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 relatives are depicted within the paintings of all 3 significant Greek tragic playwrights—Aeschylus, Sophocles, and Euripides—the participants make clear the workings and failings of the Greek polis, and discover the potential during which sexual distinction and town take form relating to one another. the amount enhances and expands the efforts of present feminist interpretations of Antigone and the Oresteia via contemplating the meanings of tragedy for historical Athenian audiences whereas additionally unveiling the reverberations of Greek tragedy’s formulations and dilemmas in glossy political lifestyles and for modern political philosophy.
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Extra resources for Bound by the City: Greek Tragedy, Sexual Difference, and the Formation of the Polis
The character of Eteocles in Aeschylus’ Seven against Thebes. In Oxford readings in Aeschylus, trans. and ed. M. Lloyd, 141–73. Oxford: Oxford University Press. German publication 1962. Gagrin, Michael. 1976. Aeschylean drama. Berkeley and Los Angeles: University of California Press. Girard, René  1977. Violence and the sacred. Trans. P. Gregory. Baltimore: Johns Hopkins Press. Goff, Barbara E. 1988. The shields of Phoenissae. Greek, Roman and Byzantine Studies 29: 135–52. Hutchinson, Gregory O.
For the plot type, see Schmitt 1921, O’Connor-Visser 1987, Wilkins 1990. 42. The authenticity of this passage has often been challenged, but for a convincing defense with full bibliography, see Mastronarde 1978 and Mastronarde 1994, on 1104–40. 43. The fullest and richest analysis of the Aeschylean “shield scene” is provided by Zeitlin 1982. Regarding the description of the shields in Phoenician Women, interesting and partially contrasting approaches can be found in Saïd 1985, 506–09; Foley 1985, 128; and Vidal-Naquet 1988, 299–300—all emphasizing deconstructive indecipherability; and Goff 1988, the most detailed and demanding interpretation, in which reading the signs and discovering how they turn against their bearers is a way for the spectator to elaborate, rather than resolve, the complex relation of this scene to the central concerns of the play.
Indeed, there is in the emergence of this new and powerful Antigone a curious dynamic at work. It is as if when Jocasta dies, Antigone is able fully to come to life. This sense of Antigone’s new-won agency and independence should not, however, obscure the fact that she is making an enormous sacriﬁce by renouncing marriage and Thebes. Oedipus himself underlines this fact in his initial hesitations to accept his daughter’s offer to accompany him into exile (1683–86): Oedipus: Daughter, although I praise your concern…39 Antigone: What if I married and you went into exile alone, father?