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"Sophocles stands as one of the greatest dramatists of all time, and one of the most influential on artists and thinkers over the centuries. His plays are deeply disturbing and unpredictable, unrelenting and open-ended, refusing to present firm answers to the questions of human existence, or to provide a redemptive justification of the ways of gods to men-or women. These three tragedies portray the extremes of human suffering and emotion, turning the heroic myths into supreme works of poetry and dramatic action. Antigone's obsession with the dead, Creon's crushing inflexibility, Deianeira's jealous desperation, the injustice of the gods witnessed by Hyllus, Electra's obsessive vindictiveness, the threatening of insoluble dynastic contamination ... Such are the pains and distortions and instabilities of Sophoclean tragedy. And yet they do not deteriorate into cacophony or disgust or incoherence or silence: they face the music, and through that the suffering is itself turned into the coherence of music and poetry. These original and distinctive verse translations convey the vitality of Sophocles' poetry and the vigour of the plays in performance, doing justice to both the sound of the poetry and the theatricality of the tragedies. Each play is accompanied by an introduction and substantial notes on topographical and mythical references and interpretation. Antigone is an icon of Greek tragedy, and Antigone is herself a tragic icon in world theatre. Sophocles' best-known and most performed play tells a story of defiance and the impossible demands of loyalty. Deianeira, also known as Women of Trachis or Trachinaian Women, wrestles with the anxieties of matrimony and motherhood, following the doomed attempt by the wife of the hero Heracles to assert her dignity. Electra portrays a vengeful daughter's journey through unflagging grief and murderous fury, ending without resolution in uncertainty and suspense"--

Mythology, Greek --- Mythology, Greek. --- Sophocles --- Sophocles.

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"The picture of classical antiquity most of us learned in school is framed in certain ways -- glossing over misogyny while omitting the seeds of feminist resistance. Many of today's harmful practices, like school dress codes, exploitation of the environment, and rape culture, have their roots in the ancient world. But in Antigone Rising, classicist Helen Morales reminds us that the myths have subversive power because they are told -- and read -- in different ways. Through these stories, whether it's Antigone's courageous stand against tyranny or the indestructible Caeneus, who inspires trans and gender queer people today, Morales uncovers hidden truths about solidarity, empowerment, and catharsis. Antigone Rising offers a fresh understanding of the stories we take for granted, showing how we can reclaim them to challenge the status quo, spark resistance, and rail against unjust regimes."--Amazon.com.

Feminist theory. --- Mythology, Greek. --- Mythology, Roman.

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The first two chapters of this book isolate and describe the literary phenomenon of the Sophoclean tragic hero. In all but one of the extant Sophoclean dramas, a heroic figure who is compounded of the same literary elements faced a situation which is essentially the same. The demonstration of this recurrent pattern is made not through character-analysis, but through a close examination of the language employed by both the hero and those with whom he contends. The two chapters attempt to present what might, with a slight exaggeration, be called the "formula" of Sophoclean tragedy. A great artist may repeat a structural pattern but he never really repeats himself. In the remaining four chapters, a close analysis of three plays, the Antigone, Philoctetes, and Oedipus at Colonus, emphasizes the individuality and variety of the living figures Sophocles created on the same basic armature. This approach to Sophoclean drama is (as in the author's previous work on the subject) both historical and critical; the universal and therefore contemporary appeal of the plays is to be found not by slighting or dismissing their historical context, but by an attempt to understand it all in its complexity. "The play needs to be seen as what it was, to be understood as what it is."

Greek drama (Tragedy) --- Mythology, Greek, in literature. --- History and criticism.

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Vénus, Flore, Hébé ou Diane - autant de divinités antiques qui ont prêté, à partir de la fin du XVIIe siècle en France, leurs attributs et leurs costumes vaporeux, souvent affriolants, à quantité de femmes de l'aristocratie de cour, de la bourgeoisie montante et de la noblesse de robe. L'élite sociale se fait alors peindre en costume mythologique ou historique par des artistes célèbres tels que Nicolas de Largillierre, Hyacinthe Rigaud, François de Troy, Jean-Marc Nattier ou Jean Raoux. Ces portraits dits "historiés" , dans lesquels l'effigie d'une personne vivante s'enrichit d'attributs mythologiques comme dans un tableau d'histoire, sont un genre pictural à part entière. D'abord prérogative masculine adoptée par les grands pour célébrer leurs vertus, il devient vers 1680 l'apanage des modèles féminins : le langage allégorique les pare de qualités à connotation spécifiquement féminine et galante, comme la beauté, la jeunesse, la grâce, qui, bien comprises, pouvaient aussi être un moyen de manier le pouvoir.

Portrait painting, French --- Painting, Baroque --- Painting, French --- Mythology, Roman, in art --- Mythology, Greek, in art --- Art and mythology

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Vingt ans après la publication de La Fille d’Athènes, Mythes, cultes et société, ouvrage majeur de Pierre Brulé, il convient de suivre les traces de ces petites Athéniennes, sans doute devenues épouses et mères et, chemin faisant, de revenir sur les travaux pionniers de cet helléniste hors norme. En effet, il importe de se mettre en quête de la place que le féminin tient dans les mythes et les rites grecs, de reconsidérer la vision que les hommes proposent des pratiques religieuses des femmes et de revisiter les divinités qui les concernent plus spécifiquement, autant de pistes abordées dans le présent ouvrage. Il s’agit de se demander comment les femmes grecques appréhendaient le domaine cultuel et si elles le faisaient d’une manière particulière, spécifique à leur « nature féminine ». S’agissait-il d’un des seuls domaines dans lequel elles auraient pu trouver une forme d’expression publique et de reconnaissance sociale ? Peut-on parler encore de « citoyenneté cultuelle » pour les femmes grecques ? Il convient toutefois de ne jamais oublier que la « religion des filles c’est celle que les hommes font fonctionner, et d’une certaine façon, utilisent ». Dans le présent volume des contributions sont rassemblées et organisées autour de trois parties : les figures féminines, déesses et héroïnes ; les mots et les noms du féminin et, enfin, les passages et les transmissions féminins.

Women and religion --- Women --- Mythology, Greek --- Femmes et religion --- Femmes --- Mythologie grecque --- History --- Mythology --- Histoire --- Mythologie --- Greece --- Grèce --- Religion --- Grèce --- Classics --- religion --- Grèce ancienne --- mythes --- cultes --- figure féminine