This book is part of a series that presents the 'cultural and political context' (p. vii) of sele... more This book is part of a series that presents the 'cultural and political context' (p. vii) of selected highpoints of Western drama, and the series is 'primarily aimed at students of the theatre' (p. xii). With this as his brief, Beer (B.) has chosen Sophocles as the classical playwright around which to structure his discussion of the wider context of fifth-century Greek tragedy. And in this he succeeds admirably. His introductory chapters form a comprehensive but readable account of the various components of the production of Greek tragedy and its political, religious etc. context. Although this information can be found in other introductions to Greek tragedy, its comprehensiveness is an advantage for those 'students of the theatre' who may not been aware of the other available introductions. After the three introductory chapters, B. has a chapter per play, in which he summarises the action and shows how the contemporary socio-political context resonates within it. B. achieves what he sets out to do: the book provides a good account of the political context of Sophocles' plays pitched at a level suited to undergraduates.
convincing if greater evidence for such a political mood in 458 ... had been adduced. B.’s int... more convincing if greater evidence for such a political mood in 458 ... had been adduced. B.’s interest is in situating this political stance in a wider context of Greek mythological thinking, and this section of the book is more successful. The examination of global con·ict myths and the resolution through peitho makes good use of a range of material, and argues convincingly that Aeschylus’ muthopoesis is part of a wider literary tradition. B. well notes the importance of the festival context not just to stabilize the μnal scenes of the trilogy, but also in the divine, Dionysiac atmosphere. This thoughtful analysis of the mythological patterns of the trilogy contrasts the earlier disregard for literary concerns, which indicates a structural problem with the book as a whole. The two projects do not μt together as well as they might. The argument that the trilogy works within mythologtical patterns of reconciliation is forced to cast o¶ its appreciation of literary mechanisms in order to tie its concerns to the political realities of 458 ... The book will undoubtedly be a useful touchstone for those wishing to apprise themselves of the impact of historical research in this area, and includes a number of concise summaries of other perspectives, particularly the discussion of Christian Meter’s views in Chapter 5. It is an ambitious project which engages with a range of intersecting debates, but the reader looking for a current survey of relevant literary work on the Oresteia will be disappointed. The book displays a rather naive approach to ‘reading’ the text and the author’s intentions, and fails to take account of the di¶erent critical strategies which have been applied to tragedy in recent decades. The book’s greatest value lies in its emphasis on the mythological foundation for dramatic innovation and manipulation.
This book is part of a series that presents the 'cultural and political context' (p. vii) of sele... more This book is part of a series that presents the 'cultural and political context' (p. vii) of selected highpoints of Western drama, and the series is 'primarily aimed at students of the theatre' (p. xii). With this as his brief, Beer (B.) has chosen Sophocles as the classical playwright around which to structure his discussion of the wider context of fifth-century Greek tragedy. And in this he succeeds admirably. His introductory chapters form a comprehensive but readable account of the various components of the production of Greek tragedy and its political, religious etc. context. Although this information can be found in other introductions to Greek tragedy, its comprehensiveness is an advantage for those 'students of the theatre' who may not been aware of the other available introductions. After the three introductory chapters, B. has a chapter per play, in which he summarises the action and shows how the contemporary socio-political context resonates within it. B. achieves what he sets out to do: the book provides a good account of the political context of Sophocles' plays pitched at a level suited to undergraduates.
convincing if greater evidence for such a political mood in 458 ... had been adduced. B.’s int... more convincing if greater evidence for such a political mood in 458 ... had been adduced. B.’s interest is in situating this political stance in a wider context of Greek mythological thinking, and this section of the book is more successful. The examination of global con·ict myths and the resolution through peitho makes good use of a range of material, and argues convincingly that Aeschylus’ muthopoesis is part of a wider literary tradition. B. well notes the importance of the festival context not just to stabilize the μnal scenes of the trilogy, but also in the divine, Dionysiac atmosphere. This thoughtful analysis of the mythological patterns of the trilogy contrasts the earlier disregard for literary concerns, which indicates a structural problem with the book as a whole. The two projects do not μt together as well as they might. The argument that the trilogy works within mythologtical patterns of reconciliation is forced to cast o¶ its appreciation of literary mechanisms in order to tie its concerns to the political realities of 458 ... The book will undoubtedly be a useful touchstone for those wishing to apprise themselves of the impact of historical research in this area, and includes a number of concise summaries of other perspectives, particularly the discussion of Christian Meter’s views in Chapter 5. It is an ambitious project which engages with a range of intersecting debates, but the reader looking for a current survey of relevant literary work on the Oresteia will be disappointed. The book displays a rather naive approach to ‘reading’ the text and the author’s intentions, and fails to take account of the di¶erent critical strategies which have been applied to tragedy in recent decades. The book’s greatest value lies in its emphasis on the mythological foundation for dramatic innovation and manipulation.
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