The Materialities of Greek Tragedy: Objects and Affect in Aeschylus, Sophocles, and EuripidesMario Telò, Melissa Mueller Situated within contemporary posthumanism, this volume offers theoretical and practical approaches to materiality in Greek tragedy. Established and emerging scholars explore how works of the three major Greek tragedians problematize objects and affect, providing fresh readings of some of the masterpieces of Aeschylus, Sophocles, and Euripides. The so-called new materialisms have complemented the study of objects as signifiers or symbols with an interest in their agency and vitality, their sensuous force and psychosomatic impact-and conversely their resistance and irreducible aloofness. At the same time, emotion has been recast as material “affect,” an intense flow of energies between bodies, animate and inanimate. Powerfully contributing to the current critical debate on materiality, the essays collected here destabilize established interpretations, suggesting alternative approaches and pointing toward a newly robust sense of the physicality of Greek tragedy. |
Contents
| 1 | |
| 17 | |
2 Morbid Materialism | 35 |
3 Orestes Urn in Word and Action | 49 |
4 Weapons as Friends and Foes in Sophocles | 63 |
5 The Familiar | 79 |
6 The Other Side of the Mirror | 97 |
7 Memory Incarnate | 111 |
9 Noses in the Orchestra | 153 |
10 Speaking Sights and Seen Sounds in Aeschylean Tragedy | 169 |
11 Electra Orestes and the Sibling Hand | 185 |
12 Materialisms Old and New | 203 |
Notes | 219 |
| 269 | |
| 293 | |
8 The Boon and the Woe | 133 |
Other editions - View all
The Materialities of Greek Tragedy: Objects and Affect in Aeschylus ... Mario Telò,Melissa Mueller No preview available - 2019 |
Common terms and phrases
actor Aeschylus affect agency Ajax ancient animate appearance argues Athens attention audience becomes Bennett body bronze calls century chapter characters Chorus classical close corpse costume cultural dead death deception describes discussion drama Electra emotional engagement epigram especially Eteocles Euripides example experience expression eyes face fact feeling figure final force friends give Greek Greek tragedy hands Hecuba Heracles hold human imagined kill labor language light lines living look Marxism mask material matter means memory metaphor mirror monument Neoptolemus notes object Orestes performance Philoctetes phrase physical play present produced question reading recognition recognize reference reflection relation relationship remains response satyrs says scene seems sense shared similar Sophocles sound space speaking speech stage suggests theater theatrical things thinking touch tragedy tragic Troy turn vessel visual vitality voice volume weapons