scholarly journals Metaphor of Sound - Lee Breuer’s Gospel at Colonus

2018 ◽  
Vol 35 (2-3) ◽  
pp. 131-144
Author(s):  
Eli Rozik
Keyword(s):  
Greek Tragedy ◽  
Gospel Music ◽  
Original Play ◽  
Ancient Greek ◽  
Actual Result ◽  
Starting Point ◽  
Hermeneutic Inquiry ◽  
Black Pentecostal ◽  
Church Service ◽  
Oedipus At Colonus

Lee Breuer’s Gospel at Colonus is an attempt to achieve a synthesis between an ancient Greek tragedy and the black Pentecostal church service, in addition to offering a mixed marriage between white and black cultural idioms. Regarding this experiment, the question is not, I believe, reducible to Breuer’s intention so much as the actual result of the work itself. Indeed, in experimenting with culturally established styles of expression, results depend on the nature of their unprecedented interaction. Therefore, hermeneutic inquiry is rather problematic and perhaps only a learned intuition is possible as a starting point. Nonetheless, I conjecture that rendering the narrative of Sophocles’ Oedipus at Colonus through the prism of Gospel music bestows an additional metaphoric dimension on the basic metaphor embodied in the original play-script. This study aims at elucidating the nature of these metaphoric dimensions, specifically on the level of sound.

A view from the Greek side

2016 ◽  
Vol 7 (1) ◽  
pp. 35-50
Author(s):  
Gunnel Ekroth
Keyword(s):  
Comparative Perspective ◽  
Ancient Greek ◽  
Greek Religion ◽  
Bone Material ◽  
Archaeological Material ◽  
Animal Bone ◽  
Animal Bones ◽  
Starting Point ◽  
Integrated Study ◽  
Written Sources

This paper addresses the animal bone material from ancient Qumran, from the comparative perspective of zooarchaeological evidence recovered in ancient Greek cult contexts. The article offers an overview of the paramount importance of animal bones for the understanding of ancient Greek religion and sacrificial practices in particular, followed by a review of the Qumran material, taking as its starting point the zooarchaeological evidence and the archaeological find contexts. The methodological complications of letting the written sources guide the interpretation of the archaeological material are explored, and it is suggested that the Qumran bones are to be interpreted as remains of ritual meals following animal sacrifices, as proposed by Jodi Magness. The presence of calcined bones additionally supports the proposal that there was once an altar in area L130, and it is argued that the absence of preserved altar installations in many ancient sanctuaries cannot be used as an argument against their ever having been present. Finally, the similarities between Israelite and Greek sacrificial practices are touched upon, arguing for the advantages of a continued and integrated study of these two sacrificial systems based on the zooarchaeological evidence.

Stasis Anxiety

2017 ◽  
Author(s):  
Andrew van der Vlies
Keyword(s):  
South Africa ◽  
Civil War ◽  
Black Writers ◽  
Political Rights ◽  
Ancient Greek ◽  
Individual Subject ◽  
Starting Point ◽  
The Individual ◽  
Past Experiences ◽  
Contemporary Writing

Two recent debut novels, Songeziwe Mahlangu’s Penumbra (2013) and Masande Ntshanga’s The Reactive (2014), reflect the experience of impasse, stasis, and arrested development experienced by many in South Africa. This chapter uses these novels as the starting point for a discussion of writing by young black writers in general, and as representative examples of the treatment of ‘waithood’ in contemporary writing. It considers (spatial and temporal) theorisations of anxiety, discerns recursive investments in past experiences of hope (invoking Jennifer Wenzel’s work to consider the afterlives of anti-colonial prophecy), assesses the usefulness of Giorgio Agamben’s elaboration of the ancient Greek understanding of stasis as civil war, and asks how these works’ elaboration of stasis might be understood in relation to Wendy Brown’s discussion of the eclipsing of the individual subject of political rights by the neoliberal subject whose very life is framed by its potential to be understood as capital.

The Living Art of Greek Tragedy. By Marianne McDonald. Bloomington and Indianapolis: Indiana University Press, 2003; pp. 224. $15.95 paper.

2005 ◽  
Vol 46 (1) ◽  
pp. 167-168
Author(s):  
Edmund P. Cueva
Keyword(s):  
Twentieth Century ◽  
Greek Tragedy ◽  
Classical Period ◽  
Ancient Greek ◽  
Indiana University

Marianne McDonald's book provides a solid introduction to ancient tragedy and theatre. The author examines the works by the three major ancient Greek tragedians, Aeschylus, Sophocles, and Euripides, and supplies for each playwright biographies, synopses of their works, and modern and ancient translations and adaptations of their plays. The listing of the translations and adaptations is selective and spans from the classical period up to the twentieth century.

fall and rise of King Oedipus

2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Khegan Delport
Keyword(s):  
Final Section ◽  
Greek Tragedy ◽  
Seminal Work ◽  
Oedipus At Colonus

This essay is placed within a continuing debate on the appropriateness of a Christian deployment of tragedy. According David Bentley Hart, tragedy legitimates a sacrificial and scapegoating logic that is in contradiction with the Christian gospel. It promotes exclusion and therefore is imaginatively and metaphysically conservative in its import. In the ensuing argument, I hope to show through one example how even Greek tragedy can resist some of these claims. Drawing on the seminal work of Jean-Pierre Vernant and Pierre Vidal-Naquet, I argue that Sophocles’ Oedipus cycle, firstly, demonstrates the inability of nomos to grasp the exception of Oedipus, and that this might constitute a critique rather than a simple legitimation of the civic order. Secondly, the narrative arc of Oedipus Tyrannus and Oedipus at Colonus point towards incorporation rather than final exclusion, and that his apotheosis could be read as resisting deleterious tropes of a final holocaust of the tragic figure. In the final section, drawing on Rowan Williams, I discuss the problems associated with literary Christologies in general, and whether it could be theologically feasible to talk about the Theban cycle as exhibiting a ‘proto-Christology’.

Introduction

Ladies' Greek ◽  
2017 ◽  
Author(s):  
Yopie Prins
Keyword(s):  
Women Writers ◽  
Virginia Woolf ◽  
Greek Tragedy ◽  
Classical Antiquity ◽  
Elizabeth Barrett Browning ◽  
Ancient Greek ◽  
Collective Identification ◽  
Victorian Women ◽  
Greek Alphabet ◽  
Women Of Letters

This book examines why Victorian women of letters such as Elizabeth Barrett Browning, Sara Coleridge, and Virginia Woolf self-consciously performed collective identification with Greek letters and showed literary interest in their translations of with Greek tragedy. It considers how these women engaged with ideas about classical antiquity, and how much they contributed to the idealization of all things Greek. It discusses the ways in which women learned to read the Greek alphabet, to discover all the letters between alpha and omega, and how they turned ancient Greek into a language of and for desire. The book argues that nineteenth-century women writers turned to tragedy in particular as a literary genre for the performance of female classical literacy, and that their passionate reading of Greek led them into various forms of translation. Five tragedies are analyzed to elucidate the legacy of Ladies' Greek: Agamemnon and Prometheus Bound, Electra, Hippolytus, and Bacchae.

The Narrative Imperative in the Films of Theo Angelopoulos

2015 ◽  
Author(s):  
Caroline Eades
Keyword(s):  
Creative Process ◽  
Driving Force ◽  
Greek Tragedy ◽  
Ancient Greek ◽  
Mise En Scene ◽  
Artistic Heritage

This chapter examines the development of what it calls the ‘narrative imperative’ in Theo Angelopoulos' films such as Eternity and a Day, Megalexandros and Ulysses' Gaze. Throughout Angelopoulos' career as a filmmaker, the place and nature of literary references progressively superseded references to other forms of the ancient Greek artistic heritage and contributed to establishing a progressive drive towards a narrative imperative in his creative process. This imperative in Angelopoulos' most recent films consists in subjecting the function and signification of images, mise en scène, even music, to the advancement of the plot, the characterisation of its protagonists and the construction of a diegetic world. The chapter argues that the narrative imperative in Angelopoulos' modernist cinema is a driving force behind the numerous explicit references to Greek tragedy and Homeric epic.

The Vengeful Lioness in Greek Tragedy: A Posthumanist Perspective1

2018 ◽  
pp. 203-220
Author(s):  
Alessandra Abbattista
Keyword(s):  
Greek Tragedy ◽  
Ancient Greek ◽  
Male And Female ◽  
Hybrid Nature ◽  
Human Male ◽  
Female Hybrid

This chapter reinterprets the animal metaphors used in ancient Greek tragedy to describe revenging women from a posthumanist perspective. Whereas critics have commonly regarded such metaphors as indicating the female revenger’s inhuman savagery and otherness (whereby a woman’s attempt to assume a male heroic role transforms her instead into a monstrous beast), posthumanism challenges conventional distinctions between animal and human, male and female. Drawing on the work of Rosi Braidotti, it argues that female revengers similarly challenge these distinctions. The metaphorical metamorphosis of Aeschylus’ Clytemnestra and Euripides’ Medea into lionesses reveals their complex figuration as male-female hybrid beings, recalling the tragic suffering and protective violence of the Homeric lion within a new context of interfamilial conflicts. These transformations engender terror but also compassion, evoking new ways of conceptualising humans-as-animals that invite recognition of our own unstable and hybrid nature.

Cursing-Prayers and Female Vengeance in the Ancient Greek World1

2018 ◽  
pp. 141-159
Author(s):  
Lydia Matthews ◽  
Irene Salvo
Keyword(s):  
Ancient Greece ◽  
Social Function ◽  
Judicial System ◽  
Literary Texts ◽  
Direct Access ◽  
Ancient Greek ◽  
Civic Community ◽  
Legal Forms ◽  
Modern Turkey ◽  
Oedipus At Colonus

This chapter analyses women praying for revenge in ancient Greece in literary texts (such as Homer’s Iliad, and Sophocles’ Oedipus at Colonus) alongside thirteen prayers for justice written exclusively by women and found in Knidos (Caria, modern Turkey). It argues that because women did not have direct access to legal forms of retribution and often had complaints that fell outside the normal judicial system (such as a husband’s adultery), cursing-prayers prayers had an important psychological and social function for women, providing a legitimate outlet for potentially disruptive feelings through an established ritual that was recognized as meaningful by the civic community. Like lamentation, cursing allowed women to express anger and hatred within socially acceptable roles and practices, providing women with a legitimate, communal medium in which to air grievances and to rectify or revenge the injuries done to them.

Whose Idea of Tragedy? Mrs Dalloway and the Ancient Greek Tradition

2018 ◽  
Author(s):  
Elizabeth Gourd
Keyword(s):  
Mental Illness ◽  
Greek Tragedy ◽  
The Novel ◽  
Ancient Greek ◽  
Classical Scholar ◽  
Narrative Tradition ◽  
Ancient Literature ◽  
Greek Tradition ◽  
Previous Scholarship ◽  
Commit Suicide

As Septimus Smith prepares to commit suicide by throwing himself out of the window and ‘vigorously, violently down onto Mrs Filmer’s area railings,’ he comments on the narrative tradition of his own tragic demise. ‘It was their idea of tragedy,’ he reflects with bitter irony – ‘Holmes and Bradshaw liked that sort of thing.’ This paper addresses the wider implications of this sentiment in Mrs Dalloway, by positioning Septimus’ death as the tragic climax and dramatic focus of the novel. Previous scholarship has failed to recognise the significance of this allusion to Greek tragedy, though Woolf was an accomplished classical scholar and a voracious reader of ancient literature. This detail would repay attention, as the author’s self-conscious engagement with the literary and intellectual tradition of tragedy, demonstrated through the narrative and suicide of Septimus Smith, impacts upon our understanding of the novel as a whole. It raises several important questions which this paper seeks to address: to what extent does Woolf intend for us to sympathise with Septimus as the tragic protagonist? How does Woolf’s appropriation and manipulation of the tragic genre reflect her views on war, mental illness, and her relationship with her doctors? And finally, what does it tell us about Woolf’s idea of tragedy, and what she considers to be tragic?

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