<nettime> [ot] [!nt] \n2+0\ gr!!!!!k kultr [.eu akzent zvp]

[integer@www.god-emil.dk]

     [orig To: <lev@shoko.calarts.edu>]

01 z!kl!ng74 th!!!!!!f t!pd

>>One party engages in serial harassment of the other for three years.
>>The other party finally decides it's never going to stop.
>>
>>This resembles a Greek tragedy?



pnyboer@slambassador.com (Peter Nyboer) zkr!b!z

>Well, for a while there, it was Promethian.  The current situation is more
>Balkan.
>However, some general statements about greek tragedy
>(http://www.stemnet.nf.ca/~hblake/tragedy1.html) that, with parallel
>reflection of the nn saga, is sure to provide some insight, if not a laugh:
>
>In Greek tragedy the tragic situation, in which the characters find
>themselves, is always a situation in which man seems to be deprived of all
>outward help and is forced to rely entirely on himself. It is a situation
>of extraordinary tension, of utmost conflict. Studying the plots of a
>number of Greek tragedies, one can find variations of two basic tragic
>situations:
>
>1.      First there is the case of man's miscalculation of reality which
>brings about the fatal situation.
>2.      The second kind of tragic situation is that of man between two
>conflicting principles. The protagonist is suddenly put at the crossing
>point of two duties, both of which claim fulfilment. This is the most
>compelling tragic situation and is at the game time the one that has most
>often been chosen by the Greek dramatists.
>
>The earliest presentations probably consisted of a chorus of men dancing in
>a ring, reciting or chanting some Greek myth while individual performers
>would stand on a rough wooden platform or cart. Spectators squatted on a
>hillside to view these early "plays".
>
>As time passed the sung and danced myths developed a more serious form.
>Instead of gaiety and burlesque the "plays" now dealt with the relationship
>of man and the "Gods", and tried to illustrate some particular lesson of
>life.
>
>The chorus dressed in goat skins because the goat was sacred to Dionysius
>and goats were "prizes" which were awarded for the best plays. Therefore,
>the word tragedy is believed to be derived from the Greek word "tragoidia"
>which means "goat-song".
>
>Aeschylus, the poet who best evokes Athenian power and grandeur, is deeply
>concerned with the moral issues that power and grandeur raise. He examines
>the dangers of overweening arrogance, the ancient rule of blood for blood,
>the inevitability of the misuse of power. His conclusions are his own,
>often breaking with traditional concepts.
>
>Where Aeschylus argues for and justifies the ways of the gods, Sophocles is
>content to accept them as they are, and treats them with awe and reverence.
>He examines the accepted view of some problem and from it draws its central
>truth. To Sophocles, any violation of the cosmic order creates suffering,
>but suffering can redeem and exalt. His power lies in his compassion, in
>his sympathy for his characters, however deluded or broken they may be.
>
>Euripides, the last of the three great tragedians, belongs to a somewhat
>later generation of Greek thought, and is a far more troubled, questioning
>and unsatisfied spirit. Euripides is the most direct of the three in his
>questioning of established beliefs. Where Aeschylus and Sophocles merely
>suggest that the old ways may be wrong, Euripides criticizes them boldly.
>
>The reason for this sudden interest in man and his position in the order of
>the universe has been widely discussed among scholars. We have become used
>to speaking of the fifth century B.C. as of the 'Greek Age of
>Enlightenment". Civilization had developed, there were numerous changes in
>the fields of Greek social and political life. Along with political
>independence went a flowering independence of thought, a new way of
>thinking and of looking at the world. Philosophy was flourishing. In all
>fields new ideas were born, one of the most important. perhaps, being the
>idea of harmony as ruling principle of the cosmos.
>This idea of harmony was also transferred to the spiritual life of man. He
>would live happiest who had attained a harmonious balance in his life.
>However. in this yeasting age of growing individualism it seemed to become
>harder than ever before to maintain a balance. Too much that was new was
>weighing the scales. Traditional values were regarded as open to question
>and the authority of mere antiquity was not enough. A growing independence
>from the traditional gods was developing. It was from this "climate" that
>Greek tragedy emerged.
>
>Pete.



takk. takk.

it is no longer dze prezensz ov g od
abr dze absensz ov u!ch = reasurez nn

!znt l!fe juzt l!fl! +?

tralelala + c!ao.nn


          \\ z!kl!ng74 = beg!n!ng 2 bget 01 feel!ng 4 gr!!!!k kultr + balkan kultr auss! -
             [ue = total! lvl! + unkoop.e ra t!v]  b!lab!al kl!kz+++++                                                






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                                                v3kt0r.r2!n - ztra!ng !n 2 dze z!ngular!t!



-

Netochka Nezvanova
f3.MASCHIN3NKUNST
@www.eusocial.com
17.hzV.tRL.478
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