There have been numerous attempts to understand the role and importance of the Great Dionysia in Athens, and it is a festival that has been made crucial to varied and important characterizations of Greek culture as well as the history of drama or literature. Recent scholarship, however, has greatly extended our understanding of the formation of fifth-century Athenian ideology—in the sense of the structure of attitudes and norms of behaviour—and this developing interest in what might be called a ‘civic discourse’ (...) requires a reconsideration of the Great Dionysia as a city festival. For while there have been several fascinating readings of particular plays with regard to thepolisand its ideology, there is still a considerable need to place the festival itself in terms of the ideology of thepolis. Indeed, recent critics in a justifiable reaction away from writers such as Gilbert Murray have tended rather to emphasize on the one hand that the festival is a place of entertainment rather than religious ritual, and on the other hand that the plays should be approached primarily asdramaticperformances. (shrink)

Fustel de Coulanges' thesis that ancient society was founded upon the cult of ancestral tombs has had, for a thoroughly self-contradictory argument, a remarkably successful career. Neither Fustel himself nor the many subsequent scholars who have quoted his views with approval faced clearly the difficulty of deriving a social structure dominated by corporate descent groups from the veneration of tombs placed in individually owned landed property. On the whole, historians have tended to play down Fustel's insistence on the relation between (...) ancestor-cult and property and to exaggerate the role of the corporate kin group. This tendency, which assimilates Fustel to Sir Henry Maine and other lawyers interested in the reconstruction of Indo-European institutions has in my view considerably impeded understanding of the role of kinship in early Greek society; it also obscures one of the most individual aspects of Fustel's work which, thanks to the researches of Philippe Ariès on the development of the modern tomb-cult in the nineteenth century, can now be placed in its historical context. (shrink)

This paper explores how gender can operate as a disguise for class in an examination of the self-sacrifice of the Maiden in Euripides' Children of Herakles. In Part I, I discuss the role of human sacrifice in terms of its radical potential to transform society and the role of class struggle in Athens. In Part II, I argue that the representation of women was intimately connected with the social and political life of the polis. In a discussion of iconography, the (...) theater industry and audience I argue that female characters became one of the means by which different groups promoted partisan interests based on class and social status. In Part III, I show how the Maiden solicits the competing interests of the theater audience. After discussing the centrality (as a heroine from an aristocratic family) and marginality (as a woman and associated with other marginal social groups) of the Maiden's character, I draw upon the funeral oration as a comparative model with which to understand the quite different role of self-sacrifice in tragedy. In addition to representing and mystifying the interests of elite, lower class and marginal groups, the play glorifies a subordinate character whose contradictory social status (both subordinate and elite) embodies the social position of other “marginal” members of Athenian society. The play stages a model for taking political action to transform the social system and for commemorating the tragic costs of such undertakings. (shrink)

This paper argues that spatial contingencies, defined by the relationship between where historical actors are in the narrative and what they say, are crucial for understanding the political and ideological effects of Thucydides' History. A comprehensive approach to these contingencies is linked to two related premises. First, that the city of Athens is the principal spatial referent in the History and, second, that Athens refers both to a set of “real” topographical features and to a transcendent and trans-historical ideal that (...) exceeds those features. The dynamic between these two is mediated by Athens' inevitable defeat and by the related conflict between the History as the presentation of facts about the past, on the one hand, and as the source of future predictions, on the other. Framing this analysis are the distinctive characteristics ascribed to the Athenians as a collective and to the positions of Thucydides and Alcibiades as Athenians in exile. (shrink)