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The Reception of Epic kleos in Greek...

Stefanidou, Agapi.

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The Reception of Epic kleos in Greek Tragedy.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Reception of Epic kleos in Greek Tragedy./
作者:	Stefanidou, Agapi.
面頁冊數:	243 p.
附註:	Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.
Contained By:	Dissertation Abstracts International76-05A(E).
標題:	Classical studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3673302
ISBN:	9781321509540

The Reception of Epic kleos in Greek Tragedy.
Stefanidou, Agapi.

The Reception of Epic kleos in Greek Tragedy. - 243 p.

Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.

Thesis (Ph.D.)--The Ohio State University, 2014.

In this dissertation I examine how Greek tragedy received the epic concept of kleos. Although kleos in epic and epinician poetry has a specific social and ideological function, its usage in Attic drama exhibits its incompatibility with the pragmatic environment of a polis and reflects the difficulties such a value provokes when measured in circumstances similar to those of fifth century Athens, namely within a democracy where no one is allowed to enjoy a rarefied status and where familial and city law is part of the audience's quotidian court experience. Although the word kleos is encountered in the plays of all three great tragedians, I argue that we can observe a different approach between the usage of Aeschylus and Sophocles and that of Euripides. The concept of kleos occurs many more times in Euripides' tragic corpus and in the majority it is claimed by female characters. However, since in epic and epinician poetry kleos is normally connected with men, namely bravery, warrior prowess, physical abilities and admirable achievements either on the battlefield or at athletic Games, I chose to base my argument on male tragic characters. My first study case is Orestes, who is presented in the Odyssey as an exemplum of kleos and who is connected with a kleos discourse in the relevant plays of all three tragedians. The other two characters that I take as my study cases are Ajax and Heracles in the homonymous plays of Sophocles and Euripides, because both of them are extraordinary heroes of the past whose exploits and manliness became exemplary in the literary tradition.

ISBN: 9781321509540Subjects--Topical Terms:

2122826
Classical studies.

The Reception of Epic kleos in Greek Tragedy.
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245 1 4 $a The Reception of Epic kleos in Greek Tragedy.
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500 $a Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.
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502 $a Thesis (Ph.D.)--The Ohio State University, 2014.
520 $a In this dissertation I examine how Greek tragedy received the epic concept of kleos. Although kleos in epic and epinician poetry has a specific social and ideological function, its usage in Attic drama exhibits its incompatibility with the pragmatic environment of a polis and reflects the difficulties such a value provokes when measured in circumstances similar to those of fifth century Athens, namely within a democracy where no one is allowed to enjoy a rarefied status and where familial and city law is part of the audience's quotidian court experience. Although the word kleos is encountered in the plays of all three great tragedians, I argue that we can observe a different approach between the usage of Aeschylus and Sophocles and that of Euripides. The concept of kleos occurs many more times in Euripides' tragic corpus and in the majority it is claimed by female characters. However, since in epic and epinician poetry kleos is normally connected with men, namely bravery, warrior prowess, physical abilities and admirable achievements either on the battlefield or at athletic Games, I chose to base my argument on male tragic characters. My first study case is Orestes, who is presented in the Odyssey as an exemplum of kleos and who is connected with a kleos discourse in the relevant plays of all three tragedians. The other two characters that I take as my study cases are Ajax and Heracles in the homonymous plays of Sophocles and Euripides, because both of them are extraordinary heroes of the past whose exploits and manliness became exemplary in the literary tradition.
520 $a After a close examination of the connection of Orestes with kleos in Aeschylus' Choephori, Sophocles' Electra and Euripides' Orestes I argue that although Orestes was inherited by the Homeric tradition as a highly positive example and although within the tragic plays it is apparent that the tragic community and his sister Electra expect him to take revenge for his father's murder and ensure a similar level of kleos as that of Agamemnon, he never reaches any kleos; on the contrary he becomes notorious because of committing the matricide. Aeschylus and Sophocles present Orestes' programmatic statements before his deed as interwoven and defined by kleos. In the Choephori his approach to kleos is almost political and relates his role as the son of the former royal authority with the Argive kleos of Troy. Sophocles in his Electra also proves Orestes' kleos as futile by reversing in his narrative the standard prerequisites of epic kleos Euripides advances the approach of his predecessors; he dis-connects Orestes' revenge from kleos and presents kleos merely as a literary remnant open to new possibilities and conditions of usage. It is a poetic device that allows new innovative developments in the mythical plots. This conclusion is also applied in the case of Heracles; Heracles is characterized by Euripides in the homonymous play in such a way that his former extraordinary kleos finds its way into the democratic Athens.
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