Love and loyalty, hatred and revenge, worry, deprivation, and political ambition: those are the factors which thrust the characters portrayed in those 3 Sophoclean masterpieces directly to their collision path with catastrophe.
Recognized in his personal day as maybe the best of the Greek tragedians, Sophocles' acceptance has remained undimmed for 2 and a part thousand years. His maximum innovation within the tragic medium used to be his improvement of a relevant tragic determine, confronted with a try out of will and personality, risking obloquy and demise instead of compromise his or her rules: it truly is awesome that Antigone and Electra either have a lady as their intransigent 'hero'. Antigone dies fairly forget her accountability to her relations, Oedipus' decision to avoid wasting his urban ends up in the bad discovery that he has dedicated either incest and parricide, and Electra's unremitting anger at her mom and her lover retains her in servitude and despair.
These vibrant translations mix splendor and modernity, and are outstanding for his or her lucidity and accuracy. Their sonorous diction, financial system, and sensitivity to the various metres and modes of the unique musical supply cause them to both appropriate for studying or theatrical peformance.
Readership: scholars of all collage degrees in drama, classics, comparative literature, theatre experiences. A-level `Classical Civilization' scholars.
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Additional resources for Antigone, Oedipus the King, Electra (Oxford World's Classics)
The characteristics of the field that result from this odd institutional position, as adumbrated by Randal Johnson in his very useful introduction to Bourdieu’s collection The Field of Cultural Production (1993), are worth quoting at length: There are no ultimate, legally constituted arbiters of literary quality or value, which is unstable and changing over time. Strategies and trajectories of writers tend to be individual—which does not mean that they are totally subjective or the product of conscious calculation—and highly differentiated, even among agents of a similar social background.
He associates the formalist aesthetic with a contemplative ideal, which, like Dewey, he sees as reinforcing distinctions between a leisure class and a labor class: “In part, the 32 RECONSTRUCTION IN LITERARY STUDIES preference for contemplation is due to a natural wish for protection against social upheaval. But it is also surely the case that we prefer thinking to action because thinking is the mark of our separation from and economic superiority to those who do physical labor” (88–89). Pierre Bourdieu’s 1979 sociological study Distinction: A Social Critique of the Judgement of Taste is directed at the same target: “an aestheticism which presents the aesthetic disposition as a universally valid principle and takes the bourgeois denial of the social world to its limit.
An unfortunate consequence for Guillory of the liberal pluralists’ efforts to revise the canon is that “a critique of canon formation which reduces that process to conspiratorial acts of evaluation is compelled to regard the discourse of the aesthetic as merely fraudulent, as a screen for the covert affirmation of hegemonic values which can be shown to be the real qualification for canonicity in the first place” (270). 18 From Guillory’s Marxist perspective, what that incommensurability points to is really the fundamental failure of the market as a tool for realizing human needs, but Smith’s economization of the aesthetic field thus plays into the hands of political economy: “The ‘logic of equivalence,’ according to which every exchange is supposed to be an equal exchange, denies the crucial fact revealed in the market, that social relations do not make sense.