Apollo's oracle gives specific instructions concerning the treatment of the murderer of Laius. Oedipus issues an edict of excommunication and bindshimself under a curse. I wish to examine the relationship between these three pronouncements as they occur initially and as they are used throughout the play. The basis of what I have to say is tentative in that it consists in a particular interpretation of Oedipus' addres, 216 ff., and in the assumption that Sophocles employed a distinction between an edict, (...) that is a secular command of the kingas governing authority, and a curse which, once pronounced, is felt to operate independently. However, both the interpretation and the assumption are farfrom arbitrary, and if they are acceptable the resulting analysis reveals whatmight be called Sophocles' creative use of past episodes. The terms of the oraclegive way to an edict of excommunication, and this in turn, becomes the contentof a curse which initially had a different content. (shrink)

The main theme of Euripides’ Bacchae is Dionysus’ divinity and its recognition by the Thebans. The birth of Dionysus is a key point in the myth to determine that he is a god, consequently the playwright makes several of his characters mention it from different points of view. There are two versions clearly in conflict: on the one hand, Dionysus and his worshippers defend that he is a son of Zeus and, therefore, a god who must be venerated. On the (...) other hand, Pentheus, assuming his aunts’ view, thinks that his aunt Semele, who is Dionysus’ mother, lied when she stated that she had conceived a son of Zeus, in order to conceal a love affair with a mere mortal. Therefore, in the king’s opinion Dionysus is not a god but a mere human being. In addition, there are two characters, Cadmus and Tiresias, whose attitudes with regard to this matter are not so clear and have led scholars to interpret them in opposite ways. In this paper I am analyzing the passages of Bacchae on Dionysus’ birth, with special emphasis on those where Euripides shows or refers to Cadmus’ and Tiresias’ opinions, since my aim is to try to clarify, as far as possible, which stand the playwright made those two characters adopt regarding to Dionysus’ divinity. (shrink)

Nuestro objetivo es exponer un esquema compositivo de Suplicantes que logre aprehender su particular técnica estructural, frente a la pauta fija aristotélica. El enfoque pondera el trabajo de Taplin sobre la puesta en escena trágica esquilea, que revolucionó los estudios performativos al demostrar el uso dramático de los movimientos de entrada y salida de los personajes. Dada la singularidad de Suplicantes en cuanto al protagonismo coral y el predominio lírico, sostenemos que el análisis de su estructura impone reformular la propuesta (...) de Taplin y considerar las odas corales como parte sustancial de los actos. (shrink)

Certain Greek texts depict Helen in a manner that connects her elusive body with the elusive maneuvers of the persuasive story. Her too-mobile body signals in these texts the obscurity of agency in the seduction scene and serves as a device for tracking the dynamics of desire. In so doing this body propels poetic narrative and gives structure to persuasive argumentation. Although the female figure in traditional texts is always the object of male representation, in this study I examine a (...) set of images of a female body whose representation ultimately seems to frustrate the narrative strategies for which its depiction was created. What emerges in the fifth century as a rhetorical technique begins in Book 3 of the Iliad as a narrative strategy that uses Helen's cloaked and disappearing body to catalyze plot, and develops in Sappho's fr. 16 into a logic of desire shaped by the movement of Helen's and other bodies in the visual field. Gorgias, in the Encomium of Helen, transforms these depictions of Helen into an argument that is structured by Helen's body, an argument that Helen herself employs in Euripides' Troades, where her own body serves as the anatomy of her argument. These texts all associate Helen's body with a type of persuasive narrative that repeatedly invokes the field of vision, describing physical presence in terms that aim at attracting the eye. At the same time this verbal portraiture disrupts the audience's perspective by depicting bodies as cloaked, mobile, and/or half seen, and by obscuring distinctions between desirer and desired, viewer and viewed. As both subject and object in this viewing process, Helen's body comes to be associated with the double vision of seduction and the distracting power of persuasive images, which seduce the mind's eye while eluding the mind's grasp. (shrink)

This article aims at analysing Aristotle’s poetic conception of catharsis to assess whether it may be of help in enlightening the particular didactic challenges involved when training medical students to cope morally with complex or tragic situations of medical decision-making. A further aim of this investigation is to show that Aristotle’s criteria for distinguishing between history and tragedy may be employed to reshape authentic stories of sickness into tragic stories of sickness. Furthermore, the didactic potentials of tragic stories of sickness (...) will be tried out. The ultimate aim is to investigate whether the possibilities of developing a therapeutic conception of medical ethics researched in a previous article on catharsis and moral therapy in Plato may be strengthened through the hermeneutics of the Aristotelian conception of tragic catharsis. (shrink)

Critical discussion of Andromache has almost invariably focused on the question of unity. As everyone who has ever read a critical account of the play knows, the action falls into three parts: the plot against Andromache by Hermione and her father, foiled by Peleus; Hermione's subsequent panicky flight with Orestes; and Neoptolemos' murder at Orestes' instigation. The play appears not to possess ‘unity of action’ in the strict Aristotelian sense: there is, for instance, no tight causal connection between the plot (...) against Andromache and Orestes' plot against Neoptolemos. Troubled by this, critics have made a variety of attempts to find unity of another sort: unity of ‘theme’. Each has asked, ‘What is Andromache about?’, taking the question in an absolute sense; and has assumed that one must search for a single answer. (shrink)

Critical discussion of Andromache has almost invariably focused on the question of unity. As everyone who has ever read a critical account of the play knows, the action falls into three parts: the plot against Andromache by Hermione and her father, foiled by Peleus; Hermione's subsequent panicky flight with Orestes; and Neoptolemos' murder at Orestes' instigation. The play appears not to possess ‘unity of action’ in the strict Aristotelian sense: there is, for instance, no tight causal connection between the plot (...) against Andromache and Orestes' plot against Neoptolemos. Troubled by this, critics have made a variety of attempts to find unity of another sort: unity of ‘theme’. Each has asked, ‘What is Andromache about?’, taking the question in an absolute sense; and has assumed that one must search for a single answer. (shrink)

This article seeks to contest the frequently repeated assertion that anger poses the greatest threat to transitional societies moving from authoritarianism to democracy. Against suggestions that victims of past injustices should forswear their `negative emotions' lest they spark a renewed cycle of violence, it argues that it is important to recognize the moral legitimacy of their anger. While anger is notoriously vulnerable to excess and needs to be moderated in reference to shared norms of reasonableness, it represents an appropriate response (...) to wilful harm and needs to be afforded a central role in any conception of justice. (shrink)

Taking ‘the idea of the tragic’ as a point of departure, this article articulates an approach to sociology and social theory from the perspective of a ‘tragic vision’. In arguing for the relevance of ‘tragic thought’ for the analysis of contemporary crises, it suggests that ‘the tragic’ must be understood as a reflection of the long tail of the formation of a particular secular, modern ‘ethico-onto-epistemology’. In making this case, the article provides an ‘interpretive genealogy’ of tragic ethics in social (...) thought, detailing the thought of Lucien Goldmann and Georg Lukács, and putting it in dialogue with contemporary posthumanist theory. It concludes by drawing on recent debates in the latter involving the place of ‘critique’ in contemporary social science, teasing out some implications for thinking about individual action and responsibility. (shrink)

Apollo's oracle gives specific instructions concerning the treatment of the murderer of Laius. Oedipus issues an edict of excommunication and bindshimself under a curse. I wish to examine the relationship between these three pronouncements as they occur initially and as they are used throughout the play. The basis of what I have to say is tentative in that it consists in a particular interpretation of Oedipus' addres, 216 ff., and in the assumption that Sophocles employed a distinction between an edict, (...) that is a secular command of the kingas governing authority, and a curse which, once pronounced, is felt to operate independently. However, both the interpretation and the assumption are farfrom arbitrary, and if they are acceptable the resulting analysis reveals whatmight be called Sophocles' creative use of past episodes. The terms of the oraclegive way to an edict of excommunication, and this in turn, becomes the contentof a curse which initially had a different content. (shrink)