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A Companion to Greek Tragedy (Blacwell Companions to the Ancient World).pdf

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"A Companion to Greek Tragedy (Blacwell Companions to the Ancient World)", edited by Justina Gregory, Blackwell Publishing 2005
A Companion to Greek Tragedy provides readers with a fundamental grounding in Greek tragedy and also introduces them to the various methodologies and the lively critical dialogue that characterize the study of Greek tragedy today.
The Companion comprises 31 essays written by an international cohort of scholars. The essays are organized into four sections. The opening section on Contexts surveys Greek tragedy's historical, religious, political, and artistic background. A section on Elements follows, examining the genre's structural components. A section on Approaches presents a series of essays exemplifying particular lines of enquiry; and the final section on Reception traces the interpretative tradition from ancient to modern times.
Throughout the resource, all ancient Greek is transliterated and translated, and technical terms are explained as they appear, making the Companion accessible to those without detailed knowledge of the language or the genre.

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Oxford University Press 2010 Performance, Reception, Iconography assembles twenty-three papers from an international group of scholars who engage with, and develop, the seminal work of Oliver Taplin. Oliver Taplin has for over three decades been at the forefront of innovation in the study of Greek literature, and of the Greek theatre, tragic and comic, in particular. The studies in this volume centre on three key areas - the performance of Greek literature, the interactions between literature and the visual realm of iconography, and the reception and appropriation of Greek literature, and of Greek culture more widely, in subsequent historical periods.
Oxford University Press 2010 This book reads tragedy as a genre in which the protagonist is estranged from the world around him, and, displaced in time, space, and language, comes to inhabit a milieu which is no longer shared by other characters. This alienation from others also entails a decomposition of the integrity of the individual, which is often seen in tragedy's uncertainty about the protagonists' autonomy: do they act, or do the gods act through them? Where are the boundaries of the self, and the boundaries of the human? After an introductory essay exploring the theatrical and linguistic means by which the protagonist is made to inhabit a strange and singular world, the book devotes essays to plays from classical, renaissance, and neo-classical literature by Aeschylus, Sophocles, Seneca, Shakespeare, and Racine. Close attention is paid to the linguistic strangeness of the texts which is often smoothed over by editors and translators, as it is through the weirdness of tragic language that the deep estrangement of the characters is shown. Accordingly, the Greek, Latin, and French texts are quoted in the originals, with translations added, and attention is paid to textual cruces which illustrate the linguistic and conceptual difficulties of these plays.
Oxford University Press 2010 Blighted and accursed families are an inescapable feature of Greek tragedy, and many scholars have treated questions of inherited guilt, curses, and divine causation. N.J. Sewell-Rutter gives these familiar issues a fresh appraisal, arguing that tragedy is a medium that fuses the conceptual with the provoking and exciting of emotion, neither of which can be ignored if the texts are to be fully understood. He pays particular attention to Aeschylus' Seven against Thebes and the Phoenician Women of Euripides, both of which dramatize the sorrows of the later generations of the House of Oedipus, but in very different, and perhaps complementary, ways. All Greek quotations are translated, making his study thoroughly accessible to the non-specialist reader.
Oxford University Press 2000 Modern scholars have followed Aristotle in noting the importance of philia (kinship or friendship) in Greek tragedy, especially the large number of plots in which kin harm or murder one another. More than half of the thirty-two extant tragedies focus on an act in which harm occurs or is about to occur among philoi who are blood kin. In contrast, Homeric epic tends to avoid the portrayal of harm to kin. It appears, then, that kin killing does not merely occur in what Aristotle calls the "best" Greek tragedies; rather, it is a characteristic of the genre as a whole. In Murder Among Friends, Elizabeth Belfiore supports this thesis with an in-depth examination of the crucial role of philia in Greek tragedy. Drawing on a wealth of evidence, she compares tragedy and epic, discusses the role of philia relationships within Greek literature and society, and analyzes in detail the pattern of violation of philia in five plays: Aeschylus' Suppliants, Sophocles' Philoctetes and Ajax, and Euripides' Iphigenia in Tauris and Andromache. Appendixes further document instances of violation of philia in all the extant tragedies as well as in the lost plays of the fifth and fourth centuries B.C.E.
Oxford University Press 2010 The Tangled Ways of Zeus is a collection of studies written over the last twenty years by the distinguished classicist Alan Sommerstein about various aspects of ancient Greek tragedy (and, in some cases, other related genres). It complements his recent collection of studies in Greek comedy, Talking about Laughter (OUP, 2009). Some of the essays have not been published previously, others have appeared in books or journals hard to find outside major academic libraries. Each chapter deals with its own topic, but between them they build up a multifaceted picture of the dramatists (especially Aeschylus and Sophocles), the genre, and its interactions with the society, culture, and religion of classical Athens.
Chelsea House Publications 2004
Cambridge University Press 1999 David Wiles explores the performance of tragedy as a spatial practice specific to Athenian culture, at once religious and political. After reviewing controversies and archaeological data regarding the fifth-century performance space, Wiles turns to the chorus and shows how dance mapped out the space for the purposes of any given play. He shows how performance as a whole was organized and, through informative diagrams and accessible analyses, brings the theater of Greek tragedy to life.
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