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 27
... woman out of clay , a sculpted woman ( plaste gune ) ; then the Winds blow life into her and the Olympian goddesses dress her up . This first mortal woman is Pandora , the most beautiful woman on earth . Zeus sends her as a gift to ...
... woman out of clay , a sculpted woman ( plaste gune ) ; then the Winds blow life into her and the Olympian goddesses dress her up . This first mortal woman is Pandora , the most beautiful woman on earth . Zeus sends her as a gift to ...
Page 32
... woman and not to her deeds.23 Ariste is only used once by Homer in reference to a woman , but this woman is the goddess Hera , Zeus ' wife , who is described as the " best of the goddesses . " 24 Aeschylus never describes a woman as ...
... woman and not to her deeds.23 Ariste is only used once by Homer in reference to a woman , but this woman is the goddess Hera , Zeus ' wife , who is described as the " best of the goddesses . " 24 Aeschylus never describes a woman as ...
Page 79
... woman " as the one who can never be grasped as . . . original , but can only be the one who is imitated or the one who imitates , " Zeitlin writes.100 Pandora / Echo / Alcestis / Woman : they can all exist only as empty masks , as ...
... woman " as the one who can never be grasped as . . . original , but can only be the one who is imitated or the one who imitates , " Zeitlin writes.100 Pandora / Echo / Alcestis / Woman : they can all exist only as empty masks , as ...
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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