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A Grammar of Dramatic Technique : = The Dramatic Structure of the Carpet Scene in Aeschylus' "Agamemnon" (Classics, Semiotics, Theater; Greece)

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	A Grammar of Dramatic Technique :/
Reminder of title:	The Dramatic Structure of the Carpet Scene in Aeschylus' "Agamemnon" (Classics, Semiotics, Theater; Greece)
Author:	Philippides, S. N.
Description:	1 online resource (219 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 45-07, Section: A.
Contained By:	Dissertations Abstracts International45-07A.
Subject:	Classical studies. -
Online resource:	click for full text (PQDT)
ISBN:	9781392861127

A Grammar of Dramatic Technique : = The Dramatic Structure of the Carpet Scene in Aeschylus' "Agamemnon" (Classics, Semiotics, Theater; Greece)
Philippides, S. N.

A Grammar of Dramatic Technique :The Dramatic Structure of the Carpet Scene in Aeschylus' "Agamemnon" (Classics, Semiotics, Theater; Greece) - 1 online resource (219 pages)

Source: Dissertations Abstracts International, Volume: 45-07, Section: A.

Thesis (Ph.D.)--University of California, Irvine, 1984.

Includes bibliographical references

The dramatic structure of the carpet scene in Aeschylus' Agamemnon is modeled upon one of the dromena of the Athenian Dipolieia, in which the ox had to be lured to the altar. In fact, the structure of the entire Oresteia is modeled upon this ritual: both contain preparations for a sacrifice, the beguiling of the victim, a sacrificial killing, the pollution and self-exile of the murderer, a mock trial where the accusation is shifted from person to person, and the final acquittal of the culprit (the ax/Zeus substitutes for the bouphonos/Orestes). The ambiguity of the Oresteia is manifest in the carpet scene: the theatrical semiosis of this sequence constitutes the carpet as a stage object which is endowed with both positive (for Clytemnestra a symbol of glory) and negative markers (for Agamemnon a symbol of hybris). In the model, the ox is also endowed with positive (it is man's helpmate in ploughing) and negative markers (it eats from the altar). The ambiguity is produced not only by the attribution of contradictory semantic values to the ox and the carpet, but also by the ambivalent dramatic roles of the characters: in the Dipolieia the bouphonos is both a priest and someone who commits a sacrilege; in the Oresteia Agamemnon, Clytemnestra, and Orestes are all sacrificers and victims in turn. In the first half of the Agamemnon the dramaticity is created by thematic juxtaposition; there, two semantic fields, one referring to sacrifice/sacrilege and one to justice/injustice, are established. This co-embedment of the two fields functions to transform the ensuing action into a sacrifice (the trial thematics are dramatized in the Eumenides). Since the carpet scene is not yet the murder/sacrifice, it corresponds to the luring of the animal: a semantic analysis of this scene indicates that the meaning is organized upon the opposition sanctity vs. sacrilege. Greimas' textual semiotics has been utilized to examine both the Dipolieia and the carpet scene; his approach permits the "translation" of actions into meanings, thus overcoming the methodological problem of comparing a text with a non-text.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9781392861127Subjects--Topical Terms:

1182689
Classical studies.
Index Terms--Genre/Form:

554714
Electronic books.

A Grammar of Dramatic Technique : = The Dramatic Structure of the Carpet Scene in Aeschylus' "Agamemnon" (Classics, Semiotics, Theater; Greece)
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500 $a Source: Dissertations Abstracts International, Volume: 45-07, Section: A.
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504 $a Includes bibliographical references
520 $a The dramatic structure of the carpet scene in Aeschylus' Agamemnon is modeled upon one of the dromena of the Athenian Dipolieia, in which the ox had to be lured to the altar. In fact, the structure of the entire Oresteia is modeled upon this ritual: both contain preparations for a sacrifice, the beguiling of the victim, a sacrificial killing, the pollution and self-exile of the murderer, a mock trial where the accusation is shifted from person to person, and the final acquittal of the culprit (the ax/Zeus substitutes for the bouphonos/Orestes). The ambiguity of the Oresteia is manifest in the carpet scene: the theatrical semiosis of this sequence constitutes the carpet as a stage object which is endowed with both positive (for Clytemnestra a symbol of glory) and negative markers (for Agamemnon a symbol of hybris). In the model, the ox is also endowed with positive (it is man's helpmate in ploughing) and negative markers (it eats from the altar). The ambiguity is produced not only by the attribution of contradictory semantic values to the ox and the carpet, but also by the ambivalent dramatic roles of the characters: in the Dipolieia the bouphonos is both a priest and someone who commits a sacrilege; in the Oresteia Agamemnon, Clytemnestra, and Orestes are all sacrificers and victims in turn. In the first half of the Agamemnon the dramaticity is created by thematic juxtaposition; there, two semantic fields, one referring to sacrifice/sacrilege and one to justice/injustice, are established. This co-embedment of the two fields functions to transform the ensuing action into a sacrifice (the trial thematics are dramatized in the Eumenides). Since the carpet scene is not yet the murder/sacrifice, it corresponds to the luring of the animal: a semantic analysis of this scene indicates that the meaning is organized upon the opposition sanctity vs. sacrilege. Greimas' textual semiotics has been utilized to examine both the Dipolieia and the carpet scene; his approach permits the "translation" of actions into meanings, thus overcoming the methodological problem of comparing a text with a non-text.
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