By Denise Eileen McCoskey
This assortment deals a colourful exploration of the bonds among sexual distinction and political constitution in Greek tragedy. In taking a look at how the acts of violence and tortured kinship kin are depicted within the paintings of all 3 significant Greek tragic playwrights—Aeschylus, Sophocles, and Euripides—the individuals make clear the workings and failings of the Greek polis, and discover the ability in which sexual distinction and the town take form in terms of one another. the quantity enhances and expands the efforts of present feminist interpretations of Antigone and the Oresteia by way of contemplating the meanings of tragedy for historic Athenian audiences whereas additionally unveiling the reverberations of Greek tragedy’s formulations and dilemmas in sleek political existence and for modern political philosophy.
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Additional info for Bound by the City: Greek Tragedy, Sexual Difference, and the Formation of the Polis
A second Messenger reports the brother’s mutual wounding, the arrival of mother and sister in time just to witness and mourn their pathetic deaths, and Jocasta’s subsequent suicide. He then tells us that Antigone withdrew when the armies renewed their battle (1465) and that she is returning, now that Thebes has prevailed, with the soldiers who bear her brothers’ corpses (1476). This hardly prepares us, however, for her entrance leading that procession as a self-proclaimed “bacchant of the dead” (1489).
30. 31. 32. 41 Euripides’ own Antigone offered an alternative version of the legend in which she secretly married Haemon (who was charged by Creon with her execution) and bore him a son. We must always bear in mind that versions of myths that seem entirely canonical to us need not have had that status in the fifth century. For arguments designed to show that this scene directly influenced the putative interpolator of the final scene in Seven Against Thebes, See Hutchinson 1985, on 1005–78. 161–242, where Helen, standing on the battlements of Troy, identifies the leaders of the Greek army to Priam.
In any case, that this sort of intertextual relation among multiple tragedies should not be regarded as exceptional but rather as part of the way Greek tragedy works is clear from surviving lists of titles that permit us to deduce a very large number of cases of multiple adaptations of the same legendary subjects for the tragic stage. See Burian 1997, 183–84. For an overview of the complex transmission of the story of the Seven, see Cingano 2002. 2. Seven Against Thebes was produced in 467 BCE; the date of Phoenician Women is uncertain but is most likely to fall between 411 and 409; see Mastronarde 1994, 11–14.
Bound by the City: Greek Tragedy, Sexual Difference, and the Formation of the Polis by Denise Eileen McCoskey