- Title Pages
- 1 The titles of Greek dramas
- 2 Violence in Greek drama*
- 3 Adolescence, ephebeia, and Athenian drama
- 4 <i>Sherlockismus</i> and the study of fragmentary tragedies
- 5 The seniority of Polyneikes in Aeschylus' <i>Seven</i>
- 6 The beginning and the end of Aeschylus' Danaid trilogy
- 7 The theatre audience, the <i>Demos</i>, and the <i>Suppliants</i> of Aeschylus*
- 8 Sleeping safe in our beds: stasis, assassination, and the <i>Oresteia</i>
- 9 The tangled ways of Zeus
- 10 The omen of Aulis or the omen of Argos?
- 11 <i>Pathos</i> and <i>mathos</i> before Zeus
- 12 <i>Oresteia</i> Act II: two misconceptions
- 13 Aeschylus' epitaph
- 14 Dearest Haimon
- 15 ‘They all knew how it was going to end’: tragedy, myth, and the spectator
- 16 Alternative scenarios in Sophocles' <i>Electra</i> *
- 17 Sophocles' Palamedes and Nauplius plays: no trilogy here
- 18 ‘The rugged Pyrrhus’: the son of Achilles in tragedy
- 19 What <i>ought</i> the Thebans to have done?
- Index Locorum
- General Index
- (p.1) Introduction
- The Tangled Ways of Zeus
Alan H. Sommerstein (Contributor Webpage)
- Oxford University Press
This introductory chapter explains the organization of the book, its main themes, and the aims of the kind of literary scholarship that it represents—the chief of which is treating a literary work as a designed human artefact, to establish its form and content, the circumstances in which it was created, why it was given the form it had rather than any other, the effects it was designed to produce on the recipients for whom it was composed, and the effects it actually produced on them and on other (usually subsequent) recipients.
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