Euripides and Alcestis: Speculations, Simulations, and Stories of Love in the Athenian CultureUniversity Press of America, 1998 - 113 pages Euripides and Alcestis demonstrates the inherent presence of indeterminacy in Euripides' play, Alcestis. The author uses about eighty of the scholarly attempts to establish a determinate meaning of the play to exhibit the difficulty and lack of success in previous attempts at interpretation. She recognizes that the meaning of the play is surrounded by ambiguity and indeterminacy and provides an interpretation based on this knowledge. As an interpretation, the author focuses on Admetus' desire in relation to Alcestis' statue and his nature as a fifth century Athenian man while exposing Alcestis as a nonidentity. She also analyzes the issues of representation and spectatorship, showing that the theatrical performance is constructed in order to function as vehicles for the satisfaction of a dominant position-that of Admetus and the spectator of the performance. |
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Page 32
... language of the play . The adjective ariste , meaning the best , the most noble , the most excellent , the bravest , is used in the play to describe Alcestis , both by Alcestis herself and by the other characters . Homer uses the ...
... language of the play . The adjective ariste , meaning the best , the most noble , the most excellent , the bravest , is used in the play to describe Alcestis , both by Alcestis herself and by the other characters . Homer uses the ...
Page 73
... language of The Bacchae , the palace earthquake scene , and the scene of the dressing of Pentheus are the main means by which Euripides calls attention to the ambiguous nature of tragic representation and to its power to create illusion ...
... language of The Bacchae , the palace earthquake scene , and the scene of the dressing of Pentheus are the main means by which Euripides calls attention to the ambiguous nature of tragic representation and to its power to create illusion ...
Page 75
... Language cannot describe the reality of things , but is rather " mere words . " 56 Language is a facade without depth . Moreover , both language and visual illusion can create , through a work of art , not only pleasure , but also ...
... Language cannot describe the reality of things , but is rather " mere words . " 56 Language is a facade without depth . Moreover , both language and visual illusion can create , through a work of art , not only pleasure , but also ...
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absence accepts According action actor Admetus Aeschylus Alcestis analysis Ancient Apollo appears ariste Aristotle Athenian Bacchae becomes believes brings called Cambridge Century characters Charles Segal Chorus Classical Collected Criticism dead death describe desire deus Dionysus Drama Duke University elements Essays Euripidean Euripides fact father female Feminine figure final finds function gives Gorgias Greek Tragedy hand Heracles hospitality human husband identity illusion imitation important interpretation keep language live London look male marriage mask meaning mirror Mortals Myth nature object offered origin Oxford Paris person Plato play pleasure Poetics present Princeton promise reality refers reflection relationship representation returns rhetorical role sacrifice scene spectators speech stage statue story Stranger structural Studies substitute suggests theatre thing tragic trans translated truth University Press values veil Vernant wife woman women York young Zeitlin