The topic of the thesis is epistemic certainty and uncertainty in Sophocles’ Ajax. Epistemic certainty refers to the quality of a character’s knowledge. I coined the term to describe the aspects of the play which seemed to explain this gap between Ajax’s actual and perceived character. Ajax is typically assessed by scholars as a character who makes decisions purely on the basis of self-assertion in the pursuit of glory. My thesis challenges this view, which has become a point of near-consensus among scholars. This effort differs from other studies of the Ajax in that it acknowledges the existence of both paradigms of action and personality: based either on the reason or the will. I conclude that Ajax acts on the basis of reason, but misleads other characters (and the audience) because of the dynamics of epistemic certainty and uncertainty. I view the Ajax as deliberately thematizing these dynamics of knowledge for the sake of provoking reflective thinking and discussion about this phenomenon in the play’s audience. At the same time, it pursues this investigation while preserving the expanded scope of recent works on the Ajax to include its implications for the play’s marginal characters, particularly Tecmessa and the Chorus. To that end, the investigation encompasses the entirety of the play while still addressing a major aspect of criticism concerning Ajax himself. Meanwhile, I describe how these two planes of engagement, that is, being epistemically certain or uncertain, mimic the condition of theatre-goers (or readers) as they move from being an audience member, an objective observer, to someone implicated in the action of their own lives once the play has ended. / Thesis / Master of Arts (MA) / The topic of the thesis is epistemic certainty and uncertainty in Sophocles’ Ajax. Epistemic certainty refers to the quality of a character’s knowledge. I chose the topic because I was curious about the assessment of Ajax among scholars as a character who makes decisions purely on the basis of self-assertion in the pursuit of glory. The topic thus challenges what has become a point of near-consensus among scholars. This effort differs from other studies of the Ajax in that it acknowledges the existence of both paradigms of action and personality: based either on the reason or the will. It pursues this investigation while preserving the expanded scope of recent works on the Ajax to include its implications for the play’s marginal characters, particularly Tecmessa and the Chorus. To that end, the investigation encompasses the entirety of the play while still addressing a major aspect of criticism concerning Ajax himself.

In this thesis, I argue that Sophoclean characters take shape through a number of different kinds of interaction. On the most basic level, interaction occurs between characters; interactions between characters, however, provide a framework for interactions between those characters and a variety of more abstract concepts. These interactions, by allowing characters to situate themselves with respect to concepts such as, for example, the social roles which shape the society of the play, provide a more complex picture of the personalities depicted onstage; a fuller view of Antigone’s personality, for example, emerges both from her own interactions with the concept of sisterhood and from the differences between her interactions with that concept and Ismene’s. At the same time, these interactions involve the audience in both the construction and the interpretation of Sophoclean characters; as they watch figures interact with each other onstage, the audience, in turn, interact with their own prior knowledge of the concepts which drive the characters of a play. In my five chapters, I discuss five different areas of interaction. In my first chapter, I look at interactions between characters and myth, arguing that Sophoclean characters emerge out of a tension between novelty and familiarity. In my second chapter, I discuss the interactions between characters and their social roles, looking at the problem of appropriate role performance as it applies to Sophoclean characters. My third chapter deals with characters and their memories; I argue that Sophoclean characters shape and are shaped by their memories of past events depending on shifting present circumstances. In my fourth chapter, I discuss the interactions between characters and the passage of time and suggest that Sophoclean figures are characterized by the ways in which they move through time and respond to its passage. In my final chapter, I look at the use of general statements by Sophoclean characters, arguing that the ability of characters to generalize successfully provides a useful measure of their ability to function in the world of the play.

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.

A presente pesquisa tem a finalidade de traduzir as passagens líricas de três tragédias de Sófocles, As Traquínias, Ájax e Antígona, e analisá-las do ponto de vista dos elementos de gênero nelas encontrados e dos metros e estrofes que compõem sua estrutura. Na parte introdutória do trabalho, a cronologia das peças elegidas e as características de forma e conteúdo que apresentam em comum são discutidas com o fim de se mostrar que, se não formam um primeiro grupo de tragédias, como pretendem alguns autores, seriam ao menos as mais antigas dentre as peças supérstites de Sófocles. O primeiro capítulo da primeira parte da dissertação estabelece uma comparação entre os metros e os tipos de estrutura estrófica empregados nos poemas sob análise e aqueles presentes nas composições dos poetas líricos não dramáticos. O segundo capítulo divide-se em cinco seções, cada uma com um poema tomado como caso de estudo para por em questão um gênero determinado e a sua relação com o poema escolhido: (i) o párodo d\'As Traquínias (hinos e preces da tradição grega); (ii) o canto monostrófico (205-24) da mesma peça (ditirambo, peã e cantos nupciais [hymenaios, epithalamios]); (iii) o primeiro estásimo também dessa tragédia (odes epinícias); (iv) o seu segundo estásimo (canção de boas-vindas [prosphonetikon]); (v) e o primeiro kommós (806-82) de Antígona (lamento fúnebre [threnos]). As traduções das passagens elegidas, antecedidas por uma nota a respeito de seus critérios, formam a segunda parte da dissertação, que se finda então com as considerações finais, que buscam dar maior unidade ao trabalho, relacionando não só os dois capítulos da primeira parte, mas os poemas não tratados de modo específico naquelas cinco seções dessa primeira parte com os temas nela trabalhados ao longo da pesquisa. Como apêndice ao trabalho há a escansão de todos os poemas traduzidos e um glossário com todos os metros encontrados nos poemas, sua classificação e abreviatura. / The present research aims to translate the lyrical passages of three Sophoclean tragedies, Trachiniae, Aias, Antigone, and analyze them in terms of the elements of genre found therein and of the strophes and meters that make up its structure. In the introductory part of the work, the chronology of the selected plays and the form and content features they have in common are discussed so as to demonstrate that, if they do not constitute a first group of tragedies, as some authors claim, they should at least be placed among the oldest extant plays by Sophocles. The first chapter of the first part of the dissertation provides a comparison between the meter and the types of strophic structure employed in the poems under consideration and those present in the compositions of non-dramatic lyric poets. The second chapter is divided into five sections, each with a poem taken as a case study concerning a particular genre and its relationship with the poem chosen: (i) the parodos of Trachiniae (hymns and prayers of the Greek tradition); (ii) the monostrophic song (205-24) of the same play (dithyramb, paian and wedding-song [hymenaios, epithalamios]); (iii) the first stasimon also of this tragedy (epinician odes); (iv) its second stasimon (welcome-song [prosphonetikon]), (v) and the first Antigones kommos (806-82) (dirge [threnos]). The translations of the selected passages, prefaced by a note regarding their criteria, form the second part of the dissertation, which then ends with concluding remarks that seek to give greater unity to the work, relating not only the two chapters of the first part, but also the poems not treated specifically in those five sections of the first part with the themes that were elaborated there during the research. As an appendix to this work there is a scansion of all translated poems and a glossary with all meters found in the poems, their classification and abbreviation.

A presente pesquisa tem a finalidade de traduzir as passagens líricas de três tragédias de Sófocles, As Traquínias, Ájax e Antígona, e analisá-las do ponto de vista dos elementos de gênero nelas encontrados e dos metros e estrofes que compõem sua estrutura. Na parte introdutória do trabalho, a cronologia das peças elegidas e as características de forma e conteúdo que apresentam em comum são discutidas com o fim de se mostrar que, se não formam um primeiro grupo de tragédias, como pretendem alguns autores, seriam ao menos as mais antigas dentre as peças supérstites de Sófocles. O primeiro capítulo da primeira parte da dissertação estabelece uma comparação entre os metros e os tipos de estrutura estrófica empregados nos poemas sob análise e aqueles presentes nas composições dos poetas líricos não dramáticos. O segundo capítulo divide-se em cinco seções, cada uma com um poema tomado como caso de estudo para por em questão um gênero determinado e a sua relação com o poema escolhido: (i) o párodo d\'As Traquínias (hinos e preces da tradição grega); (ii) o canto monostrófico (205-24) da mesma peça (ditirambo, peã e cantos nupciais [hymenaios, epithalamios]); (iii) o primeiro estásimo também dessa tragédia (odes epinícias); (iv) o seu segundo estásimo (canção de boas-vindas [prosphonetikon]); (v) e o primeiro kommós (806-82) de Antígona (lamento fúnebre [threnos]). As traduções das passagens elegidas, antecedidas por uma nota a respeito de seus critérios, formam a segunda parte da dissertação, que se finda então com as considerações finais, que buscam dar maior unidade ao trabalho, relacionando não só os dois capítulos da primeira parte, mas os poemas não tratados de modo específico naquelas cinco seções dessa primeira parte com os temas nela trabalhados ao longo da pesquisa. Como apêndice ao trabalho há a escansão de todos os poemas traduzidos e um glossário com todos os metros encontrados nos poemas, sua classificação e abreviatura. / The present research aims to translate the lyrical passages of three Sophoclean tragedies, Trachiniae, Aias, Antigone, and analyze them in terms of the elements of genre found therein and of the strophes and meters that make up its structure. In the introductory part of the work, the chronology of the selected plays and the form and content features they have in common are discussed so as to demonstrate that, if they do not constitute a first group of tragedies, as some authors claim, they should at least be placed among the oldest extant plays by Sophocles. The first chapter of the first part of the dissertation provides a comparison between the meter and the types of strophic structure employed in the poems under consideration and those present in the compositions of non-dramatic lyric poets. The second chapter is divided into five sections, each with a poem taken as a case study concerning a particular genre and its relationship with the poem chosen: (i) the parodos of Trachiniae (hymns and prayers of the Greek tradition); (ii) the monostrophic song (205-24) of the same play (dithyramb, paian and wedding-song [hymenaios, epithalamios]); (iii) the first stasimon also of this tragedy (epinician odes); (iv) its second stasimon (welcome-song [prosphonetikon]), (v) and the first Antigones kommos (806-82) (dirge [threnos]). The translations of the selected passages, prefaced by a note regarding their criteria, form the second part of the dissertation, which then ends with concluding remarks that seek to give greater unity to the work, relating not only the two chapters of the first part, but also the poems not treated specifically in those five sections of the first part with the themes that were elaborated there during the research. As an appendix to this work there is a scansion of all translated poems and a glossary with all meters found in the poems, their classification and abbreviation.

The work seeks to gain an understanding of the concept of spirit in Hegel's Phenomenology of Spirit. The objective will be met by means of Hegel's interpretation of Sophocles' Antigone and Diderot's Rameau's Nephew. In its most immediate form the spirit appears as an organically structured whole which Hegel identifies with the Greek ethical substance. Superficially this substance is conceived as a harmonious organism; in reality - as Antigone's and Creon's paradigmatic conflict shows - it is beset by inner conflicts. The once unitary and organically structured spirit decomposes into individual forms of consciousness during the Roman period and develops in further course into a subject freed from anything substantial. It is in this course of the spirit evolving into a subject that Hegel presents his interpretation of Rameau's Nephew. Rameau represents the self-negating and self-destructive spirit, who has completely identified with Antigone's and Creon's revolt and has lost the capability of accepting anything not issuing from his consciousness. The last part of the work presents the spirit as a movement seeking to encompass both of these extremes, i.e. the extreme of the substance devoid of subject as well as the extreme of subject negating the substance. In the context of the Phenomenology of...

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-10-06T13:49:24Z No. of bitstreams: 2 Dissertação - Poliane da Paixão Gonçalves Pinto - 2013.pdf: 1022151 bytes, checksum: 596a95b7b00ba9fe148e80139903e5a1 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-10-06T15:43:55Z (GMT) No. of bitstreams: 2 Dissertação - Poliane da Paixão Gonçalves Pinto - 2013.pdf: 1022151 bytes, checksum: 596a95b7b00ba9fe148e80139903e5a1 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-06T15:43:55Z (GMT). No. of bitstreams: 2 Dissertação - Poliane da Paixão Gonçalves Pinto - 2013.pdf: 1022151 bytes, checksum: 596a95b7b00ba9fe148e80139903e5a1 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-08-30 / Héracles is a very well known character of mythological narratives, its fame hasn’t been limited by the antiquity, even with all its popularity, it isn’t possible to define the mythological origin of this mythological hero. This research was limited to the understanding of how Heracles’ representation was used during the tragedies of the classic period. In order to accomplish it, the following data and pieces of work were used: Alcestis e Héracles de Euripides, e The Trachiniae e Philoctetes de Sóphocles - one of the few tragedies that were conserved along the time, using the image of this hero. This study points out the relevance of the tragic presentation activeness, its relation with the polis, as well as with the hero (representative of the political community), accomplishes, when it comes to its divine nature, the integration of social roles in a moment of war between the polis. / Héracles é um conhecido personagem das narrativas míticas, sua fama não se limitou a antiguidade, mesmo com toda sua popularidade não é possível definir a origem do mito deste herói intrigante. Esta pesquisa se limitou a entender como a representação de Héracles foi utilizada nas tragédias do período clássico. Para realizar tal intento usamos como fontes as obras trágicas: Alceste e Héracles de Eurípides, e As Traquínias e Filoctetes de Sófocles, umas das poucas tragédias que se conservaram e que utilizam da imagem deste herói. O estudo aponta a relevância do funcionamento das apresentações trágicas, sua associação com a polis e como o herói, representante da comunidade política, cumpre, em função de sua natureza divina, a incorporação de papéis sociais em um momento de guerra entre as poleis.

This dissertation investigates rhetoric and prudence in Sophocles through close readings of Antigone, Ajax, Philoctetes, and Oedipus at Colonus. Central to the project is a reconstruc-tion of a uniquely Sophoclean conception of prudence as “good sense”; good sense is distinguished from traditional conceptions of prudence as an inter-subjective capacity for good judgment that is born of experience and chance. The study finds that while good sense and persuasive rhetoric are occasionally paired, they are frequently divorced from one another. Thus, in place of heroic conflicts and tragic failings, these readings present an alternative tragic tension between the persuasive yet often solipsistic speech of heroes and protagonists and the good sense of marginalized characters. This project is situated within the “turn to rhetoric” in contemporary democratic theory; in this context, it presents Sophocles as a novel and under-theorized resource in three overarching ways. First, his dramas were performed in a democratic context and gave voice to perspectives otherwise marginalized within the polis; in this respect he offers more inclusive democratic resources than his Athenian contemporaries. Second, these plays offer sobering insight into the impact of contingency in shaping rhetorical contexts. They reveal that overconfidence in rhetorical technē underestimates the extent to which successful persuasion is often aligned with chance and social advantage. Third, he draws attention to pervasive structural inequalities that work against and silence good sense. In this final respect the plays themselves are considered as didactic resources that cultivate reflective judgments and good sense in the spectator and reader.

This dissertation investigates rhetoric and prudence in Sophocles through close readings of Antigone, Ajax, Philoctetes, and Oedipus at Colonus. Central to the project is a reconstruc-tion of a uniquely Sophoclean conception of prudence as “good sense”; good sense is distinguished from traditional conceptions of prudence as an inter-subjective capacity for good judgment that is born of experience and chance. The study finds that while good sense and persuasive rhetoric are occasionally paired, they are frequently divorced from one another. Thus, in place of heroic conflicts and tragic failings, these readings present an alternative tragic tension between the persuasive yet often solipsistic speech of heroes and protagonists and the good sense of marginalized characters. This project is situated within the “turn to rhetoric” in contemporary democratic theory; in this context, it presents Sophocles as a novel and under-theorized resource in three overarching ways. First, his dramas were performed in a democratic context and gave voice to perspectives otherwise marginalized within the polis; in this respect he offers more inclusive democratic resources than his Athenian contemporaries. Second, these plays offer sobering insight into the impact of contingency in shaping rhetorical contexts. They reveal that overconfidence in rhetorical technē underestimates the extent to which successful persuasion is often aligned with chance and social advantage. Third, he draws attention to pervasive structural inequalities that work against and silence good sense. In this final respect the plays themselves are considered as didactic resources that cultivate reflective judgments and good sense in the spectator and reader.

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in Comparative Literature." Includes bibliographical references (p. 146-154).