The Oresteia (Agamemnon, The Libation Bearers, The by Aeschylus PDF
Within the Oresteia, the single trilogy in Greek drama which survives from antiquity, Aeschylus took as his topic the bloody chain of homicide and revenge in the royal relations of Argos. relocating from darkness to mild, from rage to self-governance, from primitive ritual to civilized establishment, it's spirit of fight and regeneration is eternal.
Translated by way of Robert Fagles.
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Extra resources for The Oresteia (Agamemnon, The Libation Bearers, The Eumenides)
Genette (1980) explains his objection to the term point of view by referring to the work of Brooks and Warren (1943), who suggest the term focus of narration as an alternative. Genette’s work, however, has not been without its critics. I myself have several reservations about some of Genette’s proposals, so I will begin with an examination of Genette’s work in order to make clear my dissatisfaction with it. 1 Genette’s (1980) summary of Brooks and Warren’s (1943) ‘focus of narration’ Internal analysis of events Narrator as a character in the story Narrator not a character in the story Outside observation of events 1.
The fact that point of view has overt visual connotations is a criticism often levelled at those writers who prefer this term, but this criticism is itself open to question. It is not made clear by Genette or other writers who favour the term focalization just what is so objectionable about retaining the visual connotations of point of view. e. 3). Therefore, retaining these visual connotations may actually help us to better understand their metaphorical counterparts. ’ all carry the visual connotations that he claims to want to avoid.
That’s what you say. The only programme I’m likely to get on is the fucking news. The assessment is probably correct. (Bruce Robinson, Withnail and I, p. 12 (773-824) Point of View in Plays The interrogatives in the screen directions (‘An audition? ’) give the impression that the narrator does not have full knowledge of the characters or the goings-on in the fictional world. The sentence adjuncts ‘evidently’ and ‘clearly’ provide further support for this interpretation, suggesting that there is external evidence for the assertions that are made in the screen directions, rather than the narrator simply being able to state these propositions as fact.
The Oresteia (Agamemnon, The Libation Bearers, The Eumenides) by Aeschylus