Murder and madness: war trauma, revenge, and academic discomfort with Euripides’ Hecuba and Star Wars: Rebels
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.34624/fb.v0i19.34753 |
Resumo: | The history of modern scholarship on Euripides’ characterization of Hecuba is one of simultaneous fascination and revulsion, empathy and horror, understanding and rejection. David Grene and Richard Lattimore cite August Wilhelm Schlegel’s On Dramatic Art and Literature as the juncture wherein dramatic and scholarly opinion of Hecuba soured, a trend that continued with scholars such as JA Spranger, Gilbert Norwood, and JJ Rieske. My project, building from Grace Zanotti’s explorations of Hecuba and Tonya Pollard’s study of Hecuba as essential to Shakespeare’s women, asserts that modern storytelling, particularly the character of Sabine Wren in Star Wars: Rebels, deals with Hecuba more genuinely than post-Schlegel scholars largely have.The charges against Hecuba are that her character and her actions do not seem to be the work of one character, and that the play may be an amalgamation of several shorter plays that Euripides did not feel met the required length of a dramatic work. As such, they consider the depths of Hecuba’s sorrow at the murder of Polyxena and the heights of her rage at the murder of Polydorus to be two different Hecubas.I apply Pollard’s examination of Hecuba’s centrality to Shakespeare’s works to the character of Sabine Wren, who has the strongest echoes of Euripides’ Hecuba, encompassing the fullness of emotion from her towering anger at the Galactic Empire to the depth of her sorrow at the near loss of her family. Within that analysis, I argue that scholarship claiming Hecuba as a weak play is unwilling or unable to engage with Hecuba emotionally, and that even Zanotti’s project, which seeks to rationally explain how Hecuba can be both mourner and murderer, is indicative of a trend in modern scholarship to dismiss the validity of those emotional zeniths and nadirs in art. |
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Murder and madness: war trauma, revenge, and academic discomfort with Euripides’ Hecuba and Star Wars: RebelsAssassinato e loucura: trauma de guerra, vingança, e desconforto acadêmico com Hécuba de Eurípides e Star Wars: RebelsThe history of modern scholarship on Euripides’ characterization of Hecuba is one of simultaneous fascination and revulsion, empathy and horror, understanding and rejection. David Grene and Richard Lattimore cite August Wilhelm Schlegel’s On Dramatic Art and Literature as the juncture wherein dramatic and scholarly opinion of Hecuba soured, a trend that continued with scholars such as JA Spranger, Gilbert Norwood, and JJ Rieske. My project, building from Grace Zanotti’s explorations of Hecuba and Tonya Pollard’s study of Hecuba as essential to Shakespeare’s women, asserts that modern storytelling, particularly the character of Sabine Wren in Star Wars: Rebels, deals with Hecuba more genuinely than post-Schlegel scholars largely have.The charges against Hecuba are that her character and her actions do not seem to be the work of one character, and that the play may be an amalgamation of several shorter plays that Euripides did not feel met the required length of a dramatic work. As such, they consider the depths of Hecuba’s sorrow at the murder of Polyxena and the heights of her rage at the murder of Polydorus to be two different Hecubas.I apply Pollard’s examination of Hecuba’s centrality to Shakespeare’s works to the character of Sabine Wren, who has the strongest echoes of Euripides’ Hecuba, encompassing the fullness of emotion from her towering anger at the Galactic Empire to the depth of her sorrow at the near loss of her family. Within that analysis, I argue that scholarship claiming Hecuba as a weak play is unwilling or unable to engage with Hecuba emotionally, and that even Zanotti’s project, which seeks to rationally explain how Hecuba can be both mourner and murderer, is indicative of a trend in modern scholarship to dismiss the validity of those emotional zeniths and nadirs in art.A história da erudição moderna na caracterização de Hécuba de Eurípedes é uma de fascinação e repugnância simultâneas, empatia e horror, compreensão e rejeição. David Grene e Richard Lattimore citam August Wilhelm Schlegel’s na Arte e Literatura Dramáticas enquanto a conjuntura em que a opinião dramática e acadêmica de Hécuba ficou amarga, uma tendência que continuou com estudiosos como JA Spranger, Gilbert Norwood e JJ Rieske. Meu projeto, construído a partir das explorações de Hécuba de Grace Zanotti e o estudo de Hécuba de Tonya Pollard como essencial para as mulheres de Shakespeare, afirma que a narrativa moderna, particularmente a personagem de Sabine Wren em Star Wars: Rebels, lida com Hécuba mais genuinamente do que os estudiosos pós-Schlegel em grande parte lidaram.As acusações contra Hécuba são de que a personagem e as ações dela não parecem ser o trabalho de uma personagem e que a peça pode ser uma amalgamação de várias peças mais curtas que Eurípedes achou que não atenderam a duração necessária de um trabalho dramático. Tal como, eles consideram as profundidades da tristeza de Hécuba no assassinato de Polixena e as alturas de sua fúria no assassinato de Polidoro como duas diferentes Hécubas.Eu aplico o exame de Pollard sobre a centralidade de Hécuba aos trabalhos de Shakespeare para a personagem de Sabine Wren, que tem os ecos mais fortes da Hécuba de Eurípedes, abrangendo a plenitude da emoção a partir de sua gigantesca raiva no Império Galáctico para a profundidade de sua tristeza na quase perda de sua família. Dentro dessa análise, eu argumento que a afirmação dos eruditos de que Hécuba é uma peça fraca relutante ou incapaz de envolver-se emocionalmente com Hécuba e que até mesmo o projeto de Zanotti, que busca explicar racionalmente como Hécuba pode ser tanto a enlutada quanto a assassina, é indicativo de uma tendência na erudição moderna para não permitir que esses zênites e nadirs existam na própria arte.UA Editora - Universidade de Aveiro2023-11-20info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.34624/fb.v0i19.34753https://doi.org/10.34624/fb.v0i19.34753Forma Breve; No 19 (2023): A fúria de Aquiles: as faces da guerra; 81-95Forma Breve; n.º 19 (2023): A fúria de Aquiles: as faces da guerra; 81-952183-47091645-927Xreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://proa.ua.pt/index.php/formabreve/article/view/34753https://proa.ua.pt/index.php/formabreve/article/view/34753/23068Direitos de Autor (c) 2023 Jose L Garciahttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessGarcia, Jose L2023-11-30T18:45:41Zoai:proa.ua.pt:article/34753Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T23:19:34.575505Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Murder and madness: war trauma, revenge, and academic discomfort with Euripides’ Hecuba and Star Wars: Rebels Assassinato e loucura: trauma de guerra, vingança, e desconforto acadêmico com Hécuba de Eurípides e Star Wars: Rebels |
title |
Murder and madness: war trauma, revenge, and academic discomfort with Euripides’ Hecuba and Star Wars: Rebels |
spellingShingle |
Murder and madness: war trauma, revenge, and academic discomfort with Euripides’ Hecuba and Star Wars: Rebels Garcia, Jose L |
title_short |
Murder and madness: war trauma, revenge, and academic discomfort with Euripides’ Hecuba and Star Wars: Rebels |
title_full |
Murder and madness: war trauma, revenge, and academic discomfort with Euripides’ Hecuba and Star Wars: Rebels |
title_fullStr |
Murder and madness: war trauma, revenge, and academic discomfort with Euripides’ Hecuba and Star Wars: Rebels |
title_full_unstemmed |
Murder and madness: war trauma, revenge, and academic discomfort with Euripides’ Hecuba and Star Wars: Rebels |
title_sort |
Murder and madness: war trauma, revenge, and academic discomfort with Euripides’ Hecuba and Star Wars: Rebels |
author |
Garcia, Jose L |
author_facet |
Garcia, Jose L |
author_role |
author |
dc.contributor.author.fl_str_mv |
Garcia, Jose L |
description |
The history of modern scholarship on Euripides’ characterization of Hecuba is one of simultaneous fascination and revulsion, empathy and horror, understanding and rejection. David Grene and Richard Lattimore cite August Wilhelm Schlegel’s On Dramatic Art and Literature as the juncture wherein dramatic and scholarly opinion of Hecuba soured, a trend that continued with scholars such as JA Spranger, Gilbert Norwood, and JJ Rieske. My project, building from Grace Zanotti’s explorations of Hecuba and Tonya Pollard’s study of Hecuba as essential to Shakespeare’s women, asserts that modern storytelling, particularly the character of Sabine Wren in Star Wars: Rebels, deals with Hecuba more genuinely than post-Schlegel scholars largely have.The charges against Hecuba are that her character and her actions do not seem to be the work of one character, and that the play may be an amalgamation of several shorter plays that Euripides did not feel met the required length of a dramatic work. As such, they consider the depths of Hecuba’s sorrow at the murder of Polyxena and the heights of her rage at the murder of Polydorus to be two different Hecubas.I apply Pollard’s examination of Hecuba’s centrality to Shakespeare’s works to the character of Sabine Wren, who has the strongest echoes of Euripides’ Hecuba, encompassing the fullness of emotion from her towering anger at the Galactic Empire to the depth of her sorrow at the near loss of her family. Within that analysis, I argue that scholarship claiming Hecuba as a weak play is unwilling or unable to engage with Hecuba emotionally, and that even Zanotti’s project, which seeks to rationally explain how Hecuba can be both mourner and murderer, is indicative of a trend in modern scholarship to dismiss the validity of those emotional zeniths and nadirs in art. |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-11-20 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.34624/fb.v0i19.34753 https://doi.org/10.34624/fb.v0i19.34753 |
url |
https://doi.org/10.34624/fb.v0i19.34753 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://proa.ua.pt/index.php/formabreve/article/view/34753 https://proa.ua.pt/index.php/formabreve/article/view/34753/23068 |
dc.rights.driver.fl_str_mv |
Direitos de Autor (c) 2023 Jose L Garcia http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Direitos de Autor (c) 2023 Jose L Garcia http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
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application/pdf |
dc.publisher.none.fl_str_mv |
UA Editora - Universidade de Aveiro |
publisher.none.fl_str_mv |
UA Editora - Universidade de Aveiro |
dc.source.none.fl_str_mv |
Forma Breve; No 19 (2023): A fúria de Aquiles: as faces da guerra; 81-95 Forma Breve; n.º 19 (2023): A fúria de Aquiles: as faces da guerra; 81-95 2183-4709 1645-927X reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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