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Articoli di riviste sul tema "Philoctetes (Sophocles)"
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Jones, Richard, Sophocles e R. G. Ussher. "Sophocles: Philoctetes". Classical World 85, n. 2 (1991): 137. http://dx.doi.org/10.2307/4351048.
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Davidson, John. "HOMER AND SOPHOCLES' PHILOCTETES". Bulletin of the Institute of Classical Studies 40, Supplement_66 (1 luglio 1995): 25–35. http://dx.doi.org/10.1111/j.2041-5370.1995.tb02177.x.
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Whitby, Mary. "Telemachus Transformed? The Origins of Neoptolemus in Sophocles' Philoctetes". Greece and Rome 43, n. 1 (aprile 1996): 31–42. http://dx.doi.org/10.1093/gr/43.1.31.
Testo completoAbstract (sommario):
Sophocles' Philoctetes contains many moments of high drama and of tension between conflicting protagonists. The prologue scene between Odysseus and Neoptolemus lays the foundations for the development of the dramatic crisis by portraying their fundamental disagreement as to the best means of bringing Philoctetes back to Troy, while the long first episode (219–675) depicts the evolution of the intense relationship between Philoctetes and the youthful Neoptolemus, who has in the prologue reluctantly agreed to implement Odysseus' plan to deceive Philoctetes. The first stage of this interaction is the mutual communication of past histories: Philoctetes describes his abandonment and life on Lemnos, and in return Neoptolemus tells how Odysseus fetched him to Troy from Scyros with the story that, since Achilles was now dead, his son was required to take the city.
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Tessitore, Aristide. "Justice, Politics, and Piety in Sophocles′ Philoctetes". Review of Politics 65, n. 1 (2003): 61–88. http://dx.doi.org/10.1017/s0034670500036536.
Testo completoAbstract (sommario):
The easy conflation of god(s) and country—what might be called the dual foundations of justice—is challenged and explored in Sophocles′ Philoctetes. Odysseus's consistent appeal to the common good and Philoctetes′ troubled attachment to a divinely sanctioned principle of justice are set at odds in a play where the fate of the entire Greek expedition at Troy hangs in the balance. While most read the play as a celebration of young Neoptolemus as he frees himself from the corrupt influence of Odysseus and, through his encounter with Philoctetes, grows in personal integrity, this essay maintains that Neoptolemus comes under the influence of both antagonists because each has something important to teach him. Rather than offering a simple morality tale, Sophocles′ investigation of justice in this play both reveals the depth of the conflict between the requirements of politics and those of piety, and criticizes the extreme embodiments of these perspectives in the figures of Odysseus and Philoctetes.
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Dunn, Francis. "Narrative Bonds in Sophocles’ Philoctetes". Mouseion 17, S1 (febbraio 2020): 31–42. http://dx.doi.org/10.3138/mous.17.s1.004.
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Hawkins, Anne Hunsaker. "Ethical Tragedy and Sophocles' "Philoctetes"". Classical World 92, n. 4 (1999): 337. http://dx.doi.org/10.2307/4352287.
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Taplin, Oliver. "THE MAPPING OF SOPHOCLES' PHILOCTETES". Bulletin of the Institute of Classical Studies 34, n. 1 (1 dicembre 1987): 69–77. http://dx.doi.org/10.1111/j.2041-5370.1987.tb00554.x.
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Falkner, Thomas M. "Containing Tragedy: Rhetoric and Self-Representation in Sophocles' "Philoctetes"". Classical Antiquity 17, n. 1 (1 aprile 1998): 25–58. http://dx.doi.org/10.2307/25011073.
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This essay examines "Philoctetes" as an exercise in self-representation by looking at the self-referential and metatheatrical dimensions of the play. After suggesting an enlarged understanding of metatheater as "a particularly vigorous attempt to engage the audience at the synthetic and thematic levels of reading," I examine "Philoctetes" as a self-conscious discourse on tragedy, tragic production, and tragic experience, one which participates in a larger conversation in the late fifth century about the ethics of tragedy, including the remarks of Gorgias on theatrical deception (ἀπάτη). The play points up its own constructedness in a variety of ways, most strikingly in the theatrical character of the intrigue by which Odysseus deceives Philoctetes, which provides a play within a play and a representation of texts and readers, plays and spectators. In laying bare the kinds of strategies and techniques that undergird this "intratext," "Philoctetes" offers a model of tragedy and of the tragic poet based on power, deceit, and manipulation. Yet by attributing these characteristics to the moral deficiencies of its internal creator and by demonstrating his failure to achieve his ends, "Philoctetes" rejects such a theater of sophistry. At the same time, the play considers issues of textual reception by providing in Philoctetes an audience for this internal text and a protocol of reading that suggest a more positive model of tragic response. "Philoctetes" uses this model to offer the spectator a subject position that affirms the inherent value of reading tragedy, a humanistic model of reading based upon the audience's identification with and sympathy for the tragic protagonist. Sophocles thus finds in this exercise in self-representation a way to frame critical questions on dramatic theory and to define his own dramatic practice.
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O'Higgins, Dolores. "Narrators and Narrative in the Philoctetes of Sophocles". Ramus 20, n. 1 (1991): 37–52. http://dx.doi.org/10.1017/s0048671x00002824.
Testo completoAbstract (sommario):
According to Proclus, the story of the bowman Philoctetes' return to Troy from his solitude on Lemnos appeared in the Little Iliad. In terms of the overall history of the war, the event occurs relatively late—shortly before the destruction of the city; indeed, according to the oracle of Helenus which inspired the recovery expedition to Lemnos, it seems to have been necessary to the success of the Greek war-effort. In terms of the epic tradition, it can be seen as something of a watershed, standing between a glorious, but unsuccessful, past and a successful, but somewhat ambivalent, future, recorded in the Iliou Persis.Sophocles' play looks both forward to and back at the war in which it is situated. Neoptolemus and Odysseus, the men chosen to retrieve the great bow of Heracles and its current owner, Philoctetes, anticipate the glory that will belong to the destroyers of Troy. They also together concoct a manipulative account of the recent past—a version clearly at odds with familiar epics. The purpose of this account—narrated by Neoptolemus— appears to have been to win Philoctetes' trust and sympathy, and so to induce him to hand over the bow of his own accord. At first this bow seems to be the primary focus of the conspirators' designs, although eventually it becomes clear that Philoctetes himself also will be needed at Troy. Philoctetes hands Neoptolemus the bow when he falls ill, but shortly afterwards Neoptolemus explains the true reason for his arrival on Lemnos, and later returns the bow to Philoctetes. Neoptolemus' gradually emerging scruples are the obvious cause of this breakdown in the plot. He reclaims the heroic tradition of his father, Achilles, and rejects Odysseus' trickery.
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Drake, Drake. "Natural and Divine orders: The Politics of Sophocles’ Philoctetes". Polis: The Journal for Ancient Greek Political Thought 24, n. 2 (2007): 179–92. http://dx.doi.org/10.1163/20512996-90000113.
Testo completoAbstract (sommario):
A closer look at the character of Odysseus in the opening passages of the Philoctetes reveals a more nuanced psychology of guilt and justification than commentators have thus far appreciated in the cunning hero’s role. This paper examines the relations of sympathy (oiktos) between Odysseus, Neoptolemus, and Philoctetes as a way of entering into the complicated political drama of the work. Conceiving politics in the Philoctetes as a hybrid construction of the demands of nature (including the phenomenon of sympathy) and the demands of the gods, this study provides a reading of Sophocles’ play as an observation of the necessity for political regimes to efface the very conditions of sympathy that made them possible in the first place. On this reading, Sophocles’ tragedy is to be seen as an explorarion of the damage incurred by individuals when such effacement takes place.
Tesi sul tema "Philoctetes (Sophocles)"
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Ridd, Stephen John. "Sophocles' 'Philoctetes' : a study". Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335730.
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Janz, Timothy. "The scholia to Sophocles' Philoctetes". Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419030.
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Axelgard, Christian Wiggo. "Speaking for Himself: Odysseus and Rhetoric in Sophocles' Philoctetes". BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3694.
Testo completoAbstract (sommario):
In order to reconcile the deus ex machina at the end of Sophocles' Philoctetes with the actions of the rest of the play, this project analyzes the role of Odysseus within the play with special attention to rhetoric. By considering the character of Odysseus as a complex construct referencing both literary and historical contexts, this study suggests that Neoptolemus in fact errs in siding with Philoctetes to the degree that he does by the tragedy's end. The themes of the play involving Philoctetes and Neoptolemus then become warnings against inappropriate emotional responses, again consistent with Heracles' advice in the deus ex machina at the play's end.
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Taousiani, A. "Sophocles' lying tale : a study of dolos and fiction in the Philoctetes". Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1336531/.
Testo completoAbstract (sommario):
For 5th century Athens, deceit is a contemporary reality; it is also a problem. When Athens thought about deception, which was not often, it applied to it a double standard: to deceive is condemnable in theory, expedient in practice. How does, however, this double standard translate to a genre which neither theorizes nor practises, but invites interpretation of events that are in themselves both multidimensional and -indeed-fictional? (Introduction and Chapter 1). This thesis examines the presentation and interpretation of deceit in a late 5th century tragic context. Sophocles’ Philoctetes is the focus of this enquiry because of deceit’s varied character in the play, and because of its Sophoclean authorship, with all its associations -both in ancient and in modern contexts- of idealism and traditionalism. My thesis argues that polarizations regarding deceit, Philoctetes and its author circumscribe our understanding of all. In terms of deception, instead of a simple condemnation, the play confronts its audience with a misconceived and mishandled deceit, whose limitations are in place precisely to leave space for a deceit that can be structurally, rhetorically and morally appropriate (Chapters 2, 3, 4). At the same time, the failed deceit of the Philoctetes or ‘play within a play’ recreates the viewing experience for the theatre audience, and offers them different models of spectatorship to ponder on when negotiating their own critical approach to performance (Chapter 5). In terms of the Philoctetes, deceit emerges as the overarching element that allows the play to comment on a number of topical and diachronic concerns of 5th century Athens such as morality, rhetoric, friendship, and performative fiction. By revisiting deceit alongside those issues, I hope to demonstrate the multifaceted character of deceit itself, its legitimate position in Athenian life and (tragic) fiction, and the very pragmatic need for its conditioning. Finally in terms of its author, my interpretation of the play’s deceit challenges the conventional perception of Sophocles as a traditional idealist, and replaces it with an (Euripidean) image of a realist and a thinker engaged with the intellectual trends and socio-political demands of his time. I hope that my reading will lead to a new appreciation of the many dimensions of dolos, the Philoctetes, and its dramatist.
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Spiegel, Francesca. "Exclusion in Sophocles". Doctoral thesis, Humboldt-Universität zu Berlin, 2020. http://dx.doi.org/10.18452/21979.
Testo completoAbstract (sommario):
"Exclusion in Sophocles" dass Exklusion als Motiv sich durch alle erhaltenen Sophoklesstücke zieht nebst einiger der längeren Fragmente. Auffällig ist die Vielfalt des Motivs, welches sich auf einen Ausschluss aus der Familie (Elektra), der Stadt (Ödipus-Dramen), der Armee (Philoktet), der Gemeinschaft der Menschen (Tereus) und noch vieles Weitere bezieht.
Diese Arbeit sammelt, ordnet und analysiert sophokleische Exklusionsszenarien. Insbesondere wird der Gebrauch von Tropologien des Un/Menschlichen in der extrinsischen Charakterisierung der tragischen Protagonisten herausgestellt sowie damit verbundene Metaphern des Pathologischen, Monströsen, Bestialen und sog. Primitiven als Marker und Auslöser von strukturellen Exklusionen. Dabei wird das Exklusionsmotiv nicht als vollendete Tatsache erfasst, sondern als dynamischer und sich teilweise über ganze Plots hinweg erstreckender Prozess, als Narrativ eines ehemals gut Eingegliederten und von der Gemeinschaft nach und nach Exkludierten.
Gleichwohl diese Entwicklung vom tragischen Protagonisten in eloquenten und selbstdarstellerischen Reden vehement kritisiert wird, erwächst im Bereich der Metaphern und rhetorischen Bildsprache der Gemeinschaft eine regelrechte Ausradierung und Neuzuweisung seiner Identität. Durch eine vergleichende Gegenüberstellung beider Standpunkte stellt sich heraus, wie tiefgreifend die als Exkludierend handelnde Gemeinschaft in das Vorantschreiten des tragischen Geschehens involviert ist und die Dramen eben nicht nur—wie in zahlreichen Forschungsstandpunkten festgehalten—die Manci des Exkludierten Protagonisten als moralische Fabel vorführen.Social exclusion as a literary theme is common to all of Sophocles' fully extant plays as well as some of the longer fragments. The variety of settings is wide, between exclusion from the family like for example in Electra, exclusion from the city as in the case of Oedipus, from a regiment of the armed forces like in Ajax or Philoctetes, or even humankind, like with Tereus. This inquiry sets out to present, taxonomize and unpack Sophoclean discourses of exclusion and their attaining literary tropes of the pathological, the bestial, the brutish, the monstrous, and the so-called uncivilized. The aim is to demonstrate how deeply implicated the whole cast of characters and their language are in the process of a tragedy unfolding, rather than the causes of tragedy being lodged in the doings of one protagonist alone. One key point argued here is that, instead of taking 'the isolation of the tragic hero' as fait accompli, exclusion is a dynamic process that often takes up the entire plot arc of a tragedy. In the space of extrinsic characterization, it is argued that a process of rhetorical erasure and overwriting of identity takes place, where peer groups gradually dismantle a formerly well-established identity and re-assign a new and undesirable one. It is shown how the protagonists seek to resist, lament or somehow negotiate this process through long and expansive speeches of futile self-reinstatement. In the synthesis of both, it is argued that Sophocles' deployment of the theme puts a critical spotlight on the rhetorics of exclusion and its discourses of the bestial, the brutal, and especially the pathological, which embed and frame the work's overall literary, cultural and dramatic effects.
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Gemelli, Cesar Lopes. "Neoptólemo no Filoctetes de Sófocles". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/67273.
Testo completoAbstract (sommario):
Este trabalho tem o objetivo de estudar o personagem Neoptólemo na tragédia Filoctetes (c. 409 a.C.) de Sófocles (c. 496-406 a.C.). Neoptólemo inicialmente é trazido para Lemnos por Odisseu com a missão de auxiliá-lo a reconduzir Filoctetes e o arco de Héracles para Troia. Ao descobrir qual o procedimento proposto por Odisseu, Neoptólemo hesita, propondo que utilizem persuasão aberta para convencer Filoctetes em vez de enganá-lo. Neoptólemo oferece alguma resistência, mas acaba aceitando o sofisma de Odisseu. Ao tomar contato com Filoctetes, Neoptólemo aos poucos aprende sobre o modelo ético de que abriu mão aceitando a proposta de Odisseu. Cria-se um dilema em que o jovem Neoptólemo precisa decidir como irá agir. O próprio ato de decidir é motivo de hesitação para o jovem. Ao optar por uma ou outra atitude, Neoptólemo deverá necessariamente enfrentar todas as consequências de sua escolha, incluindo a impossibilidade voltar atrás, isto é, retroceder ao momento anterior a sua decisão, uma situação infantilizada em que as possibilidades ainda não teriam sido reduzidas por causa de cada escolha feita. Nos momentos finais, antes da chegada de Héracles, Neoptólemo finalmente decide por um caminho aparentemente próprio, intermediário aos que lhe foram apresentados inicialmente e aceita as consequências de sua escolha.This work aims to study the character Neoptolemus in the tragedy Philoctetes (c. 409 BC) by Sophocles (c. 496-406 BC). Neoptolemus is initially brought to Lemnos by Odysseus with the mission of helping bring Philoctetes and the bow of Heracles back to Troy. Upon discovering the procedure of this mission proposed by Odysseus, Neoptolemus hesitates, suggesting they should openly persuade Philoctetes instead of tricking him. Neoptolemus offers some resistance, but eventually accepts Odysseus' sophistry. Upon making contact with Philoctetes, Neoptolemus gradually learns about the ethical model that he gave up by accepting Odysseus' proposal. This creates a dilemma in which the young Neoptolemus must decide how to act. The act of deciding in itself is cause for hesitation for the youngster. By choosing one attitude or another, Neoptolemus must face all the consequences of his choice, including the inability to go back, that is, back to the moment before the decision was made, a childish situation in which the possibilities have not yet been reduced because of each of his choices. In the final moments before the arrival of Heracles, Neoptolemus finally decides his own path, which is at an intermediate position in relation to the choices that were presented to him and he accepts the consequences of his choice.
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OLIVEIRA, RODRIGO SANTOS PINTO DE. "LIE IN THE PERSPECTIVE OF PLATO S LESSER HÍPPIAS, HOMER S ILIAD AND SOPHOCLES PHILOCTETES: AS TRUE AND SIMPLE, AND ODYSSEUS, MULTIFACETED AND FALSE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35900@1.
Testo completoAbstract (sommario):
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Tendo como princípio a inquietação causada pelo questionamento de Sócrates no Hípias Menor de Platão (363a-364c): Qual personagem, entre Aquiles e Odisseu, seria superior? A presente dissertação leva em consideração o direcionamento do diálogo acerca do que seja a mentira segundo a ótica platônica, e dedica-se especificamente a descobrir quem destes poderia ser compreendido como um mentiroso: entre Aquiles e Odisseu, quem estaria mentindo? Primeiramente a pesquisa deseja averiguar as definições que sejam provenientes do diálogo platônico, para em seguida retornar para a cena da epopeia homérica em que seja possível definir para qual herói caberia a alcunha de mentiroso. Abalizado pelos critérios extraídos do diálogo entre Sócrates e Hípias, a busca pela cena que atenda às definições necessárias para a mentira se direciona às tragédias, onde o Filoctetes de Sófocles se sobressai entre as demais remanescentes, por atender aos critérios e nos permitir examinar a mentira de modo a justapor definições e critérios à cena que melhor exemplifica o caso. Em suma, metodologicamente tenta-se conjecturar para além do que se vê no diálogo Hípias Menor, buscando exemplo mais oportuno do que aquele dado pelo sofista a Sócrates, contudo, sem deixar de atentar para os argumentos e definições expostas, deseja-se chegar mais próximo de uma compreensão menos aporética deste diálogo, lançando mão do exemplo como um recurso didático que pode ajudar concomitantemente na compreensão do que seja a mentira, ao mesmo passo que se observe quem seja um mentiroso.
Taking as a principle the uneasiness caused by Socrates questioning in Plato s Hippias Minor (363a-364c): which character, between Achilles and Odysseus, would be superior? This dissertation takes into account the direction of the dialogue about the lie according to the Platonic perspective, and is dedicated specifically to discover who could be understood as a liar: between Achilles and Odysseus, who would be lying? First, the research wants to ascertain the definitions that come from the Platonic dialogue, and then return to the scene of the Homeric epic where is possible to define which hero would be named as the liar. By the assignments taken as criteria drawn from the dialogue between Socrates and Hippias, the search for the scene that meets the necessary definitions for the lie is targeted to the tragedies, where the Sophocle s Philoctetes excels among the plays remaining fully, to revel the criteria and allowing us to examine the lie in order to juxtapose definitions and criteria to the scene that best exemplifies the case. In sum, this dissertation tries methodologically to conjecture for beyond what is seen in Hippias Minor, seeking a more opportune example than that given by the Sophist to Socrates, yet without neglecting the arguments and definitions set forth, it is desired to get closer to a complete understanding of this dialogue, using example as a didactic resource that can help concomitantly in the understanding of what is the lie, at the same time as observing who could be a liar.
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Dagios, Mateus. "Neoptólemo entre a cicatriz e a chaga : lógos sofistico, peithó e areté na tragédia Filoctetes de Sófocles". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/70646.
Testo completoAbstract (sommario):
A presente dissertação, intitulada “Neoptólemo entre a cicatriz e a chaga: lógos sofístico, peithó e areté na tragédia Filoctetes de Sófocles”, busca analisar como Sófocles problematiza para a pólis ateniense o lógos sofístico, a ambigüidade da figura do sofista e os efeitos de tal posição sobre os valores e os significados, em um conflito com os padrões éticos da areté. Examina-se como os personagens Odisseu, Filoctetes e Neoptólemo, na interação dos seus discursos, põem em discussão os poderes, as limitações e os usos dos discursos, em especial o persuasório, a peithó. Trabalha-se com a hipótese de que existe no texto trágico um conflito de visões de mundo e de significados e de que as diferentes posturas dos personagens frente ao lógos constituem representações de discursos antagônicos, pertencentes ao repertório cultural da cidade ateniense do último quarto do século V a.C. Parte-se do pressuposto teórico de que a tragédia grega é uma arte política, que trabalha o mito e a pólis e os seus vocabulários, de forma que o Filoctetes de Sófocles (409 a.C.) discutiria temas caros à pólis como a comunicação e a educação, relacionados então com a ascensão dos sofistas.This work aims to analyze how Sophocles discusses before the Athenian polis’ citizens sophistic logos, the ambiguous position of sophists, and their impact as a debate about values and meanings and as a conflict with the ethical standards related to arete. It is examined how the characters Odysseus, Philoctetes, and Neoptolemus deal with the possibilities, limits, and uses of speech in their interactions, rendering persuasion, peitho, as especially problematic. Considering that tragic poetry examines conflicts in meanings and standpoints, the characters’ different stances about logos are regarded as representative of opposing views available in Athens’ cultural repertoire in the last quarter of the fifth century BC. Theoretically, Greek tragedy is taken as a political art that operates with both myth and polis, its issues and vocabularies, so that Sophocles’ Philoctetes (409 BC) could be interpreted as a discussion of issues of great concern for Athens such as communication and education, both then inseparable from the rise of the sophists.
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Van, der Woude Peter William. "Translating Heaney: a study of Sweeney astray, The cure at Troy, and Beowulf". Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1002256.
Testo completoAbstract (sommario):
This thesis examines Seamus Heaney’s approach to translation with specific reference to Sweeney Astray, The Cure at Troy, and Beowulf. An assessment of Heaney’s translations, and the ways in which they relate to his poetry, is essential to an understanding of his work as a poet. This thesis demonstrates the centrality of translation to Heaney’s oeuvre as an effective means to comment on his Northern Irish socio-political context without producing political propaganda. Translation is a valuable means for Heaney to elucidate his contemporary experience by considering it in terms of the recorded past captured within his chosen translations. Instead of comparing the three translations with their original texts, this thesis concentrates on Heaney’s translations as a continuation of his own creative work and as catalysts for further poetry. The translations are explored in chronological order to allow a sense of Heaney’s development as a translator and his efforts to remain critically attuned to the Northern Irish political situation. The first chapter examines Heaney’s translation of the Gaelic poem Buile Suibhne, which is published as Sweeney Astray. In this first major act of translation Heaney recognises the political role that translation is able to play. He draws attention to the protagonist’s sense of cultural ease in both Britain and Ireland, which he argues is exemplary for the people of Ulster and renders the narrative particularly accessible to a Northern Irish readership due to his anglicisation of the text, which is intended as a reminder to both Catholics and Protestants of their shared identity as Irishmen. The second chapter focuses on Heaney’s translation of Sophocles’ Philoctetes, entitled The Cure at Troy. Heaney’s translation contextualises the Ancient Greek concern for personal integrity in the face of political necessity, a situation relevant to his own complex relationship with Northern Irish politics. His alterations to the text accentuate the positive aspects of the play, suggesting the very real possibility of social change within the seemingly constant violence of Northern Ireland. The third chapter explores Heaney’s engagement with the Anglo-Saxon epic poem, Beowulf, as a means of coming to terms with the complex history of Irish colonisation through language. This chapter assesses Heaney’s incorporation of Irish dialectal words into his translation, which lend the poem political weight, and yet prove to be contextually appropriate, rendering Heaney’s Beowulf a masterpiece of readability and subtle political commentary.
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Binus, Joshua Robert. "Betrayed, Berserk, and Abandoned: War Trauma in Sophocles' Ajax and Philoctetes". Thesis, 2014. http://hdl.handle.net/1828/5424.
Testo completoAbstract (sommario):
Sophocles’ Ajax and Philoctetes can be read as allegories of warriors who experience war trauma. The ancient Greeks already knew of the effects of war trauma through prior literature, and the plays were produced during a period of great violence and upheaval. Ajax shows how a shame-inducing betrayal causes a warrior to go berserk, and consequently withdraw from his community and commit suicide. Philoctetes shows that a betrayal, combined with the loss of a comrade, can cause the warrior to become isolated and emotionally vulnerable. His only means of being reintegrated into society is through mutual understanding with members of that society, and closure with his dead comrade. These plays were produced for therapeutic benefit, as shown by the comparative evidence found in psychodrama, dramatherapy, and the Theater of War productions of the two plays.Graduate
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Libri sul tema "Philoctetes (Sophocles)"
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Sophocles. Sophoclis Philoctetes. 3a ed. Stutgardiae: Teubner, 1996.
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Sophocles. Philoctetes. Studio City, CA: Players Press, 1999.
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3
Sophocles. Philoctetes. Warminster: Aris & Phillips, 1990.
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Sophocles. Philoctetes. Newbridge, Co. Kildare: Goldsmith Press, 1998.
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Heaney, Seamus. The cure at Troy: A version of Sophocles' Philoctetes. [Derry]: Field Day, 1990.
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Sophocles. The cure at Troy: A version of Sophocles' Philoctetes. New York: Farrar, Straus and Giroux, 1991.
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Heaney, Seamus. The cure at Troy: A version of Sophocles' Philoctetes. London: Faber and Faber, 1991.
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Heaney, Seamus. The cure at Troy: A version of Sophocles' Philoctetes. New York: Noonday Press, 1991.
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Heaney, Seamus. The cure at Troy: A version of Sophocles'"Philoctetes". New York, New York: Farrar Straus and Giroux, 1991.
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Sophocles' Philoctetes and the great soul robbery / Norman Austin. Madison, Wis: The University of Wisconsin Press, 2011.
Cerca il testo completoCapitoli di libri sul tema "Philoctetes (Sophocles)"
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Sokolon, Marlene K. "Sophocles's Philoctetes". In Making Sense of Diseases and Disasters, 146–55. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003197379-14.
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"Philoctetes:". In Late Sophocles, 43–80. University of Michigan Press, 2015. http://dx.doi.org/10.2307/j.ctv3znzg2.7.
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"PHILOCTETES". In Sophocles: Second Thoughts, 103–13. Göttingen: Vandenhoeck & Ruprecht, 1997. http://dx.doi.org/10.13109/9783666252006.103.
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Morwood, James. "Philoctetes". In The Tragedies of Sophocles, 68–74. Liverpool University Press, 2008. http://dx.doi.org/10.5949/liverpool/9781904675716.003.0007.
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"Philoctetes". In Brill's Companion to Sophocles, 149–66. BRILL, 2012. http://dx.doi.org/10.1163/9789004217621_010.
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"Philoctetes". In The Plays of Sophocles. Bloomsbury Academic, 2005. http://dx.doi.org/10.5040/9781474233385.0011.
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"Philoctetes". In Brill's Companion to the Reception of Sophocles, 77–145. BRILL, 2017. http://dx.doi.org/10.1163/9789004300941_004.
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Heath, Malcolm. "Sophocles’ Philoctetes: A Problem Play?" In Sophocles Revisited, 137–60. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198130062.003.0008.
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Abstract Thus Oliver Taplin. I concur, and propose in this paper to examine some of the problems which the Philoctetes poses. This may seem a paradoxical aim, in view of the footnote attached to Taplin’s statement: ‘I am not persuaded that I should give up this sort of interpretation by M. Heath’s The Poetics of Greek Tragedy .. .’. But although, on rereading that book a decade after publication, I can see how readily it lends itself to misconstruction, it was in fact no part of my aim in writing the book to persuade its readers that they should give up that sort of interpretation. I wish therefore to begin by clarifying some aspects of the view of Greek tragedy for which I was then arguing. This will bring to light one important respect in which that view is inadequate; acknowledging the defect will in turn lead us to the larger questions that I have in mind in the present chapter. Readers impatient of such prolegomena should feel free to proceed directly to §II, where the discussion of the Philoctetes it self commences.
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"II. Philoctetes". In The Past in Aeschylus and Sophocles, 241–314. De Gruyter, 2011. http://dx.doi.org/10.1515/9783110257564.241.
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Blanco, Chiara. "Death as Dehumanisation in Sophocles’ Philoctetes". In Aspects of Death and the Afterlife in Greek Literature, 105–22. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789621495.003.0006.
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Chapter six develops the discussion on Greek drama by looking at the ways in which Sophocles presents death in the Philoctetes as a process of gradual dehumanization, starting from social exclusion and leading towards absolute isolation not only from the world of the living, but also from the very nature of man itself. Taking her cue from the agria nosos which Philoctetes endures in Sophocles’ tragedy, Blanco explores how the long-rotting wound inflicted by the bite of the serpent affects Philoctetes’ human nature on its most basic level. Blanco further investigates how the serpent bite triggers a process of dehumanization which eventually leads Philoctetes to a state of apparent death. Philoctetes, Blanco argues, is not part of human community, and his relation with the landscape evokes a hunting-based self-sustained beast of prey, rather than a human being.