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Doctoral Thesis
DOI
Document
Author
Full name
Waldir Moreira de Sousa Júnior
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2019
Supervisor
Committee
Duarte, Adriane da Silva (President)
Macedo, José Marcos Mariani de
Santos, Fernando Brandão dos
Vieira, Trajano Augusto Ricca
Title in Portuguese
O dionisismo na obra trágica de Eurípides sobre o ciclo tebano
Keywords in Portuguese
Coro trágico
Dionisismo
Eurípides
Tebas
Abstract in Portuguese
Está bem assente nos estudos clássicos que a poesia coral grega, de caráter essencialmente performático, realizava funções extrapoéticas cívicas e religiosas. Não é bem compreendido, entretanto, a relação entre o coro do gênero trágico e As Grandes Dionísias, o principal festival de encenação da tragédia da Atenas do século V a.C. Há uma rica gama de estudos, hodiernos ou não, que têm debatido com afinco a questão acerca do relacionamento desse gênero com a divindade grega Dioniso. As soluções, teorias e interpretações advindas daí são muitas vezes díspares e controversas. Considerando esse problemático espectro teórico, ofereço um estudo sobre o dionisismo na obra trágica de Eurípides atinente à cidade de Tebas. Analisando tanto as tragédias que nos chegaram de maneira integral (As Bacantes, As Fenícias, As Suplicantes e Héracles) como as fragmentárias (Antíope, Crisipo, Enomau, e Hipsípile), realizo a aproximação entre tragédia e dionisismo tomando o coro como fator unitivo desses dois fenômenos culturais-religiosos. Nesse sentido, revisito a questão qual a função do coro trágico?, já muito feita, mas até hoje mal compreendida, a fim de entender qual a relação do coro com o festival e com o enredo da tragédia. Argumento que o coro, ao mesmo tempo que exerce uma precípua participação no enredo de cada tragédia, também realiza a ligação entre o gênero trágico e seu contexto de festival. Proponho uma análise pari passu de todos os cantos corais das tragédias citadas acima.
Title in English
Dionisism in the tragic work of Euripides about Thebes
Keywords in English
Dionisism
Euripides
Thebes
Tragic chorus
Abstract in English
It is deep-rooted in the hellenic studies the assertion that the choral greek poetry, essentially performatic in its structure, carried out civic and religious duties. Nevertheless, it is not well understood the relation between the tragic chorus and the Great Dionysia, the main festival where the staging of tragic plays did occur in the Athens of the fifth century b.C. There are plenty of studies, more or less contemporary to us, which stubbornly investigate the interconnections between the tragic genre and the greek deity Dionysus. The answers, explanations, theories and elucidations about such a topic are frequently dissimilar and controversial. Taking these matters into account, I am concerned in writing about the dionisism in the tragic work of Euripides related to the city of Thebes. By searching into both the complete (Bacchae, Phoenissian Women, Suppliant Womend and Heracles) and fragmentary plays (Antiope, Chryssipus, Hypsipyle and Oenomaus), I intend to show that the chorus is what makes the tragedy genre and the dionisism become one only cultural and religious phenomenon in the festival. In this way, in order to understand what is the relation between the chorus and the tragic plot, I firstly revisit the question what is the role of the greek chorus?. I argue that the chorus is as important to the plot as to put the tragic genre in its particular context, that is, the context of festival. A pari passu analysis of all the choral odes of the above mentioned tragedies will be made.
 
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Publishing Date
2019-11-25
 
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