 122, 178 emotion and virtue revealed in 13–17 person and number in 26n71 fear leading to 131 Proteus 119n63 pity and 186–189, 196–197, 205–212 Seven Against Thebes 23 spectrum of 31, 94n1, 179–180, 243 choral action in 31 and tragedy in the Poetics 17 choral song 157–159, 161–162 active chorus 94–98, 163, 241 control of community emotion 178, in Aeschylus 23, 97 241, 244–245 in Bacchae 31, 179, 180, 236–238, 241 control of fear 153–155, 164, 165, 178 in Philoctetes 179–180, 211 Eteocles in 147, 150–156, 162, 164–165, Aegyptiads 123, 130, 136–137, 139, 144 171 Aegyptus 120, 126n78 fear as major focus of 147–148 Aeschylus final lament 171–175 Aegyptioi 120 fratricide 169–170, 171–176 Agamemnon 94n1, 112n47, 121n70 gender equality in 159–161 Amymone 121 interpolation 170–171 Choephoroi 94n1, 111n44, 121n70 pity in 162–163, 174–175, 177–178 bodily and mental freedom in shield-scene 166–167 105–106 sound and silence in 153–159, 162, choruses as actors 23, 97, 243 165–167, 178, 244–245 Danaides 120, 143–144 Theban women’s fear in 149–153, 241 Eumenides vindication of female voice 175–176 Athena’s use of fear in foundation Supplices 23, 120–147 speech 51n13, 117n59 choral action in 31, 240–241 choral action in 23, 31, 107n37, 240 choral emotion and sympathetic ending of 119–120 imagination 23 Erinyes’ affective power 99–100, 240 dating of 120n66 Erinyes’ appearance 99–102, 111 dêmos in 134, 139, 141, 142 Erinyes’ binding song 103–106, 108, fear in 122–123, 127–128, 134–137, 227n82 139–140, 141–146, 240–241 fear and punishment in 103–107 lamentation in 125–127 gender roles 115–116 movement of 121–122 justice and Areopagite system 98–99, Pelasgus’ interrogation 129–131 102, 107–113, 234–235 pity in 123–125, 127–128, 133–135 reconciliation of Erinyes 98, 99, power in 132–133 115–117, 119n63, 133 pursuit and flight in 121, 123–124 similarities with Supplices 122 resolution 145–147 transition to new fear 99–100, 111–115, revenge and power in 133, 135 117–120 second choral voice in 137–139 270 index of subjects Aeschylus deliberation 42n108 Supplices (cont.) Nichomachean Ethics similarities with Eumenides 122 emotion and moral virtue revealed in sublimation of fear in 139–140, action 13–17 143–146 nature and workings of emotion in 7 violence in 125–128, 131–133, 135–137, Poetics 144, 147 absence of polis in 18n43 wedding-song 121 conception of emotional effect in 8 aesthetics 82 fear in 10–11 affect 2, 4 ideal treatment of chorus 94–98 defined 38n94 theory of emotions in 6–7 emotion and action 13–17, 30, 240 Rhetoric impartial deliberation and 38–43 definitions of emotions in 7, 8–9 and reason 12 fear in 8–9, 10, 143n123 affective impartiality 38–40 nature of emotional experience affective turn 3n2 in 11–13 Agave 180, 225, 227–228, 235, 237 need for lexis 42n108 agônia 97n12 pity in 133 agonistic discourse 11 Artemis 138 aidôs 114 assimilation 55, 65–66, 71 Alcibiades 84 Athena 150, 151n143 alliances 66 and Areopagus 109–112 alterity 86 and Erinyes 101–102, 109–110, 112–113, 118 altruism 212 fear in foundation speech 51n13, 117n59, Amphiaraus 166–167 109–112 Amymone 121n66 Athenian culture anger 3–4 citizen-lover in 49–52 absence of 50, 51 as culture of passions 3, 40, 245 Areopagus and 110n41, 111, 117, 119 emotions of dêmos 56–62 and judgment 76–78, 80, 92, 98, 119, 201, ethical demands of empire 4 232n96 individual interest vs. state Pericles and 56–62, 92 prosperity 59–61 three dimensions of 140–141 attachment 18, 38n94, 31–32, 34–36, 41–42, and transitional justice 140–141 240, 243, 247 vehement 56, 69–71, 77 in Bacchae 221 anomia 56 in Eumenides 117, 120 anonymous collective 19, 23, 161 in Philoctetes 182, 189, 207, 208, 212 Aphrodite 137, 138, 139, 143, 145, 147, 229 in Supplices 117, 120, 145–146, 148, 154 aphrosunê 228, 229 in Thucydides 45, 46–47, 48, 49, 51, 53, Apollo 100n21, 101, 102, 103, 112n47, 169n190 56, 66, 75, 91–93 Archidamus 56 attentive listening 241 Areopagus 98, 99, 107–118, 240 audience Ares 159, 166 choral dance experience of 29 Argives 148 choral ritual and connection to 24–26 Argos 120n66, 122 identification with chorus 28–29 Aristophanes 26n71, 95, 242n2 Aristotle Bacchae (Euripides) co-perception in 30n80 case against Pentheus 219–221 De Anima choral action in 31, 180, 228n85, phantasia in 10n19 235–238.