The Motif of the Corrupted Sacrifice in Aeschylus' Oresteia

Zeitlin, Froma I.

doi:10.2307/283744

Cited by 133 publications

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“…Especially for the dog, see Raeburn &Thomas 2011: lxvi-lxix andSaayman 1993. 9 For an overall discussion on the imagery of sacrifice, see Zeitlin 1965 andLebeck 1971: 32-36, 60-3. in each case are guilty of dreadful deeds, so their murders seem somehow vindicated: Clytemnestra kills in the name of her daughter Iphigenia (Ag. 1432(Ag.…”

Section: Sacrificementioning

confidence: 99%

Sacrifice, Politics and Animal Imagery in the Oresteia

Kanellakis¹

2019

C&M

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In this paper I explore how sacrifice and politics, two central aspects of the Oresteia, are presented through animal imagery and how they are indissolubly linked. In the first section I discuss how the animal imagery attributed to Cassandra constructs a semantic parallelism between her and Iphigenia, the two of them being the only innocent victims in the bloody circle of this trilogy. In the second section I examine how animals are linked to governments and how the quantitative, temporal, and spatial arrangement of animal imagery reveals their sequence.

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Section: Sacrificementioning

confidence: 99%

Sacrifice, Politics and Animal Imagery in the Oresteia

Kanellakis¹

2019

C&M

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“…20 For perverted sacrificial ritual in tragedy, esp. in the Oresteia, see Zeitlin (1965); Zeitlin (1966); Burkert (1966: esp. 119-120); Pucci (1992); Henrichs (2000: esp.…”

Section: The Watchman As Individual Choreutmentioning

confidence: 99%

“…3 See Ferrari (1997); for a similar technique in the Persians and Suppliants, see Gödde (2000a and2000b); for the Oresteia are the following discourses, motifs, images and metaphors represented as decisive: light-dark (Goldhill [1984]), sacrifice (i.a. Zeitlin [1965 and), libation, animals in general (i.a. Heath [1999]) (esp.…”

mentioning

confidence: 99%

Melizein Pathe or the Tonal Dimension in Aeschylus’ Agamemnon: Voice, Song, and Choreia as Leitmotifs and Metatragic Signals for Expressing Suffering

Bierl¹

2017

Voice and Voices in Antiquity

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Since the 1990s, the traditionally text-focused field of classical philology has experienced the advent of a new paradigm of performance, especially Greek philology, particularly in drama research, where an emphasis on the media beyond the text-the consideration of voice, choral arrangement, musicality, lyric poeticity, performativity, and rituality as they pertain to a total work of art-has become apparent. 1 As is well known, the chorus represents a multimedia and multimodal element, performing songs comprising voiced content, dance as a rhythmic bodily movement, and musical accompaniment. Chorality is predominately associated with ritual, honoring the gods and educating via a comprehensive explanation of the world steeped in mythical contexts. Tragedy * I want especially to thank Niall Slater not only for organizing the excellent conference "Orality and Literacy in the Ancient World XI: Voice and Voices" at Emory University (September 17-21, 2014) but also for editing this volume. I also express my thanks to the anonymous referee for reviewing my contribution, giving me thoughtful criticism, and saving me from many errors. For discussion and feedback I am grateful to them, to the fellow-participants at the orality conference, and to gracious audiences at Rome, Frankfurt, Barcelona, Graz, and Regensburg. Last but not least I thank my student assistant Austin Diaz for helping me with a first translation and correcting my English.

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“…Feldherr goes on to link this concern with sacrifice in Ovid's Theban history to the theories of the French cultural historian René Girard, who sees as the primary purpose of sacrifice not so much, or not only, communication with the gods, as the regulation of cyclical violence arising within any community as a result of competition. Naturally, any variety of human, and therefore corrupted, sacrifice must also taint the foundation it may bless -with tragedy (Zeitlin 1965).…”

Section: -18 Ille … Videresmentioning

confidence: 99%