By Eirene Visvardi
Emotion in motion: Thucydides and the Tragic refrain bargains a brand new method of the tragic refrain by means of studying how definite choruses ‘act’ on their shared emotions. Eirene Visvardi redefines choral motion, analyzes choruses that enact worry and pity, and juxtaposes them to the Athenian dêmos in Thucydides’ background. thought of jointly, those texts undermine the pointy divide among emotion and cause and deal with a preoccupation that emerges as primary in Athenian lifestyles: the way to channel the motivational energy of collective emotion into really apt motion and render it conducive to harmony and collective prosperity. via their functionality of emotion, tragic choruses increase the query of which collective voices deserve a listening to within the associations of the polis and recommend assorted how you can envision passionate judgment and motion.
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Additional resources for Emotion in Action: Thucydides and the Tragic Chorus
2, 3, 7) and Aristotle in the Politics (esp. Bk. 8) discuss extensively how music enters the soul and can define emotional and moral dispositions. On Damon of Oa, see Wallace (2004). , Csapo (2004). 88 Webster (1970b), Lawler (1964a) and (1964b), and Lonsdale (1993) remain some of the main reference works with discussion of archaeological and literary material on dance as well as on the rhythm and potential movements conveyed through meter. Golder (1996) 11 and passim discusses the stylized movements of the chorus and the ways in which they would enlarge “the visual meanings, schêmata, and cheironomia that represented the stylized expression of the actors”.
On Vernant see also Gould (1996) 218–220 who is the one who develops the notion of social marginality and Goldhill (1996) 244–6. Social marginality itself has been reconsidered, see below. 20 chapter 1 Overall these approaches call attention to two broad questions that persist in subsequent attempts to offer a nuanced understanding of the tragic chorus: first, how are we to explain the intuition that the collective chorus relates to the collective theater-audience in a distinct way? And second, what is the nature and effect of the choral voice as it is filtered through the performance of song and dance and the double identity of the chorus as a performer of ritual in the festival of Dionysus and as a dramatic character?
255. See also his most recent (2012) interpretation of Sophocles in particular, where he views the portrayal of the chorus’ response to the hero as “one way of thinking about the difficulties of integrating [excessive, demanding, transgressive individuals] into the collective enterprise” and thus “good for the Athenians to think with, politically” (132–133). 53 On the elusiveness of ‘tragic authority’, see also Foley (2003) 2. Dhuga (2011) continues the discussion of authority while questioning the attribute of marginality, specifically with respect to choruses of old men.