A Companion to Sophocles by Kirk Ormand (ed.)

By Kirk Ormand (ed.)

A significant other to Sophocles offers the 1st entire selection of essays in a long time to handle all elements of the existence, works, and demanding reception of Sophocles.

  • First selection of its type to supply introductory essays to the fragments of his misplaced performs and to the remainder fragments of 1 satyr-play, the Ichneutae, as well as every one of his extant tragedies
  • Features new essays on Sophoclean drama that move way past the present nation of scholarship on Sophocles
  • Presents readings that historicize Sophocles relating to the social, cultural, and highbrow international of 5th century Athens
  • Seeks to put later interpretations and diversifications of Sophocles of their historic context
  • Includes essays devoted to problems with gender and sexuality; major moments within the heritage of reading Sophocles; and reception of Sophocles through either historical and smooth playwrights

Chapter 1 creation (pages 1–6): Kirk Ormand
Chapter 2 The Textual Transmission of Sophocles' Dramas (pages 7–24): P. J. Finglass
Chapter three Sophocles' Biography (pages 25–37): Ruth Scodel
Chapter four Aeschylus, Sophocles, Euripides (pages 38–52): John Davidson
Chapter five Antigone (pages 53–68): Andre Lardinois
Chapter 6 Polyphonic Ajax (pages 69–83): Peter Burian
Chapter 7 Oedipus Tyrannus (pages 84–97): Vayos Liapis
Chapter eight Electra (pages 98–110): Francis Dunn
Chapter nine The Divided Worlds of Sophocles' ladies of Trachis (pages 111–125): Margaret Rachel Kitzinger
Chapter 10 The Philoctetes of Sophocles (pages 126–140): Paul Woodruff
Chapter eleven final issues: Oedipus at Colonus and the top of Tragedy (pages 141–154): Thomas Van Nortwick
Chapter 12 Sophocles' Ichneutae or how one can Write a Satyr Play (pages 155–168): Willeon Slenders
Chapter thirteen Sophoclean Fragments (pages 169–184): Carolin Hahnemann
Chapter 14 Sophocles Didaskalos (pages 185–203): C. W. Marshall
Chapter 15 Poetic audio system in Sophocles (pages 204–219): Sarah H. Nooter
Chapter sixteen Sophocles' Choruses (pages 220–235): Sheila Murnaghan
Chapter 17 Lament as Speech Act in Sophocles (pages 236–250): Casey Due
Chapter 18 Sophocles and sophistication (pages 251–269): Peter W. Rose
Chapter 19 Sophocles and modern Politics (pages 270–286): Robin Osborne
Chapter 20 Sophocles and Athenian legislation (pages 287–300): Edward M. Harris
Chapter 21 the need and boundaries of Deliberation in Sophocles' Theban performs (pages 301–315): Edith Hall
Chapter 22 Heroic Pharmacology: Sophocles and the Metaphors of Greek clinical suggestion (pages 316–330): Robin Mitchell?Boyask
Chapter 23 Sophocles and Hero Cult (pages 331–348): Bruno Currie
Chapter 24 slicing to the Bone: Recalcitrant our bodies in Sophocles (pages 349–366): Nancy Worman
Chapter 25 Staging moms in Sophocles' Electra and Oedipus the King (pages 367–380): Laura McClure
Chapter 26 Marriage in Sophocles: an issue for Social heritage (pages 381–394): Cynthia Patterson
Chapter 27 Masculinity and Freedom in Sophocles (pages 395–407): Bruce M. King
Chapter 28 Aristotle on Sophocles (pages 409–423): John T. Kirby
Chapter 29 Sophocles and Homer (pages 424–439): Seth L. Schein
Chapter 30 dealing with as much as Tragedy (pages 440–461): Michael Lurie
Chapter 31 Virginia Woolf, Richard Jebb, and Sophocles' Antigone (pages 462–476): Denise Eileen McCoskey and Mary Jean Corbett
Chapter 32 Freud and the Drama of Oedipal fact (pages 477–491): Richard H. Armstrong
Chapter 33 Sophocles with Lacan (pages 492–504): Mark Buchan
Chapter 34 Oedipus on Oedipus: Sophocles, Seneca, Politics, and remedy (pages 505–522): Alex Dressler
Chapter 35 Jean Anouilh's Antigone (pages 523–537): Jed Deppman
Chapter 36 input Antigone, enable the Agones commence: Sophocles' Antigone in Nineteenth?Century Greece (pages 538–556): Gonda Van Steen
Chapter 37 Tony Harrison's The Trackers of Oxyrhynchus (pages 557–571): Hallie Rebecca Marshall
Chapter 38 Black Oedipus (pages 572–585): Emily Wilson

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Extensive work has also gone into reconstructing the plots of these dramas, which has given a fuller view of Sophocles’ oeuvre. g. Aj. g. El. 995; cf. Grenfell 1919). As regards the Seven, the key advance in this century was Roger Dawe’s publication of collations of 17 manuscripts (Dawe 1973–8), most previously unexamined. They contained several good new readings, and provided some manuscript support for many previous emendations. Dawe’s own edition (1975–9, 1984–5, 1996) made first use of this new material, although without any attempt to show why all these manuscripts needed to be cited as witnesses.

Istros, a Hellenistic biographer, said that, as a boy, Sophocles won crowns in both athletic and musical competitions. The biography says that he led a victory paean after the battle of Salamis, playing the lyre naked and anointed with oil (Vita 15–19). It is at least possible that boys’ victories and the performance of the paean would have been recorded in inscriptions, but it is also possible that these stories, too, simply give concrete form to the tradition’s sense of Sophocles as a versatile, successful, and patriotic man (and the details of the performance have a whiff of pederastic fantasy).

Scholars typically assume the most commonly reported dates, 497/496 or 495/94 BCE. But, evidently, there was no record. ” This Herodotus is probably the historian, whose work Sophocles used, although the reference to Sophocles’ age has caused debate over whether the poem was addressed to a boy (Jacoby 1913: 233–4). The introductory poem to the song suggests that it was sent rather than performed; but, since Herodotus was in Athens sometime during the mid440s and joined the colony at Thurii (probably at its foundation in 443 BCE), it is no help in dating.

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