By Landrum, Lisa
Read or Download Architectural Acts: Architect-figures in Athenian drama and their prefigurations (Ph.D., McGill University) PDF
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Extra info for Architectural Acts: Architect-figures in Athenian drama and their prefigurations (Ph.D., McGill University)
1 Exasperated by incessant war, which by its disruptions has undermined common revelry and agricultural prosperity, Trygaeus, a farmer, chooses at the start of this play to mount a giant flying dung-beetle—a modified stage machine. Upon this dramatic device, the unlikely hero soars up to the heavens, thus taking his concern for society’s well-being directly to the highest authority: Zeus. ” (58). After his spectacular ascent, however, Trygaeus is surprised to learn that Zeus and all the Olympian divinities have vacated their ethereal premises.
More generally, see Scranton (1960). Earlier than all of these inscriptions, however, is a line from Aeschylus’ fragmentary Dikē play (possibly of 476 BCE), in which the office of Justice (daughter of Zeus and sister to Peace) is, arguably, put in terms of architecting. See below, p. 115-21. 72 On instances of architectural theory emerging in the context of craftsmanship and pre-Socratic philosophy (notably of Anaximander), see McEwen (1993). 1 In the previous chapter, I introduced aspects of the architectural situation in Athens at the time of Peace’s performance and suggested ways in which Trygaeus’ performance participated in that situation while at the same time participated in metaphoric, mythic and ritual situations beyond it.
He explains that Peace began to perish when Pheidias and Pericles got into “trouble” (604-16). Who, then, were Pheidias and Pericles? What was their “trouble”? And, how does Hermes’ interpretation of these events bear upon our interpretation of Trygaeus’ architecting? 62 What 60 hō sophōtatoi geōrgoi, 603. See Olson’s note to this line regarding the textual difficulty with “wise” (sophōtatoi). Not all editors accept this adjective. 12; and a historic fragment of Philochorus, FGrH 328. F 121. Sommerstein’s note to these lines gives a good summary of Pheidias’ relevant work.