Search

In this article, I am looking into the question of what the scholia on theByzantine triad of Sophocles by Manuel Moschopoulos contain and what understanding and possibly emending them entails.In particular, I consider the comments on Sophocles’ Electra (vv. 823–825), which are preserved in the so-called Moschopouleanmanuscripts of Sophocles, and discuss techniques of textual criticism with regard to Scholion Σ_2 for the expressionφαέθων Ἅλιος (vv. 823–824). In the first part, I will briefly describe the context in which these verses are to be found. In thesecond part, I edit, for the first time, the marginal scholia and the interlinear glossae on these verses with a few notes and(where necessary) translations. I also emphasize the relationships between the Moschopoulean manuscripts of Sophocles.Finally, I examine various literary sources and exegetical material from different eras in order to determine whether the expressionκαὶ ὁ ἕτερος τῶν ἵππων αὐτοῦ, applied to Phaethon in the manuscripts, is justifiable.

"Exclusion in Sophocles" dass Exklusion als Motiv sich durch alle erhaltenen Sophoklesstücke zieht nebst einiger der längeren Fragmente. Auffällig ist die Vielfalt des Motivs, welches sich auf einen Ausschluss aus der Familie (Elektra), der Stadt (Ödipus-Dramen), der Armee (Philoktet), der Gemeinschaft der Menschen (Tereus) und noch vieles Weitere bezieht. Diese Arbeit sammelt, ordnet und analysiert sophokleische Exklusionsszenarien. Insbesondere wird der Gebrauch von Tropologien des Un/Menschlichen in der extrinsischen Charakterisierung der tragischen Protagonisten herausgestellt sowie damit verbundene Metaphern des Pathologischen, Monströsen, Bestialen und sog. Primitiven als Marker und Auslöser von strukturellen Exklusionen. Dabei wird das Exklusionsmotiv nicht als vollendete Tatsache erfasst, sondern als dynamischer und sich teilweise über ganze Plots hinweg erstreckender Prozess, als Narrativ eines ehemals gut Eingegliederten und von der Gemeinschaft nach und nach Exkludierten. Gleichwohl diese Entwicklung vom tragischen Protagonisten in eloquenten und selbstdarstellerischen Reden vehement kritisiert wird, erwächst im Bereich der Metaphern und rhetorischen Bildsprache der Gemeinschaft eine regelrechte Ausradierung und Neuzuweisung seiner Identität. Durch eine vergleichende Gegenüberstellung beider Standpunkte stellt sich heraus, wie tiefgreifend die als Exkludierend handelnde Gemeinschaft in das Vorantschreiten des tragischen Geschehens involviert ist und die Dramen eben nicht nur—wie in zahlreichen Forschungsstandpunkten festgehalten—die Manci des Exkludierten Protagonisten als moralische Fabel vorführen., Social exclusion as a literary theme is common to all of Sophocles' fully extant plays as well as some of the longer fragments. The variety of settings is wide, between exclusion from the family like for example in Electra, exclusion from the city as in the case of Oedipus, from a regiment of the armed forces like in Ajax or Philoctetes, or even humankind, like with Tereus. This inquiry sets out to present, taxonomize and unpack Sophoclean discourses of exclusion and their attaining literary tropes of the pathological, the bestial, the brutish, the monstrous, and the so-called uncivilized. The aim is to demonstrate how deeply implicated the whole cast of characters and their language are in the process of a tragedy unfolding, rather than the causes of tragedy being lodged in the doings of one protagonist alone. One key point argued here is that, instead of taking 'the isolation of the tragic hero' as fait accompli, exclusion is a dynamic process that often takes up the entire plot arc of a tragedy. In the space of extrinsic characterization, it is argued that a process of rhetorical erasure and overwriting of identity takes place, where peer groups gradually dismantle a formerly well-established identity and re-assign a new and undesirable one. It is shown how the protagonists seek to resist, lament or somehow negotiate this process through long and expansive speeches of futile self-reinstatement. In the synthesis of both, it is argued that Sophocles' deployment of the theme puts a critical spotlight on the rhetorics of exclusion and its discourses of the bestial, the brutal, and especially the pathological, which embed and frame the work's overall literary, cultural and dramatic effects.

Translation of Sophocles’ Electra., Tradução da tragédia Electra, de Sófocles.

En Grèce, la systématisation des productions de pièces grecques anciennes au Théâtre National, notamment après l’inauguration du Festival d’Épidaure dans les années 1950, a introduit et recyclé un modèle interprétatif et performatif largement « classiciste » – et ce recyclage constant a ritualisé, à son tour, sa propre continuité, fixant peu à peu ce que l’on jugeait être le code performatif « authentique », à savoir un code « national », « fidèle » aux textes, significations, héros, etc., originels. Depuis les années 1980, les codes performatifs ont pu se diversifier, mais les codes interprétatifs restent essentiellement classicistes, encourageant un théâtre d’« admiration » qui voue un culte aux héros. Cet essai commence par la mise en scène d’Électre au Théâtre National de Grèce par Peter Stein en 2007. Peter Stein fut le premier metteur en scène non grec à entamer une mise en scène de la Tragédie antique pour le théâtre d’ Epidaure, avec des acteurs grecs et le Théâtre National. Sont ici aussi discutées plusieurs représentations des tragédies, européennes et grecques, pour montrer qu’un certain « classicisme » imprègne aussi la compréhension néo-hellénique de la culture grecque ancienne – c’est à dire les savoirs communément répandus sur l’Antiquité – afin de servir l’idée (et l’idéologie) d’une continuité « nationale » avec le passé antique. In Greece, the systematic production of ancient drama at the National Theatre, especially after the inauguration of the Epidauria Festival in the 1950s, introduced and recycled a largely ‘classicist’ interpretative and performative model – and this constant recycling ritualized, in turn, its own continuity, gradually establishing what was taken to be the “authentic” performative code, indeed a ‘native’ one, ‘faithful’ to the original texts, meanings, heroes etc. Since the 1980s, performative codes have become more pluralistic and yet the interpretative codes remain essentially classicist, promoting a hero-worshipping theatre of ‘admiration’. Taking as its starting point the first performance of Greek Tragedy directed by a foreign director at the Greek National Theatre, Peter Stein’s Electra by Sophocles, in 2007, the paper discusses various European and Greek performances of the play, in order to show that this classicism permeates the modern Greeks’ overall understanding of ancient Greek culture –the common knowledge of Antiquity– that is configured by/in contemporary Greek consciousness, in order to serve the idea (and the ideology) of a ‘native’ continuity with the Ancient Greek past.

ARAÚJO, Orlando Luiz de. A Reescritura da Tragédia Grega: Electra, de Sófocles, e El Reñidero, de Sergio de Cecco. Scientia Traductionis, Florianópolis, v. 10, p. 101-107, 2011. In recent decades, the opulence of rewriting and staging of Greek tragedy to contemporary stage sets for discussion the possibility of appropriation of ancient texts by modern audiences. I intend in this paper examine the process of rewriting of Greek tragedy to the contemporary scene, by comparing the plays Sophocles’ Electra and El Reñidero of Sergio de Cecco. Nas últimas décadas, a opulência das reescrituras e das encenações das tragédias gregas para o palco contemporâneo põe em debate a possibilidade de apropriação dos textos antigos pelo público moderno. Pretendo, nesta comunicação, examinar o processo de reescritura da tragédia grega para a cena contemporânea, por meio da comparação entre as peças Electra, de Sófocles, e El Reñidero, de Sergio de Cecco.

Sófocles se esfuerza por lograr una integración mayor del coro en la acción dramática, a la vez que focaliza la acción del héroe en el marco en el que éste se mueve. En los primeros versos de esta tragedia, en particular en el prólogo y en la párodos, a través de las estructuras iterativas, podemos vislumbrar las claves de los conflictos profundos de esta saga que aflorarán finalmente en la forma de matricidio. Y desde esos primeros versos, esas claves se proyectan a otros lugares de la tragedia formando un tejido complejo que arroja no poca luz sobre ella. Sophocles strove to bring about a greater integration of the chorus into the dramatic action at the same time as he focused the action on the hero's sphere. The keys to the deep conflicts of this saga, which subsequently come to the surface as a matricide, are outlined in the iterative structures of the first lines of this tragedy, in particular, in the prologos and the parodos. Such keys are projected to other parts of the text interweaving a complex network which sheds light on its meaning.

Electra's Day in the Tragedy of Sophocles. Linforth, Ivan M. / Dialogue sur les oracles de la Pythie. Plutarque. / Sagesse de Plutarque. Flacellere, Robert. / Montaigne. Muller, Armand.

Three years on from her debut novel The Amber Fury (2014), Natalie Haynes once again adapts Greek tragedy in ways designed to illuminate the psychological challenges facing teenagers and young adults. Where The Amber Fury is set in the contemporary world, The Children of Jocasta (2017) takes the readers to Bronze-Age Thebes. It retells the stories in Sophocles’ Oedipus and Antigone but from the perspectives of two women, Jocasta and Ismene, whose subjective experiences of trauma as very young women on the threshold of adulthood are too often overlooked. ColmTóibín’s novel, House of Names, is based on the myth of the house of Atreus and it uses the version told in Aeschylus’ trilogy Oresteia. It is a masterpiece beneficial especially those who have seen civil war or family trauma which are part of their experience of puberty and its aftermath. Both novels focus on the hardships and deprivations faced by the protagonists, with a ray of hope making the novels both therapeutic and emotionally sustaining.