By G. M. Kirkwood
The reader will locate in bankruptcy I an outline of the association and goal of this ebook. the following i would like merely say a number of phrases of rationalization and discharge the friendly and critical accountability of acknowledging help.
The booklet is especially a philological research of yes elements of Sophocles’ performs and is intended for the eye of these who're themselves engaged within the examine of the performs. yet when you consider that, except the bankruptcy on diction, i've got often given quotations in translation, the publication could be usable by means of those that learn Sophocles in translation in simple terms. My line references and quotations stick to the Oxford Classical textual content of A. C. Pearson.
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Extra info for A Study of Sophoclean Drama
Kane in Stephenson and Langridge 1997: 130–31) Taboo 47 The principal reason why the representation of violence is perceived as more offensive than actual violence is that the audience is confronted with its own scopophilia, and with the corresponding question of whether it is not shameful to be offered aesthetic pleasure from the depiction of suffering. And perhaps another reason may be found in Debord’s suggestion that the spectacle, the mere representation of reality, has assumed more significance in contemporary society than reality itself.
The increasingly blurred dualisms that used to define the differences between war and peace, military and civil, and public and private are portrayed for example in the plays of Sarah Kane, Caryl Churchill, Sam Holcroft and Zinnie Harris, all of which describe a society apparently engulfed in a constant undefined conflict while maintaining a sense of ‘normality’ (thus signifying that the state of exception has become normal). The frontlines are unclear and there is a permanent and diffuse threat by that which is foreign.
Aggression. Somehow the streets got filled with addicts who need to steal to get so high they can kill who then come down and want to attack and steal your . . THE WORLD IS ATTACKING US, THE TERROR IS EATING US UP AND YOU . . WE NEED GATES. WE NEED TO, TO, TO . . DRAW UP THE DRAWBRIDGE AND CLOSE THE GATES AND SECURITY, SECURITY, SECURITY, SECURITY. I CAN’T FIGHT THIS WAR EVERY DAY . . Ravenhill 2008: 48 The war, the actual fighting, has, of course, not entered their lives – but the spectre of war has long invaded their house and will move with them into the gated community, even as they try to lock it out, while, in the nursery next door, their son is haunted by a version of the Unknown Soldier doubling as Benjamin’s Angel of History.
A Study of Sophoclean Drama by G. M. Kirkwood