Antigone is Sophocles' masterpiece, a seminal influence on a wide range of theatrical, literary, and intellectual traditions. This volume sets the play in the contexts of its mythical background, its ...performance, its relation to contemporary culture and thought, and its rich reception history. But its main aim is to encourage first-hand engagement with the complexities of interpretation that make the play so enduringly thought-provoking and rewarding. Though Creon's actions prove disastrous and Antigone's are vindicated, the Antigone is no simple study in the excesses of tyranny or the virtues of heroic resistance, but a more nuanced exploration of conflicting views of right and wrong and of the conditions that constrain human beings' efforts to control their destinies and secure their happiness. The book's chapters consider the extent of the original audience's acquaintance with earlier versions of the legends of Antigone's family, the structure of the plot as it unfolds in theatrical performance, the presentation of the characters and the motivations that drive them, the major political, social, and ethical themes that the play raises, and the resonance of those themes in the ways that the play has been interpreted, adapted, performed, and appropriated in later periods.
What makes us laugh and cry, sometimes at the same time? How do these two primal, seemingly discrete and non-verbal modes of expression intersect in everyday life and ritual, and what range of ...emotions do they evoke? How may they be voiced, shaped and coloured in literature and liturgy, art and music? Bringing together scholars from diverse periods and disciplines of Hellenic and Byzantine studies, this volume explores the shifting shapes and functions of laughter and tears. With a focus on the tragic, the comic and the tragicomic dimensions of laughter and tears in art, literature and performance, as well as on their emotional, socio-cultural and religious significance, it breaks new ground in the study of ancient and Byzantine affectivity.
Dossier : Émotions Bouvier, David; Cairns, Douglas L; Cogan, Gwenola ...
Daedalus,
2011
eBook, Book
Odprti dostop
Dossier : Comment se définissent et se construisent les émotions en Grèce ancienne ? Comment sont elles instrumentalisées ? Différents types d’émotions (la douleur, l’amour, la jalousie, le dégoût, ...la haine, la colère, etc.), leur valeur, leur place et leurs fonctions sont analysés. Les auteurs se demandent si et en quoi, pour les Anciens, leur perception, leur description et leur compréhension, ainsi que leur pratique diffèrent des nôtres. Varia : Les articles proposés ensuite abordent des documents et des thématiques variés : ainsi l'archéologie des concours dits panhelléniques au début du ve siècle avant notre ère, la représentation de l'espace dans la céramique grecque et la signification des « grands yeux » dessinés sur certains vases, la scientia sexualis à partir du corpus Peri aphrodisiôn, et les rapports énigmatiques de Cornelius de Pauw avec la justice athénienne.
12 essays by international specialists in classical antiquity create a period-specific interdisciplinary introduction to distributed cognition and the cognitive humanities
The first book in an ...ambitious 4-volume set looking at distributed cognition in the history of thought.
This collection explores how cognition is explicitly or implicitly conceived of as distributed across brain, body and world in Greek and Roman technology, science, medicine, material culture, philosophy and literary studies.
A range of models emerge, which vary both in terms of whether cognition is just embodied or involves tools or objects in the world. As many of the texts and practices discussed have influenced Western European society and culture, this collection reveals the historical foundations of our theoretical and practical attempts to comprehend the distributed nature of human cognition.
Resumen Este artículo explora aspectos de lo que llamaré piedad o compasión en Homero (especialmente en Ilíada 24) y Aristóteles (sobre todo en la Retórica), pero sin depender de una precisa ...terminología. Los fenómenos que abarcan términos como “compasión”, “simpatía”, “empatía” y “lástima” (y sus análogos, cuando existen, en otras lenguas) constituyen una familia en la que las semejanzas son a menudo bastante estrechas en la práctica (aunque determinados miembros del grupo entren y salgan de moda y adquieran una serie de connotaciones diferentes en distintas épocas y contextos). Al concentrarme en la teoría y la práctica de la literatura, no ofrezco un relato sintético de la piedad griega antigua, sino que me centro principalmente en dos autores, Homero y Aristóteles, y procedo principalmente mediante una confrontación entre la representación de la piedad en el libro final de la Ilíada y la teorización de esa emoción en la Retórica y la Poética de Aristóteles. Comienzo con Homero, pero inmediatamente pongo en relación la narración homérica con el relato de la piedad de Aristóteles en la Retórica. Esto llevará a algunas reflexiones sobre la naturaleza de la piedad y la compasión en Homero en general, antes de volver al contraste entre Homero y Aristóteles (con énfasis en la Poética), un contraste que en cierto modo se ve subrayado por ciertas diferencias entre Aristóteles y Platón sobre los efectos emocionales de la poesía épica y trágica. Un aspecto de especial atención será la vinculación que hace Aristóteles de la piedad con el tipo de cosas que uno temería si le ocurrieran a uno mismo, por contraste con la conexión, en Homero y Platón, entre la piedad por los demás y la experiencia del dolor, tanto propio como ajeno.
The 'Classic' narratology that has been widely applied to classical texts is aimed at a universal taxonomy for describing narratives. More recently, 'new narratologies' have begun linking the formal ...characteristics of narrative to their historical and ideological contexts. This volume seeks such a rethinking for Greek literature. It has two closely related objectives: to define what is characteristically Greek in Greek narratives of different periods and genres, and to see how narrative techniques and concerns develop over time. The 15 distinguished contributors explore questions such as: How is Homeric epic like and unlike Gilgamesh and the Hebrew Bible? What do Greek historians consistently fail to tell us, having learned from the tradition what to ignore? How does lyric modify narrative techniques from other genres?
12 essays by international experts look at how cognition is explicitly or implicitly conceived of as distributed across brain, body and world in Greek and Roman technology, science, medicine, ...material culture, philosophy and literary studies.
The paper considers the intersection of cultural models of emotion, specifically love and envy, with folk and scientific models of vision in Greek antiquity. Though the role of the eyes in the ...expression of these emotions can intersect with widespread beliefs in vision as a 'haptic', material process, analogous to touch, none the less the emotional concepts resist absorption into a single over-arching theory of the physical effects of seeing and being seen. The specific cultural models of vision ('active', 'passive', and 'interactive') are enlisted in support of cultural models of emotion where they fit, modified where they fit less well, and ignored when they do not fit at all.
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