On the correct way to supplicate the gods in Seven against Thebes
Palavras-chave:
Ésquilo, súplica, ritual
Resumo
O Coro em Os sete contra Tebas é composto por donzelas que têm a importante tarefa de suplicar aos deuses no momento crucial antes da batalha e devem fazê-lo corretamente para que sua súplica seja eficaz. Este é um dos temas centrais da peça de Ésquilo: qual é a maneira correta de suplicar? Aqui, sugiro que o comportamento das donzelas do Coro é racional e eficaz, e que um exame das estátuas dos deuses que ocupam o palco e a maneira como o Coro as invoca é altamente esclarecedor no que diz respeito à elucidação da religiosidade das donzelas.
Referências
AMENDOLA, S. (2006), Donne e preghiera: le preghiere dei personaggi femminili nelle tragedie superstiti di Eschilo. Amsterdam, AM Hakkert.
BENVENISTE, É. (1969), Le vocabulaire des institutions indo-européennes, 2 vols. Paris, Les Éditions de Minuit.
BIERL, A. (2018), “The mise en scène of Kingship and Power in Aeschylus’ Seven Against Thebes: Ritual Performativity or Goos, Cledonomancy and Catharsis”: SKENÈ. Journal of Theatre and Drama Studies 4.2 (2018) 19-54.
BREMMER, J. (2019), The World of Greek Religion and Mythology. Collected Essays II, WUNT 433. Tübingen, Mohr-Siebeck.
CAMERON H. D. (1970), “The Power of Words in the Seven Against Thebes”: TAPA 101 (1970) 95-118.
BRUIT-ZAIDMAN, L. (2001), Le commerce des dieux. Eusebeia: essai sur la piété en Grèce ancienne. Paris, Éditions la découverte.
GIORDANO-ZECHARYA, M. (2006), “Ritual Appropriateness in Seven Against Thebes. Civic Religion in a Time of War”: Mnemosyne 59 (2006) 53-74.
GIORDANO-ZECHARYA, M. (2011), “Women’s Voice and Religious Utterances in Ancient Greece”: Religions 2 (2011) 729-743.
HUTCHINSON, G. O. (ed.) (1985), Aeschylus. Septem contra Thebas. Edited with introduction and commentary. Oxford, Clarendon Press.
LATTIMORE, R. (1951), The Iliad of Homer. Translated with an introduction by R.L. Chicago, The University of Chicago Press.
LIBRÁN MORENO, M. (2005), Lonjas del banquete de Homero. Convenciones dramáticas en la tragedia temprana de Esquilo. Huelva, Universidad.
PULLEYN, S. (1997), Prayer in Greek Religion. Oxford, Clarendon Press.
ROISMAN, H. M. (2004), “Women’s Free Speech in Greek Tragedy”: I. SLUITER & R. M. ROSEN (eds.) (2004), Free speech in classical Antiquity. Leiden, Brill, 91-114.
RUDHARDT, J. (19922), Notions fondamentales de la pensée religieuse et actes constitutifs du culte dans la Grèce classique. Paris, Picard.
TAPLIN, O. (1977) The Stagecraft of Aeschylus: The Dramatic Use of Exits and Entrances in Greek Tragedy. Oxford, Clarendon. Press.
TORRANCE, I. (2007), Aeschylus: Seven Against Thebes. London, Bloomsbury.
WEST, M. L. (19982), Aeschyli Tragoediae. Leipzig, Teubner.
WINNINGTON-INGRAM, R.P. (1977), “Septem contra Thebas”: T.F. GOULD & C.J. HERINGTON (eds.) (1977), Greek Tragedy. Yale Classical Studies, volume XXV. Cambridge, Cambridge U.P., 1-45.
ZEITLIN, F. M. (1990), “Patterns of Gender in Aeschylean Drama: Seven Against Thebes and the Danaid Trilogy”: M. Griffith & D. J. Mastronarde (eds.) (1990), Cabinet of the Muses, Essays on Classical and Comparative Literature in Honor of Thomas G. Rosenmeyer. Berkeley, University of California Press, 103-115.
BENVENISTE, É. (1969), Le vocabulaire des institutions indo-européennes, 2 vols. Paris, Les Éditions de Minuit.
BIERL, A. (2018), “The mise en scène of Kingship and Power in Aeschylus’ Seven Against Thebes: Ritual Performativity or Goos, Cledonomancy and Catharsis”: SKENÈ. Journal of Theatre and Drama Studies 4.2 (2018) 19-54.
BREMMER, J. (2019), The World of Greek Religion and Mythology. Collected Essays II, WUNT 433. Tübingen, Mohr-Siebeck.
CAMERON H. D. (1970), “The Power of Words in the Seven Against Thebes”: TAPA 101 (1970) 95-118.
BRUIT-ZAIDMAN, L. (2001), Le commerce des dieux. Eusebeia: essai sur la piété en Grèce ancienne. Paris, Éditions la découverte.
GIORDANO-ZECHARYA, M. (2006), “Ritual Appropriateness in Seven Against Thebes. Civic Religion in a Time of War”: Mnemosyne 59 (2006) 53-74.
GIORDANO-ZECHARYA, M. (2011), “Women’s Voice and Religious Utterances in Ancient Greece”: Religions 2 (2011) 729-743.
HUTCHINSON, G. O. (ed.) (1985), Aeschylus. Septem contra Thebas. Edited with introduction and commentary. Oxford, Clarendon Press.
LATTIMORE, R. (1951), The Iliad of Homer. Translated with an introduction by R.L. Chicago, The University of Chicago Press.
LIBRÁN MORENO, M. (2005), Lonjas del banquete de Homero. Convenciones dramáticas en la tragedia temprana de Esquilo. Huelva, Universidad.
PULLEYN, S. (1997), Prayer in Greek Religion. Oxford, Clarendon Press.
ROISMAN, H. M. (2004), “Women’s Free Speech in Greek Tragedy”: I. SLUITER & R. M. ROSEN (eds.) (2004), Free speech in classical Antiquity. Leiden, Brill, 91-114.
RUDHARDT, J. (19922), Notions fondamentales de la pensée religieuse et actes constitutifs du culte dans la Grèce classique. Paris, Picard.
TAPLIN, O. (1977) The Stagecraft of Aeschylus: The Dramatic Use of Exits and Entrances in Greek Tragedy. Oxford, Clarendon. Press.
TORRANCE, I. (2007), Aeschylus: Seven Against Thebes. London, Bloomsbury.
WEST, M. L. (19982), Aeschyli Tragoediae. Leipzig, Teubner.
WINNINGTON-INGRAM, R.P. (1977), “Septem contra Thebas”: T.F. GOULD & C.J. HERINGTON (eds.) (1977), Greek Tragedy. Yale Classical Studies, volume XXV. Cambridge, Cambridge U.P., 1-45.
ZEITLIN, F. M. (1990), “Patterns of Gender in Aeschylean Drama: Seven Against Thebes and the Danaid Trilogy”: M. Griffith & D. J. Mastronarde (eds.) (1990), Cabinet of the Muses, Essays on Classical and Comparative Literature in Honor of Thomas G. Rosenmeyer. Berkeley, University of California Press, 103-115.
Publicado
2023-03-08
Secção
Artigos
