When Heroes Sing: Sophocles and the Shifting Soundscape of Tragedy

  title={When Heroes Sing: Sophocles and the Shifting Soundscape of Tragedy},
  author={Sarah H. Nooter},
Introduction: poetry, tragedy, and Sophocles Part I. Poetic Authority: 1. Poetic progress in Ajax 2. Waxing heroic in Trachiniae and Oedipus Tyrannus Part II. Poetic Power: 3. Addressing lament in Electra 4. Philoctetes' apostrophes 5. The end and afterlife of poeticity: Oedipus at Colonus. 
The Ends of Tragedy: Schelling, Hegel, and Oedipus
  • S. Goldhill
  • Philosophy
    PMLA/Publications of the Modern Language Association of America
  • 2014
This article compares and contrasts how the texts of Greek tragedy thematize ending and how German idealism, especially Hegel and Schelling, constructed a theory of ending in relation to Greek
The War-Trumpet and the Sound of Domination in Ancient Greek Thought
In this piece, I contend that the war-trumpet (salpinx) was understood in ancient Greek literature as connected to the divine and invincible. I show how this understanding arose from a focus on the
In 1936, T. B. L. Webster argued that Sophocles' Trachiniae has strong allusions to Aeschylus' Agamemnon, particularly in the characters of Deianeira and Clytemnestra. Once identified, it is easy
The Fourth Level of Life: White Noise in the Homeric Hymn to Aphrodite and Plato’s Phaedrus
The noise machine is dead. How shall we hear our dreams? Where are the crickets now? Slain by what frost? The streams With pebbles in their mouths, The ovation of the rain, The stations of
Within Classics, there is growing interest in the nature of reperformance, particularly in relation to archaic and classical Greek poetry and drama. Developing out of the now well-established
Ways of Hearing in Sophokles: Auditory Spaces and Social Dynamics in the Elektra, Philoktetes, Trachiniai, and Oidipous Tyrannos
It has long been known that sight was a crucial component of the fifth-century Athenian theatre. And while that is true, it can also be argued that aurality, the ability to hear and be heard, is an
The Mortal Voice in the Tragedies of Aeschylus
Did the nightingale torture the ear, Pack the heart and scratch the mind? And does the ear Solace itself in peevish birds? Is it peace, Is it a philosopher’s honeymoon, one fi nds On the dump? Is it
‘Horse Race, Rich in Woes’: Orestes’ Chariot Race and the Erinyes in Sophocles’ Electra
Abstract This article offers a new, ironic reading of the false narrative of Orestes’ chariot accident in Sophocles’ Electra (680–763). It argues that the speech exploits an established connection
Oedipus Abuser: Insult and Embodied Aesthetics in Sophocles
La tragedie contribue de facon unique aux croisements entre le corps et le langage et, dans cette perspective, cette contribution entend reflechir sur l’esthetique de l’abus. Ces effets esthetiques
Monody and Dramatic Form in Late Euripides
Monody and Dramatic Form in Late Euripides


Sophocles' Tragic World: Divinity, Nature, Society
Preface Introduction Drama and Perspective in Ajax Myth, Poetry, and Heroic Values in the Trachinian Women Time, Oracles, and Marriage in the Trachinian Women Philoctetes and the Imperishable Piety
The Poet's Voice: Essays on Poetics and Greek Literature
Introduction 1. The poet hero: language and representation in the Odyssey 2. Imitations of immortality: fame and tradition from Homer to Pindar 3. Comic inversion and inverted commas: Aristophanes
The poetry of Greek tragedy
Is Sophocles the poet "more important" than Sophocles the moralist, Sophocles the student of character, or Sophocles the storyteller? In this acclaimed work, eminent classicist Richmond Lattimore
The Poet at Colonus: Nightingales in Sophocles
The presence of the nightingales in Sophocles' Oedipus at Colonus evokes associations of a long mythico-poetic tradition in which the nightingale is known not only for her sweet song, but also for
Singing for the gods : performances of myth and ritual in archaic and classical Greece
Prelude to the khoros 1. Introduction 2. Dancing on Delos 3. New Tunes in Musical Argos: Mapping out the Argolid in Cultic Song 4. Locality and Panhellenism: Aiginetan Myth and Delphic Ritual 5.
The Choruses of Sophokles' Antigone and Philoktetes: Dance of Words
This volume argues for a fundamental difference in the modes of expression of actor and chorus in Sophoklean tragedy. The chorus views the action and the world of the play from the perspective of
Ajax's Gods and the Gods of Sophocles
Divine and semi-divine beings permeate Sophocles' plays. The whole roster of Olympian deities is frequently named ; nameless theoi and daimones are often invoked by his characters ; the efficacy of
The Captive Woman's Lament in Greek Tragedy
1. Men's Songs and Women's Songs 2. Identifying with the Enemy: Love, Loss, and Longing in the Persians of Aeschylus 3. Athenians and Trojans 4. The Captive Woman's Lament and Her Revenge in
Oedipus Tyrannus: Tragic Heroism and the Limits of Knowledge
Illustrations Preface to the Second Edition A Note on References and Acknowledgments Chronology LITERARY AND HISTORICAL CONTEXT 1: Introduction 2: Historical and Cultural Background 3: Performance,
The Theatrical Cast of Athens: Interactions between Ancient Greek Drama and Society
1. Introduction 2. The Theatrical Roles of Athens 3. Childbearing Women: Birth and Family Crisis in Ancient Drama 4. Visible Women: Painted Masks and Tragic Aesthetics 5. Horny Satyrs and Tragic