Architectural Acts: Architect-figures in Athenian drama and by Landrum, Lisa

By Landrum, Lisa

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Additional resources for Architectural Acts: Architect-figures in Athenian drama and their prefigurations (Ph.D., McGill University)

Sample text

59 Yet, for the moment, I must stop here. * * * To reiterate what has been said above about the peculiarities of Trygaeus’ hoisting activities in Peace: First, he acts as a leader of dramatic choruses as much as a supervisor of construction laborers. Second, his most crucial collaborators are shown to be farmers—those who earnestly tend to generative grounds. Third, his primary actions are manifold: in their metaphoric allusions; in their meta-theatrical associations; and in the poetic models they actively appropriate, adjust and recall.

Edith Hall (2006), 321ff, has also remarked on the unusually dense repertoire of images in this play. ” Every key poetic genre (including epic, tragedy, satyr play, dithyramb and comedy), Hall claims, is assimilated into this play through Trygaeus’ role. 58 For instance, within the play, hoisting is compared to wine drinking—to raising a toast. 59 Yet, for the moment, I must stop here. * * * To reiterate what has been said above about the peculiarities of Trygaeus’ hoisting activities in Peace: First, he acts as a leader of dramatic choruses as much as a supervisor of construction laborers.

Also on the Southern slope of the Acropolis, and immediately to the West of the theater’s spectator area, preparations were underway for the Sanctuary of Asclepius; construction of which began in 420/19 BCE and continued until 412/11. The tragedian Sophocles was partially responsible for bringing the cult of this healing god to Athens from Epidaurus. It is tempting, then, to believe that the dramatist may have been influential in proposing the site next to the theater. See Hurwit (1999), 219-21, and Aleshire (1991).

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