By Eirene Visvardi
Emotion in motion: Thucydides and the Tragic refrain bargains a brand new method of the tragic refrain by way of interpreting how yes choruses ‘act’ on their shared emotions. Eirene Visvardi redefines choral motion, analyzes choruses that enact worry and pity, and juxtaposes them to the Athenian dêmos in Thucydides’ background. thought of jointly, those texts undermine the pointy divide among emotion and cause and tackle a preoccupation that emerges as relevant in Athenian lifestyles: easy methods to channel the motivational energy of collective emotion into really appropriate motion and render it conducive to harmony and collective prosperity. via their functionality of emotion, tragic choruses increase the query of which collective voices deserve a listening to within the associations of the polis and recommend different how you can envision passionate judgment and motion.
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Extra resources for Emotion in Action: Thucydides and the Tragic Chorus
Love and commitment). 104 Evaluation and affect thus work together to make us share the sentiments of others and render them public concerns. It is never sufficient to know cognitively what others’ concerns are in order to take them into account during deliberation. 105 For any of these processes to be possible and effective, a necessary precondition is the openness of public deliberation that allows for continuous contestation. If Athenian culture is a culture of passions, as defined in Section 2, Krause’s request to admit that deliberation is necessarily steeped in passion is an endorsed reality in 5th c.
In this context, the emphasis on the collective character of the two groups varies. Notably, August Wilhelm Schlegel’s interpretation of the chorus as an ideal spectator has been brought under scrutiny. 46 This model, however, has offered a productive springboard for analyzing the chorus in the context of Athenian democracy. 44 According to Schlegel (1904) 70, as the Greeks turned to the heroic ages for their compositions, they used the chorus in order to give “a certain republican cast” to the families of the heroes and thus they gave “publicity” to their actions: “Whatever it might be and do, [the chorus] represented, in general, first the common mind of the nation, and then the general sympathy of all mankind.
The element of intersubjectivity that Nagy discusses applies to the body of the chorus itself as it does to the relationship between the chorus and the audience: the interchangeable use of the first person singular and plural by the chorus (I/ We) points precisely to the integration of the individual into the collective in a seamless and cohesive way. 71 71 Kaimio (1970) offers a detailed survey and analysis of the use of person and number in the chorus in all three tragedians and Aristophanes, taking into account the tradition of non-dramatic lyric poetry.