A tragédia grega As bacantes, de Eurípides, considerada de grande relevância, não apenas literária e teatral, mas, sobretudo, histórica e política, é analisada, nesta dissertação, sob o viés mítico-social, observando-se os diálogos que o poeta estabelece entre um aspecto do passado mítico de sua cultura e seu próprio tempo. Para tal, apresenta-se uma pesquisa acerca do momento histórico da tragédia grega, abordando seu intrínseco valor político, discussões teóricas a respeito de suas características, suas origens, os três principais tragediógrafos e sua recepção, bem como um olhar específico sobre Eurípides e seu legado. Na obra de arte em questão, ressaltamos, em especial, a relação entre as personagens Dioniso e Penteu, como indicadoras dos debates acerca do que se considera civilizado, selvagem ou bárbaro. A esse respeito, verificamos, ainda, pelo lugar de cultura tradicionalmente ocupado por Apolo, em também tradicional oposição a Dioniso, diferentes considerações sobre civilizado, selvagem e bárbaro, bem como a indissociabilidade entre barbárie e civilização, podendo ser balizados conforme valores políticos preponderantes. Tal indissociabilidade consiste na coexistência de elementos de barbárie e de civilização tanto em Dioniso quanto em Apolo, tomados como parâmetros arquetípicos dentro de uma sociedade / Euripides Greek tragedy Bacchae, highly praised for its relevance not only literary and theatrical, but specifically historical and political is analyzed throughout this thesis with a mythic-social idiosyncrasy, by perceiving the inter-established dialogs between the aspect of the poet's own cultural mythic past and his living epoch. Thus, presented is a research about Greeks tragedy historical moment, its intrinsic political value and theoretical discussions upon its characteristics, origins, its three most important play writers and its reception, as well as a specific examination over Euripides and his legacy. In the selected work of art we have mainly observed the relationship between the characters of Dionysos and Pentheus, as debate gauges around what is considered to be civilized, wild or barbaric. In this regard, we uphold, through the position of culture traditionally occupied by Apolo, in traditional as well opposition to Dionysos, different considerations about civilized, wild and barbaric, as well as the indissoluble connection between barbarism and civilization, concepts that can be delimited according to ruling political values. Such inseparable connection consists in the coexistence of barbaric and civilized elements, both in Dionysos as in Apolo, taken after archetypal parameters within a society

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-03-04Bitstream added on 2014-06-13T19:53:04Z : No. of bitstreams: 1 rodrigues_ma_me_arafcl.pdf: 571739 bytes, checksum: 5eaf122d53bb9df3d22f6140a3da35a3 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Quando a rainha Atossa inicia sua explanação sobre um presságio concebido em sonho, o público helênico sentia o alívio de não ser ele a passar por aqueles momentos de angústia, mas também, através das palavras de Ésquilo, se impressionou com o relato e desespero que davam o mote inicial à única tragédia baseada em fatos históricos a chegar até nós: Os Persas (472 a.C.). A mais antiga tragédia grega de que se tem notícia é, também, o relato de um momento único e crucial na história do povo grego, que garantia a continuidade de sua tão valorosa liberdade e o início de uma nova forma de pensar e agir. Na tragédia Os Persas, ao introduzir alguns dos valores de sua época, Ésquilo demonstra os motivos pelos quais os gregos merecem a vitória e quais são as falhas cometidas pelos persas. Sendo assim, a noção de hybris (a soberbia), um desvio na conduta do homem em relação ao seu equilíbrio com as divindades, é tida como justificativa para os atos de Xerxes que, segundo o tragediógrafo, tornavam-se cada vez mais envoltos nas redes que a Áte (a divindade Erronia) cria aos propensos à ruína. Dessa forma, a dissertação se propõe a analisar a tragédia Os Persas verificando os aspectos que justificam a presença da hybris em Xerxes e, por consequência, a derrota nas Guerras Médicas / When Queen Atossa begins her explanation of an omen conceived in a dream, hellenistic audience felt relief of not it is going through those moments of anguish, but also through the words of Aeschylus, was impressed with the report and despair that gave the tone to the original single tragedy based on historical facts reach us: Persians (472 BC). The earliest of Greek tragedy that notice is also the story of a unique and crucial moment in history of the Greek people, which guarantee the continuity of your so valuable freedom and the beginning of a new way of thinking and acting. In Persians, by introducing some of the values of his era, Aeschylus demonstrates the reasons why the Greeks deserve to win and which are the faults committed by the Persians. Thus, the notion of hybris, (the arrogance) a shift in the man's conduct in relation to their balance with the gods, is taken as justification for acts of Xerxes, according to the tragedian, became increasingly enveloped networks that Áte (the divinity Erroneous) to create likely to ruin. Thus, the work aims to analyze the tragedy Persians checking the features that justify the presence of hybris in Xerxes and therefore, losing the Persian Wars

A tragédia grega As bacantes, de Eurípides, considerada de grande relevância, não apenas literária e teatral, mas, sobretudo, histórica e política, é analisada, nesta dissertação, sob o viés mítico-social, observando-se os diálogos que o poeta estabelece entre um aspecto do passado mítico de sua cultura e seu próprio tempo. Para tal, apresenta-se uma pesquisa acerca do momento histórico da tragédia grega, abordando seu intrínseco valor político, discussões teóricas a respeito de suas características, suas origens, os três principais tragediógrafos e sua recepção, bem como um olhar específico sobre Eurípides e seu legado. Na obra de arte em questão, ressaltamos, em especial, a relação entre as personagens Dioniso e Penteu, como indicadoras dos debates acerca do que se considera civilizado, selvagem ou bárbaro. A esse respeito, verificamos, ainda, pelo lugar de cultura tradicionalmente ocupado por Apolo, em também tradicional oposição a Dioniso, diferentes considerações sobre civilizado, selvagem e bárbaro, bem como a indissociabilidade entre barbárie e civilização, podendo ser balizados conforme valores políticos preponderantes. Tal indissociabilidade consiste na coexistência de elementos de barbárie e de civilização tanto em Dioniso quanto em Apolo, tomados como parâmetros arquetípicos dentro de uma sociedade / Euripides Greek tragedy Bacchae, highly praised for its relevance not only literary and theatrical, but specifically historical and political is analyzed throughout this thesis with a mythic-social idiosyncrasy, by perceiving the inter-established dialogs between the aspect of the poet's own cultural mythic past and his living epoch. Thus, presented is a research about Greeks tragedy historical moment, its intrinsic political value and theoretical discussions upon its characteristics, origins, its three most important play writers and its reception, as well as a specific examination over Euripides and his legacy. In the selected work of art we have mainly observed the relationship between the characters of Dionysos and Pentheus, as debate gauges around what is considered to be civilized, wild or barbaric. In this regard, we uphold, through the position of culture traditionally occupied by Apolo, in traditional as well opposition to Dionysos, different considerations about civilized, wild and barbaric, as well as the indissoluble connection between barbarism and civilization, concepts that can be delimited according to ruling political values. Such inseparable connection consists in the coexistence of barbaric and civilized elements, both in Dionysos as in Apolo, taken after archetypal parameters within a society

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 tragédia Hipólito de Eurípides é lida e analisada, sob o aspecto da paixão e sob as diversas perspectivas em que essa paixão se reflete e refrange. Hipólito incorre em hybris ao tratar a deusa Afrodite como a uma mulher mortal, pois não compreendeu que essa divindade deve ser respeitada e exige honras. Fedra apresenta-se como uma mulher que, dominada pela paixão por seu enteado Hipólito, incessantemente busca evitá-la e livrar-se dela; contudo, a rainha oscila nesse desejo amoroso, pois suas falas delirantes revelam desejos eróticos ocultos. Dotada de capacidade reflexiva e especulativa sobre a ação humana, ela é, no entanto, enganada pelo sofisticado discurso de sua aia. Examina-se ainda o longo discurso de Hipólito, que o mostra a odiar as mulheres e a desejar ora que não existissem, ora que não empregassem a linguagem verbal. A carta, deixada por Fedra ao suicidar-se, encontrada junto a seu cadáver, ganha, com a morte, ressonância como ponto de apoio da acusação contra Hipólito. Teseu comporta-se como um mau leitor desse documento e de seu contexto, ao pronunciar um injusto julgamento. A tradução, que acompanha o presente estudo analíticointerpretativo, serve-lhe tanto de fundamentação quanto de complemento e de esclarecimento, por ser-lhe simultânea na sua gênese e solidária na sua intenção. / The tragedy Hippolytus, by Euripide, is read and analysed, under the aspect of passion, and the different perspectives in which this passion reflects and refracts. Hippolytus incurs a hybris when he treats the goddess Aphrodite as a mortal woman, because he was not able to understand that this divinity must be respected and that she requires honors. Phaedra presents herself as a woman who, dominated by passion for his stepson Hippolytus, incessantly tries to avoid this feeling and get rid of it; however, the queen oscilates in this desire, since her delirious speeches reveal hidden erotic desires. Being able both to reflect and to especulate about human action, she is, however, cheated by the sophisticated discourse of her nurse. Hippolytus\'s long speech is examined, what shows him hating women, and, at the same time, desiring now that they don\'t exist at all, now that they couldn\'t use verbal language. The letter left by Phaedra when she commited suicide and which was found beside her corpse, assumes, with her death, the meaning of point of support for the accusation of Hippolytus. Theseus acts as a misreader of this document and its context, pronouncing an unfair judgment. The translation that follows the present analytic-interpretative study, works both as its basis and its complementation and explanation, since it is simultaneous to the study in its genesis and solidary in its intention.

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

No description available.

The Greek tragedies of Classical Athens frequently portray mothers in central roles, but despite this significance, the relationship between mother and child has long been overshadowed in secondary scholarship by the relationship between husband and wife. This study demonstrates the direct relationship between a female character's active possession of her children and her autonomy, or her ability to act in her own interests, in three plays of Euripides: Electra, Medea, and Ion. In general, women who internalize their ownership of their children, expressed on stage both in word and action, have greater influence over the men around them and the power to enact the revenge they desire. Once their ends have been achieved, however, these tragic mothers often devalue their relationship with their children, leading to a decrease in power that restores the supremacy of the patriarchal order. Within this broad framework, Euripides achieves different results by adjusting aspects of this cycle of maternal empowerment. The Electra follows this outline just as its predecessor the Oresteia does; however, Euripides invents a fictional child for Electra, extending the concept of maternal empowerment to Electra and defining Clytemnestra as both mother and grandmother. In Medea, Euripides demonstrates the significance of Medea's children to her power, and Medea does devalue her children enough to destroy them, the source of her influence, but she is not punished and cannot be reabsorbed into the patriarchal structure, which leaves an audience with a heightened sense of anxiety at the threat of maternal empowerment. Finally, the Ion initially demonstrates a cycle similar to Medea: empowered by her ownership of the child she believes she has lost, Creusa attempts revenge against the young man who threatens her but is in fact her lost son. In the end, however, Creusa uses her empowerment to achieve recognition between mother and son and voluntarily relinquishes her ownership, resulting in a peaceful reabsorption into patriarchal society and a happy ending. Despite the variations on this cycle presented by Euripides, one theme persists: motherhood was both empowering and threatening, and it required strict male control to avoid tragic results. Thus as scholars of tragedy, we cannot ignore the mother-child relationship, not only for its power to illuminate the feminine, but also for its capacity to reveal the vulnerabilities of the masculine.

The Iliad and Heike monogatari are each seen as seminal pieces of literature in Greek and Japanese culture respectively. Both works depict famous wars from which subsequent generations of warriors, poets, and other artists in each society drew their inspiration for their own modes of conduct and creation. While neither work is emphatically pro-war, both were used extensively by the warrior classes of both cultures to reinforce warrior culture and to inculcate proper battlefield behavior. In spite of this, however, both tales contain a strong undercurrent of anti-war sentiment which contrasts sharply with their traditionally seen roles of being tales about warriors and their glorious deeds. This thesis examines these works and details the presence of anti-war sentiment while also highlighting its emergence to greater prominence in later works found within the genres of Greek tragedy and nō theater. Ultimately, the Iliad and Heike monogatari act as foundational sources of anti-war sentiment for the later dramatic works, which poets of both cultures used to decry the woeful effects of war on both combatants and the innocent. By examining the presence of anti-war sentiment in two cultures that share surprising similarities but are widely separated by geography and chronology, we are presented with both a broader and deeper understanding of the effects of warfare on society and of the historical responses of citizen populations to events in war.

The cultural ascendency of Athens during the fifth century BC involved the production of works of tragedy. Among the purposes of tragedies was the moral education of Athenian society. The democratic organization of Athens meant that the polis was predicated upon the political and social contributions of adult, citizen men. Given these features, it is all the more striking that male suicide, so apparently destructive of these goods, is mainly depicted positively throughout Attic tragedy. The presence of these moments in the tragedies suggests that the Athenians intended to model positive meaning through these representations. The aim of this study is to show how the framing of male suicide in tragedy mimicked Athenian ideals of civic duty and civic pride that were the products of an increasing cultural hegemony during the Peloponnesian War. The findings of this thesis will demonstrate that the Athenians engaged with the issues of government, self-sacrifice, and social contribution through the performances of male suicide at the City Dionysia. / Thesis / Master of Arts (MA) / During the Peloponnesian War in the fifth century BC, the ancient Greek city of Athens produced a number of works of tragedy. These plays were part of Athens’ cultural ascendancy during this period, and were intended to contribute to the moral education of Athenian citizens. As this citizen body was made up of adult men, it is striking that one seemingly destructive aspect of Greek tragedy, that of male suicide, is depicted positively throughout the surviving plays. This thesis will demonstrate that the ancient Athenians portrayed male suicide in a particular way in tragedy in order to glorify cultural ideals of civic duty and civic pride during this period.