Thesis (Ph. D.)--University of Chicago, 1919. / At head of title: The University of Chicago. Bibliography: p. 150-151.

Thesis (PH. D.)--University of Chicago, 1919. / At head of title: The University of Chicago. Text made available in compliance with Section 108 of the Copyright Revision Act of 1976. Bibliography: p. 150-151. Online version of print reproduction.

Thesis (Ph. D.)--University of Chicago, 1919. / At head of title: The University of Chicago. Bibliography: p. 150-151.

Στην παρούσα εργασία στόχος μας είναι να προσεγγίσουμε το μύθο του Φιλοκτήτη στη δραματική μορφή του. Για το σκοπό αυτό θα αξιοποιήσουμε κατά το δυνατόν τις μαρτυρίες αναφορικά με την επική παράδοση, όπως μας σώζονται από πολύ μεταγενέστερες πηγές. Η σχέση ανάμεσα στο έπος και το δράμα είναι πολυεπίπεδη και πολύσημη· ανάμεσα σ’ αυτά τα δύο διακριτά είδη, που λειτουργούν κάποιες φορές σαν συγκοινωνούντα δοχεία, υπάρχει ένα μαγνητικό πεδίο, μια κλίμακα αλληλεπίδρασης που κυμαίνεται από την έλξη ως την άπωση. / --

O texto da tragédia grega Édipo Rei de Sófocles, do século V a.C., permite até os dias de hoje inúmeros estudos sobre seu mito, face a tamanha riqueza existente em seu mitologema. Pressuposto a tantas pesquisas existentes, elaboramos uma visão inerente aos estudos realizados, compondo uma dissertação comparativa, revisitando o texto de Sófocles e incluindo uma nova ótica sobre a tragédia do rei de Tebas. Porém, antes de mergulharmos na essência do mito, procuramos entender a tragédia grega e seu período de existência. Da mesma forma, investigamos o homem Sófocles, artista e poeta na sociedade em que viveu, e suas relações sociais e políticas com seu amigo e estrategista Péricles. Ponto imprescindível da dissertação é a constatação de que Sófocles fundiu em um só personagem feminino a figura das duas esposas de Laio, condensadas em Jocasta. Tornada mãe e esposa de Édipo, o personagem de Jocasta aumentou profundamente o efeito dramático desejado pelo autor grego, criando um dos maiores textos trágicos da antiguidade que chegaram até hoje. Sem perder a essência do texto sofocliano, decodificamos o mito em suas diversas vertentes, situamos as condições sociais nas relações da mulher no século V a.C., e, assim, estabelecemos as relações que envolveram Édipo e Jocasta no conjunto poético da tragédia reelaborada por Sófocles. / The text of the Greek tragedy Oedipus Rex, by Sophocles, 5th century BC, allows us, until the present days, to make innumerous studies about its myth, due to the immense richness of its mythologem. Considering so many existing researches, we have elaborated a vision inherent to the studies already done, writing a comparative dissertation, revisiting Sophoclestext and throwing some new light upon the tragedy of the King of Thebes. However, before plunging into the essence of the myth, we have tried to understand the Greek tragedy and its existing context. In the same way, we have investigated the man Sophocles, artist and poet in the society he lived in, and his social and political relationship with his friend and strategist Pericles. The essential point of the dissertation is the thesis that Sophocles has melted, in a single feminine character, the profiles of the two wives of Laius, condensed in Jocasta. Transformed into mother and wife of Edipo, the character Jocasta deeply increased the dramatic effect desired by the Greek author, creating one of the greatest tragic text of antiquity that have arrived to present days. Without losing the essence of the sophoclean text, we have decoded the myth in its various aspects, contextualized the social conditions of the womens relations in the 5th century BC, and, finally, we have established the relations that involved Edipo and Jocasta in the poetic set of the tragedy re-elaborated by Sophocles.

Greek tragedy portrayed the husband and wife relationship as fraught with hos¬tilities and ambivalences. The purpose of this mini-dissertation is to examine these dysfunctions, and to explain them. I have approached the problem from several important angles. I have begun with selected aspects of Athenian Mythol¬ogy and the foundation myths of Athenian culture to see whether there are recur¬rent themes that attest to inherent ambivalences and hostilities towards women within the mythological heritage of Athens. This approach is based on two as¬sumptions: first, that the dynamics of interpersonal relationships portrayed in mythology and literature tend to mirror the modal patterns of cultures and sec¬ond, the experiences of these modal patterns are the inspiration from which a culture draws its mythmaking. I then examine the context of the production of tragedy within the religious framework of the festival of the Greater Dionysia so as to establish a theory of the nature and function of Greek tragedy. The purpose of the second focus is to see whether there are connections between the workings of Greek tragedy and the thematic material it portrays. I have chosen four Greek tragedies within which to explore marital dysfunctions: Aeschylus’ Agamemnon, Sophocles’ Ajax and The Women of Trachis, and Euripides’ Medea. I have un¬der¬taken a close reading of the original texts and commentaries as well as a close reading of comparative translations of the texts for the purpose of this study. My explorations reveal that Athenian society was aware of the risks of the dire imbalance prevailing within their social order, which was created by such a fero¬cious suppression and derogation of half their members. In addition this imbal¬ance was redressed on a continual basis by the production of and through com¬munal participation in tragedy in its function as a ritualistic mechanism for ca¬thartic relief. Thus I conclude that the production of tragedy served to reaffirm the status quo. Tragedy provided a process for the de-structuring of familial and social order first and then sought and promoted a process of psychological restructuring and re-integration. This occurred through the empathetic workings of Catharsis or pur¬gation of negative emotions or feelings of guilt. The cathartic effects of tragedy were designed for men. As a collective therapeutic action it confirmed the male dominated order of society and reaffirmed the Athenian perception of a dualistic reality in the form of irreconcilable opposites: theatre versus life and female ver¬sus male. Tragedies were written by men and performed by men and thus we can expect all symptoms, signs and symbols of male and female conflict to be the products of the masculine psyche. / Prof. J.L.P. Wolmarans

Statement of the problem. It was the purpose of this study (l) to determine and illustrate the influence of time, culture and production situation upon the form and content of two plays based on the Greek legend of Antigone; the texts in question were those of Sophocles and Anouilh; and (2) to determine and illustrate the same influence of time, culture, and production situation upon the means of producing Lewis Galantiere's adaptation of Anouilh's Antigone at the University of the Pacific Play box in the Spring of 1965.

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This dissertation claims contributions on two fronts. First, it aims to contribute to the theory of reception with a practical model of reading postclassical texts that substantially engage ancient ones. In the second place, it contributes three individual readings of three important works of literature on which nothing has been written by anglophone classicists working on classical reception: José Watanabe’s Antígona, Christine Brooke-Rose’s Amalgamemnon, and Anne Carson’s Economy of the Unlost. This dissertation’s contribution to the theory of reception is the proposition of a practical schema of reading, which is a figure upon which the imagination can operate. Simply put, it posits a schema as the place where meaning is construed. The schema calls attention to the constructedness of meaning and to the act of construction and organizes different moments of “reception”: that of the postclassical text receiving the ancient one (which the schema imagines as a vertical line) and that of the scholar receiving that particular instance of reception, the “I” of interpretation, which is theorized as one of two axes of transcendence of the schema (the other one being the world of/to which the schema speaks and means). Furthermore, the schema puts the “where” of meaning in the relation of (at least) two texts, but the “of” of meaning belongs to the postclassical texts. The postclassical text receiving ancient text(s) is proposed as a complex work, simultaneously in relationship with texts from the past as well as other texts from other periods. The relations of the postclassical text with each of these texts are different and need to be differently traced or theorized. The relation with the ancient texts is properly textual and thus the primary way of tracing it in the schema is a vertical line that first and foremost pays attention to form, with the tools of structural analysis and philology. Then, the theorization of the vertical line is made thicker with the operation of concepts upon it. As each of these texts (the classical and the postclassical) mean in relation to webs of texts that are relevant to the vertical relation, the schema imagines an additional dimension to the vertical one: the horizontal. Each of the horizontal lines traced for both the classical and the postclassical texts are in one way or another “historicist” readings, they trace contexts for the texts, but the way that context is understood in the theorization of the horizontal dimension of the schema is plural and never saturated. While this horizontal aspect of meaning is understood as textual, the schema also imagines for it an axis of transcendence, the world on which writers write and in which the reader is situated. The first chapter’s primary goal is to provide a reading of José Watanabe’s Antígona using the schema to illuminate the ways in which this text makes meaning in relation to Sophocles’ Antigone and part of the body of texts that have come to form part of that name. This reading counters the predominant approach to this work (and to many a work in classical reception), which reads it allegorically, as a commentary on a particular moment in the history of Peru. That predominant way of reading not only ignores the vertical orientation of the text in relation to its avowed ancient source, it also limits itself to one way of tracing the horizontality of the postclassical text, construing “context” in the most immediate and literal sense. The chapter contributes a reading that opens up Antígona to much more than allegory, highlighting its powerful affective and aesthetic dimension, as well as its intersection with recent feminist readings of the Greek tragedy that turn towards the figure of Ismene and the politics of sisterhood. The second chapter sets itself to the analysis of the complex role that ancient texts play in Christine Brooke-Rose’s radically experimental novel Amalgamemnon. This novel has not been the focus of attention of any work by a classical scholar, and those scholars who have written about it in other fields have failed to analyze the importance that Herodotus’ Histories and Aeschylus’ Agamemnon play at both the structural and the thematic levels. Tracing the vertical line, the chapter shows how these two texts are essential to the novel’s writing and themes. In the horizontal dimension, the schema situates the novel’s engagement with those ancient sources in the context of contemporary feminist discourse, especially as it concerns the question of the possibility of a feminine discourse and an outside of the phallocentric system of signs. That intersection illuminates both how Brooke-Rose is reading the ancient sources as well as what are arguably some of the limitations of her writing in contrast to the ethical commitments of feminisms. Finally, the third chapter is a reading of Anne Carson’s Economy of the Unlost, a text that is perhaps better known than the texts treated in the previous two chapters, at least in the Anglophone world, but which has nonetheless been fairly disregarded in the scholarship. The chapter provides a rigorous analysis of the “work” of this text, of what it does and how it does it, as the scholarship on Carson’s work has failed to posit or satisfactorily respond to the important questions regarding what constitutes the undeniable originality of her writing. In this particular book, which combines academic and poetic discourses into a new form that partakes of both, Carson proposes a comparative mode of making meaning that cannot be captured with a structural analysis of inter- or -trans- textuality, as the previous two chapters construed the vertical dimension of the schema. Instead, the theory of metaphor developed by Paul Ricoeur provides the appropriate tool to imagine the vertical dimension of the schema and analyze Carson’s exercise in bringing an ancient and a modern author together. This particular construction of the schema brings into the terrain of classical reception the possibility of interpretating comparative works that do not fit nicely within the theoretical margins of this subfield of classical studies. Finally, the chapter provides the occasion to trace another aspect of the schema, its other axis of transcendence, which is the “I” of interpretation.