By Anna A. Lamari
This e-book applies the fundamental rules of narratology to an historic Greek tragedy, particularly Euripides´ Phoenissae. In a play with a very wealthy plot, a narratological learn yields fascinating interpretive effects in regards to the use of fable, narrators, narrative degrees, time and area, in addition to the relation of the Phoenissae with past remedies of the Theban legendary saga.
Read or Download Narrative, Intertext, and Space in Euripides' Phoenissae (Trends in Classics - Supplementary Volumes, Volume 6) PDF
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Extra info for Narrative, Intertext, and Space in Euripides' Phoenissae (Trends in Classics - Supplementary Volumes, Volume 6)
Barlow also believes (58-59) that the above opposition between light and darkness must have been influenced by the painting technique of highlighting, established in the years of Euripides. 178 See Barrett (1964) 299, 397 [also listing the examples of S. fr. 1-6 (TrGF); OC 1081-1084; E. Med. 1296-1298; Andr. 862; Hec. 1099-1106; HF 1157-1158; Ion 796-799, 1238-1243; Hel. 1478-1486; Phaeth. fr. 61-64 (TrGF)] and Mastronarde (1994) 196. 38 Chapter 2: Retelling the past, shaping the future Antigone will meet Polynices, but only after his death.
136 The changes of subject or the stylistic choices of Jocasta cannot be considered haphazard. 138 She actively participates in the narration about her family and Creon, but she distances herself from the Apollonian oracle to Laius, the conception and exposure of Oedipus, and of course from the wedding to her son, since it was her brother who organized it. Such a witness-narration downplays Jocasta’s involvement in the wrongdoings of the past and therefore reduces her responsibility. 139 136 In contrast to τίκτω, the verbs φύω and σπείρω are in the aorist and not historical present.
5. 166 The central episode of the Seven Against Thebes could be considered a special case of Teichoscopia, even if the two main characters (the Messenger / Scout and Eteocles) do not have visual access outside the walls. Eteocles learns about the offstage events by the Messenger / Scout, who has just returned from the battlefield. In a way, Eteocles is found in a position similar to that of the spectators, who are also invited to ‘visualize’ the offstage happenings according to the Messenger’s descriptions.