東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

A GRAMMAR OF DRAMATIC TECHNIQUE: THE...

PHILIPPIDES, S. N.

Linked to FindBook

Google Book

Amazon

博客來

A GRAMMAR OF DRAMATIC TECHNIQUE: THE DRAMATIC STRUCTURE OF THE CARPET SCENE IN AESCHYLUS' "AGAMEMNON" (CLASSICS, SEMIOTICS, THEATER; GREECE).

Record Type:	Electronic resources : Monograph/item
Title/Author:	A GRAMMAR OF DRAMATIC TECHNIQUE: THE DRAMATIC STRUCTURE OF THE CARPET SCENE IN AESCHYLUS' "AGAMEMNON" (CLASSICS, SEMIOTICS, THEATER; GREECE)./
Author:	PHILIPPIDES, S. N.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1984,
Description:	219 p.
Notes:	Source: Dissertations Abstracts International, Volume: 45-07, Section: A.
Contained By:	Dissertations Abstracts International45-07A.
Subject:	Classical studies. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8411897
ISBN:	9781392861127

A GRAMMAR OF DRAMATIC TECHNIQUE: THE DRAMATIC STRUCTURE OF THE CARPET SCENE IN AESCHYLUS' "AGAMEMNON" (CLASSICS, SEMIOTICS, THEATER; GREECE).
PHILIPPIDES, S. N.

A GRAMMAR OF DRAMATIC TECHNIQUE: THE DRAMATIC STRUCTURE OF THE CARPET SCENE IN AESCHYLUS' "AGAMEMNON" (CLASSICS, SEMIOTICS, THEATER; GREECE). - Ann Arbor : ProQuest Dissertations & Theses, 1984 - 219 p.

Source: Dissertations Abstracts International, Volume: 45-07, Section: A.

Thesis (Ph.D.)--University of California, Irvine, 1984.

The dramatic structure of the carpet scene in Aeschylus' Agamemnon is modeled upon one of the dromena of the Athenian Dipolieia, in which the ox had to be lured to the altar. In fact, the structure of the entire Oresteia is modeled upon this ritual: both contain preparations for a sacrifice, the beguiling of the victim, a sacrificial killing, the pollution and self-exile of the murderer, a mock trial where the accusation is shifted from person to person, and the final acquittal of the culprit (the ax/Zeus substitutes for the bouphonos/Orestes). The ambiguity of the Oresteia is manifest in the carpet scene: the theatrical semiosis of this sequence constitutes the carpet as a stage object which is endowed with both positive (for Clytemnestra a symbol of glory) and negative markers (for Agamemnon a symbol of hybris). In the model, the ox is also endowed with positive (it is man's helpmate in ploughing) and negative markers (it eats from the altar). The ambiguity is produced not only by the attribution of contradictory semantic values to the ox and the carpet, but also by the ambivalent dramatic roles of the characters: in the Dipolieia the bouphonos is both a priest and someone who commits a sacrilege; in the Oresteia Agamemnon, Clytemnestra, and Orestes are all sacrificers and victims in turn. In the first half of the Agamemnon the dramaticity is created by thematic juxtaposition; there, two semantic fields, one referring to sacrifice/sacrilege and one to justice/injustice, are established. This co-embedment of the two fields functions to transform the ensuing action into a sacrifice (the trial thematics are dramatized in the Eumenides). Since the carpet scene is not yet the murder/sacrifice, it corresponds to the luring of the animal: a semantic analysis of this scene indicates that the meaning is organized upon the opposition sanctity vs. sacrilege. Greimas' textual semiotics has been utilized to examine both the Dipolieia and the carpet scene; his approach permits the "translation" of actions into meanings, thus overcoming the methodological problem of comparing a text with a non-text.

ISBN: 9781392861127Subjects--Topical Terms:

2122826
Classical studies.

A GRAMMAR OF DRAMATIC TECHNIQUE: THE DRAMATIC STRUCTURE OF THE CARPET SCENE IN AESCHYLUS' "AGAMEMNON" (CLASSICS, SEMIOTICS, THEATER; GREECE).
LDR:03172nmm a2200313 4500 001 2403199
005 20241104085634.5
006 m o d
007 cr#unu||||||||
008 251215s1984 ||||||||||||||||| ||eng d
020 $a 9781392861127
035 $a (MiAaPQ)AAI8411897
035 $a AAI8411897
040 $a MiAaPQ $c MiAaPQ
100 1 $a PHILIPPIDES, S. N. $3 3773462
245 1 2 $a A GRAMMAR OF DRAMATIC TECHNIQUE: THE DRAMATIC STRUCTURE OF THE CARPET SCENE IN AESCHYLUS' "AGAMEMNON" (CLASSICS, SEMIOTICS, THEATER; GREECE).
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1984
300 $a 219 p.
500 $a Source: Dissertations Abstracts International, Volume: 45-07, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
502 $a Thesis (Ph.D.)--University of California, Irvine, 1984.
520 $a The dramatic structure of the carpet scene in Aeschylus' Agamemnon is modeled upon one of the dromena of the Athenian Dipolieia, in which the ox had to be lured to the altar. In fact, the structure of the entire Oresteia is modeled upon this ritual: both contain preparations for a sacrifice, the beguiling of the victim, a sacrificial killing, the pollution and self-exile of the murderer, a mock trial where the accusation is shifted from person to person, and the final acquittal of the culprit (the ax/Zeus substitutes for the bouphonos/Orestes). The ambiguity of the Oresteia is manifest in the carpet scene: the theatrical semiosis of this sequence constitutes the carpet as a stage object which is endowed with both positive (for Clytemnestra a symbol of glory) and negative markers (for Agamemnon a symbol of hybris). In the model, the ox is also endowed with positive (it is man's helpmate in ploughing) and negative markers (it eats from the altar). The ambiguity is produced not only by the attribution of contradictory semantic values to the ox and the carpet, but also by the ambivalent dramatic roles of the characters: in the Dipolieia the bouphonos is both a priest and someone who commits a sacrilege; in the Oresteia Agamemnon, Clytemnestra, and Orestes are all sacrificers and victims in turn. In the first half of the Agamemnon the dramaticity is created by thematic juxtaposition; there, two semantic fields, one referring to sacrifice/sacrilege and one to justice/injustice, are established. This co-embedment of the two fields functions to transform the ensuing action into a sacrifice (the trial thematics are dramatized in the Eumenides). Since the carpet scene is not yet the murder/sacrifice, it corresponds to the luring of the animal: a semantic analysis of this scene indicates that the meaning is organized upon the opposition sanctity vs. sacrilege. Greimas' textual semiotics has been utilized to examine both the Dipolieia and the carpet scene; his approach permits the "translation" of actions into meanings, thus overcoming the methodological problem of comparing a text with a non-text.
590 $a School code: 0030.
650 4 $a Classical studies. $3 2122826
650 4 $a Classical literature. $3 595959
690 $a 0294
690 $a 0434
710 2 $a University of California, Irvine. $3 705821
773 0 $t Dissertations Abstracts International $g 45-07A.
790 $a 0030
791 $a Ph.D.
792 $a 1984
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8411897