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Dancing the emotions: Pity and fear in the tragic chorus.

机译:跳舞的情感:悲剧中的怜悯与恐惧。

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摘要

This dissertation begins from the premise that emotional expression in Greek tragedy reflects ideas and evaluative processes that address similar ideas and processes under negotiation in the plays' cultural context. I focus on the tragic chorus and argue that the choral discourse of pity and fear provides one of the competing logoi that partake in the representation, problematization, and constant redefinition of the sociopolitics of the emotions in 5th c. BC Athens. By re-inscribing the emotions in the sociopolitical realm, questioning the capacity of that realm to contain them, and enacting diverse models of reaction that inherently offer new models of action, the choral discourse of pity and fear suggests new ways of social practice through feeling.;Chapter One, Fear Institutionalized: The Chorus as the Agent of the Emotions, suggests that active choruses are instrumental in the rationalization of fear for its incorporation in the legal and religious institutions of the polis. The choral discourse in Aeschylus' Eumenides and Supplices justifies the institutionalization of fear. Euripides' Bacchae on the other hand dramatizes the limits of the ability of the political to incorporate extreme but vital emotion.;Chapter Two, War, argues that the choral expression of female victims of war (in Aeschylus' Seven Against Thebes and Euripides' Hecuba and Trojan Women) is aimed as a rival to the epitaphios logos: it dramatizes the inevitability of excessively impious behavior in war which threatens even the victors' communities from within and asks for active pity in the politics and praxis of war.;Chapter Three, Nosos, examines the ethics of pity and fear as a response to (a) literal disease (in Sophocles' Philoctetes ) and (b) the metaphorical disease of eros (in Sophocles' Trachiniae and Euripides' Hippolytus and Medea). I argue that pity as a co-operative value ought to result in action that stems from the evaluation of shared ideas about justice, reverence, and duty. As a response to the nosos of eros, choral emotional expression and imagery offer paradigms for coping with private and public demands of eros and create, more generally, cultural mediators for dealing with emotionality in judgment and moral evaluation.
机译:本文的前提是,希腊悲剧中的情感表达反映了思想和评价过程,这些思想和评价过程涉及戏剧文化背景下经过谈判的相似思想和过程。我专注于悲剧性的合唱,并认为,怜悯和恐惧的合唱话语提供了一种竞争的标志,参与了5c中情感的社会政治的表征,问题化和不断的重新定义。公元前雅典。通过重新刻画社会政治领域中的情感,质疑该领域遏制情感的能力,并制定各种反应模型,这些反应固有地提供了新的行动模式,怜悯和恐惧的合唱话语通过感觉提出了社会实践的新方式第一章,恐惧,制度化:合唱作为情感的代理人,表明积极的合唱有助于合理化恐惧,因为它被并入了大都会的法律和宗教机构。 Aeschylus的Eumenides和Supplices中的合唱论述证明了恐惧的制度化。另一方面,欧里庇得斯的《巴查》则戏剧化了政治人物融入极端但至关重要的情感的能力的局限性;第二章《战争》认为,战争中女性受害者的合唱表现(在埃斯库罗斯的《七人反对底比斯》和《欧里庇得斯的Hecuba》中)和Trojan Women)旨在与Epitaphios徽标相抗衡:它夸大了战争中过于轻率举动的必然性,这种行为举止甚至威胁着内部的胜利者社区,并要求在政治和战争实践中表现出积极的同情心。第三章, Nosos考察了怜悯和恐惧的伦理,以回应(a)文字疾病(在Sophocles的Philoctetes中)和(b)隐喻性的色情(在Sophocles的Trachiniae和Euripides的Hippolytus和Medea中)。我认为,怜悯作为一种合作价值,应该导致采取行动,这种行动源于对关于正义,尊敬和责任的共同思想的评价。作为对色情观念的回应,合唱的情感表达和意象提供了应对色情观念的私人和公共需求的范式,并且更广泛地创建了文化中介者来处理判断力和道德评价中的情绪。

著录项

  • 作者

    Visvardi, Eirene.;

  • 作者单位

    Stanford University.;

  • 授予单位 Stanford University.;
  • 学科 Literature Classical.
  • 学位 Ph.D.
  • 年度 2007
  • 页码 307 p.
  • 总页数 307
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:39:47

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