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Cited by 228Classical Antiquity StudiesClassical Philosophy and ThoughtClassical Studies and Philology

The DOI matches its Crossref record; 24 of the 24 references it cites were found in a registry or an index.

The social function of Attic tragedy

Griffin, Jasper·1998·The Classical Quarterly
DOI 10.1093/cq/48.1.39
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Abstract

The time is long gone when literary men were happy to treat literature, and tragic poetry in particular, as something which exists serenely outside time, high up in the empyrean of unchanging validity and absolute values. Nowadays it is conventional, and seems natural, to insist that literature is produced within a particular society and a particular social setting: even its most gorgeous blooms have their roots in the soil of history. Its understanding requires us to understand the society which appreciated it, and for which it came into existence. In the particular case of the tragic poetry of Athens, the most influential body of recent criticism focuses on the relation of the drama to the realities of political and social life.

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Cites

Research works printed but not linked: 15

  1. Kearns, 1989, The Heroes of Attica (BICS, 50
  2. Cf. J.P. Vernant, 'Le tyran boiteux: d'oedipe à Periandre', in J.P. Vernant and P. Vidal-Naquet, Mythe et tragedie deux(Paris, 1986), pp. 45-78
  3. K. Reinhardt, 'Herodots Persergeschichten', Vermachtnis der Antike(Gottingen, 1960), 133-74 Herodot,ed. W Marg (W.d.F.26, 1965), pp. 320-69
  4. Ferguson, 1911, Hellenistic Athens, 290f
  5. Connor, 1989, City Dionysia and Athenian democracy, CandM, 70, 7
  6. Ethical, I think, rather than political. The question of the status and function of the chorus is interestingly discussed by J. Gould and S. Goldhill in Silk, Tragedy and the Tragic,pp. 217ff., 244ff. Gould points out that choruses, often exotic in personnel and always excluded from authority and action, could not be felt as standing for the authority of the democratic polis; some choruses, composed of foreign slave women, must have been ‘perceived by the citizen body as doubly, or even triply, marginal’ (p. 220). Goldhill replies that choruses nevertheless do speak with ‘the full weight of a collective authority’. Most tragedy is not set in Athens or about Athenians: ‘allresponse to tragedy involves projection, sympathy, idealization—a negotiation of “the other” to find meaning for the self (p. 253).
  7. Sommerstein, 1993, Tragedy, Comedy, and the Polisxg54:1217
  8. West, 1988, Odyssey,, 36
  9. Vidal-Naquet, 1986, PCPS, 32
  10. Croally, 1994, Euripidean Polemic
  11. Richardson, 1993, Commentary on the Iliad,, 14
  12. Schneider, 1971, Kullurgeschichte des Hellenismus, 188
  13. Romilly, 1961, L'evolution dupathetique d'eschyle a Euripide
  14. Macleod, 1982, Iliad 24, 1
  15. Cambridge Ancient History, 2nd edn (Cambridge, 1992), Vol. V, pp. 75.

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Metadata

Authors
Griffin, J.
Affiliations
University of Oxford (GB)
Corresponding author
Griffin, Jasper
Venue
The Classical Quarterly
Publisher
Cambridge University Press (CUP)
Published
1998-05
Volume
48
Issue
1
Pages
39-61
ISSN
  • 0009-8388 (ISSN-L)
  • 1471-6844
DOI
10.1093/cq/48.1.39
OpenAlex
W2158400044
Cited by
228
References
22
Citations by year
2025: 2 · 2024: 1 · 2023: 19 · 2022: 4 · 2021: 4 · 2020: 3 · 2019: 4 · 2018: 1 · 2017: 3 · 2016: 3 · 2015: 3 · 2014: 8 · 2013: 7 · 2012: 5
FWCI
32.24
Type
journal article
Language
en
Open access
closed
Licence
www.cambridge.org/core/terms (unspecified, 3939 d)
Locations
The Classical Quarterly (publishedVersion)
Topics
  • Social Sciences › Arts and Humanities › Classics › Classical Antiquity Studies
  • Social Sciences › Arts and Humanities › Philosophy › Classical Philosophy and Thought
  • Social Sciences › Arts and Humanities › Language and Linguistics › Classical Studies and Philology
Keywords
Attic tragedy, social function of literature, ancient Greek drama, Athens, literary history, tragic poetry, reception of tragedy

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