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Playing dead: The poetics of Hades i...

Reinhard, Daniella.

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Playing dead: The poetics of Hades in Homer and Sophocles.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Playing dead: The poetics of Hades in Homer and Sophocles./
作者:	Reinhard, Daniella.
面頁冊數:	174 p.
附註:	Adviser: Danielle S. Allen.
Contained By:	Dissertation Abstracts International67-05A.
標題:	Literature, Classical. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3219572
ISBN:	9780542711473

Playing dead: The poetics of Hades in Homer and Sophocles.
Reinhard, Daniella.

Playing dead: The poetics of Hades in Homer and Sophocles. - 174 p.

Adviser: Danielle S. Allen.

Thesis (Ph.D.)--The University of Chicago, 2006.

"Playing Dead: The Poetics of Hades in Homer and Tragedy" investigates the meaning and significance of Hades and his realm in the Greek poetic imagination. Homer recounts that when the world was divided up among the generation of Olympians, Zeus' lot was the broad sky in the aether and clouds, Poseidon's the seas, and Hades' the mouldy dark places below. Greek religious practice of the archaic period is a complicated mix of cult and image. It's impossible to say how particular gods and tropes came to be, but we can say that the gods were given authoritative figurations by Homer and succeeding poets. This is true, above all, of Hades. Yet Hades' realm stands apart from those over which his brothers' reign. One can see where man lives and where he sails, but one cannot see where man goes when he dies. Mortals need the poets to give Hades' dimension, to make his realm manifest.

ISBN: 9780542711473Subjects--Topical Terms:

1017779
Literature, Classical.

Playing dead: The poetics of Hades in Homer and Sophocles.
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502 $a Thesis (Ph.D.)--The University of Chicago, 2006.
520 $a "Playing Dead: The Poetics of Hades in Homer and Tragedy" investigates the meaning and significance of Hades and his realm in the Greek poetic imagination. Homer recounts that when the world was divided up among the generation of Olympians, Zeus' lot was the broad sky in the aether and clouds, Poseidon's the seas, and Hades' the mouldy dark places below. Greek religious practice of the archaic period is a complicated mix of cult and image. It's impossible to say how particular gods and tropes came to be, but we can say that the gods were given authoritative figurations by Homer and succeeding poets. This is true, above all, of Hades. Yet Hades' realm stands apart from those over which his brothers' reign. One can see where man lives and where he sails, but one cannot see where man goes when he dies. Mortals need the poets to give Hades' dimension, to make his realm manifest.
520 $a Moreover, Hades is singled out among these divinities because the poetic images offered of his realm make it a specifically mortal or human place. There, dead mortals exist as mere images of the men they once where without their dogs or horses. Nor, in epic or tragedy, do they receive visitations in Hades by Olympians. Mortals lose their body, but retain the shape, the form, or the eidos of their original selves. Furthermore, the gods demand that the bodies of the dead must be buried. They must be put out of sight in order to enter a hidden (and invisible) realm where they will exist only as image. The paradoxes of sight and vision of and in Hades are first witnessed in Homer's Odyssey and Iliad. Sophocles, in making the care of a corpse the concern of nearly all his extant tragedies, explores these paradoxes further on the Athenian stage. "Playing Dead" investigates these paradoxes in five chapters, contributing to our understanding of Greek poetics, and the place of image-making---as distinct from other poetic efforts---in them, to our understanding of Greek cultural-religious ideas, and to our understanding of Athenian politics.
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