Myth as a mobilizing force in Attic warrior society
This paper focuses on the mobilizing role of symbols and specifically on the workings of mythical theatre. Attic theatre is understood as a symbolic performance in which the comic and the tragic genres represented processes of ‘over-distancing’ and ‘under-distancing’, respectively. Instead of concei...
| Published in: | Kernos |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Centre
[2005]
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| In: |
Kernos
Year: 2005, Volume: 18, Pages: 185-201 |
| Online Access: |
Volltext (doi) Volltext (kostenfrei) |
| Summary: | This paper focuses on the mobilizing role of symbols and specifically on the workings of mythical theatre. Attic theatre is understood as a symbolic performance in which the comic and the tragic genres represented processes of ‘over-distancing’ and ‘under-distancing’, respectively. Instead of conceiving of tragedy as just an aesthetic or critical medium, the tragic genre is viewed as part of a complex cultural and social process that serves as a mobilizing force around the fundamental values of the polis, e.g. the warrior and his hebe. A number of cult practices are discussed in order to demonstrate the importance of warrior symbolism in Attic society. Furthermore, it is argued that the tragic performance does not present a positive and ideal image, but a violation of the social order (‘the warrior’). The Children of Herakles and other tragedies are analysed in order to illustrate the argument. |
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| Contains: | Enthalten in: Kernos
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| Persistent identifiers: | DOI: 10.4000/kernos.1524 |