In this article, I analyze the role of Heracles9 famous body in the representation of madness and its aftermath in Euripides9 Heracles . Unlike studies of Trachiniae , interpretations of Heracles have neglected the hero9s body in Euripides. This reading examines the eruption of that body midway through the tragedy as a part of Heracles that is daemonic and strange, but also integral to his identity. Central to my reading is the figure of the symptom, through which madness materializes onstage. Symptoms were contested sites of interpretation in the late fifth century, supporting both conventional narratives about human suffering and new stories advanced by contemporary medicine and ethics. In exploring the imaginative possibilities of these new stories, I do not privilege a ““secular”” over a ““divine”” reading. Rather I aim to offer a model of interaction between medicine and tragedy that sees the cross-breeding of worldviews as productive of innovative drama.

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Euripides' Heracles in the Flesh

This dissertation explores the Erinyes’ nature and function in Aeschylus’ Oresteia. It looks at how Aeschylus conceives the Erinyes, particularly their transformation into Semnai Theai, as a central component of the Oresteia’s presentation of social, moral and religious disorder and order. The dissertation first explores the Erinyes in the poetic tradition, then discusses the trilogy’s development of the choruses, before examining the Erinyes’ / Semnai Theai’s involvement in the trilogy’s establishment of justice and order and concluding with an analysis of why Aeschylus chooses Athens (over Argos and Delphi) as the location for trilogy’s decision making and resolution. Chapter One explores the pre-Aeschylean Erinyes’ origin and primary associations in order to determine which aspects of the Erinyes / Semnai Theai are traditional and how Aeschylus innovates in the tradition. It further identifies epithets and imagery that endow the Erinyes / Semnai Theai with fearsome qualities, on the one hand, and with a beneficial, preventive function, on the other. The discussion of the development of the choruses throughout the trilogy in Chapter Two takes three components: an examination of (1) the Erinyes’ transformation from abstract goddesses to a tragic chorus, (2) from ancient spirits of vengeance and curse to Semnai Theai (i.e. objects of Athenian cult) and (3) how the choruses of Agamemnon and Choephori prefigure the Erinyes’ emergence as chorus in Eumenides. Of particular interest are the Argive elders’ and slave women’s invocations of the Erinyes, their action and influence upon events, and their uses of recurrent moral and religious ideals that finally become an integral part of the Areopagus and the cult of the Semnai Theai. The Erinyes’ / Semnai Theai’s role as objects of Athenian cult supports the institutionalised justice of the Areopagus, putting an end to private vendetta, promoting civic order and piety and rendering the city and its citizens prosperous as a result. Chapter Three explores how the Erinyes’ transformation into Semnai Theai relates to the Oresteia’s development from conflict and disorder to harmony and order. It examines a selection of the trilogy’s speech acts, emotions and attitudes, socio-religious practices and laws and their relationship to the Erinyes’ function as goddesses of vengeance and curse and objects of Athenian cult. It suggests that Athens’ reception of the Semnai Theai runs analogous with the removal of corruption and perversion from the key terms analysed in the chapter (i.e. curse and oath, fear and reverence, sacrifice, the guest-host relationship and supplication, and laws); the promotion of social, moral and religious norms that benefit the polis is integral to the Semnai Theai as objects of Athenian cult. Chapter Four examines Athens’ ability to settle differences without violence in the trilogy; it explores the polis’ capacity to resolve the trilogy’s cycle of vengeance and curse, particularly to placate the Erinyes, and relates Athens to Argos as a hegemonic city and to Delphi as Panhellenic centre of worship. The dramatic events at Athens positively represent the polis’ ideology and hegemony: addressing the social and political situation at 458BC, the trilogy’s final scenes advocate internal civic harmony, encourage alliances and metoikia, and the pursuit of imperialistic strategies to project Athens as Panhellenic leader.

The Erinyes in Aeschylus’ Oresteia

Emotions are a hot topic in design, human–computer interaction and any area of business these days. Their significance in areas inwhich peoplemake choices, decisions and engage in action has been undeniable for at least the last 40 years of psychology and consumer scholarship.What once was an extremely contested, fuzzy and (almost) easily scientifically avoidable area, is now at the centre of everyone’s interest. In an era of cognitive computing, artificial intelligence (so-called learning and thinking machines), and optimization, all attention is placed on what makes us human, and theways inwhich human thought actually operates. This emotional logic, intentionality and consciousness itself, drive not simply theways inwhich individuals process (cognitise) information, but also ways in which society and the built world are structured. Emotions play asmuch a role in shaping technology design, as they do in the way we experience it. This introduction presents a book that takes many angles towards concretely understanding what it is in design that makes people emotionally experience it in the ways that they do. It introduces the main themes and concepts of the book that include ethics, culture, measurement and design methods. It additionally demonstrates a broader understanding of technology in chapters that investigate graffiti, urban and art experience, filmic experience, architecture and cultural movements. It is hoped that combining this broader cultural-emotional insight into one package will enable readers to connect their design practice and research to the broader system of emotions, culture, ethics, lived experience and technology. R. Rousi (B) University of Jyväskylä and Gofore, Jyväskylä, Finland e-mail: rebekah.rousi@jyu.fi J. Leikas VTT, Espoo, Finland e-mail: jaana.leikas@vtt.fi P. Saariluoma University of Jyväskylä, Jyväskylä, Finland e-mail: pertti.saariluoma@jyu.fi © Springer Nature Switzerland AG 2020 R. Rousi et al. (eds.), Emotions in Technology Design: From Experience to Ethics, Human–Computer Interaction Series, https://doi.org/10.1007/978-3-030-53483-7_1 1

Emotions in Technology Design: From experience to Ethics

Euripides' Heracles is an extraordinary play of great complexity, exploring the co-existence of both positive and negative aspects of the eponymous hero. Euripides treats Heracles' ambivalence by showing his uncertain position after the completion of his labours and turns him into a tragic hero by dramatizing his development from the invincible hero of the labours to the courageous bearer of suffering. This book offers a comprehensive reading of Heracles examining it in the contexts of Euripidean dramaturgy, Greek drama and fifth-century Athenian society. It shows that the play, which raises profound questions on divinity and human values, deserves to have a prominent place in every discussion about Euripides and about Greek tragedy. Tracing some of Euripides' most spectacular writing in terms of emotional and intellectual effect, and discussing questions of narrative, rhetoric, stagecraft and audience reception, this work is required reading for all students and scholars of Euripides.

https://assets.cambridge.org/97805218/51268/copyright/9780521851268_copyright.pdf

Heracles and Euripidean Tragedy

Monody and Dramatic Form in Late Euripides

https://academiccommons.columbia.edu/doi/10.7916/D8BC45GS/download

Madness and emotion could be said to share, to a certain extent, their definition as kinds of human response to influences from their environment. The connection between madness and emotion is stressed in modern psychological observations establishing strong links between the causation of madness and human emotionality. Despite the fact that similar insights were absent from Greek medical theorists, or indeed from other contemporary writers, this would come as no surprise to either Sophokles or Euripides. Both tragedians handled their material in such a way as to demonstrate how the strong pressures of familial or social influences can lead to mental disturbance. While it is most probably Sophokles who, for the first time, turns to the influence of internal forces in the process of madness, the lack of subject matter in his surviving plays allows us little scope for further comparison. On the other hand, Euripides seems to have dedicated more of his portrayals to madness. These portrayals offer an almost unique opportunity to examine the introduction, not only in drama but perhaps in the whole of Greek literature, of the emotions as contributing factors in madness.

Z. Theodorou

Papers

Subject to emotion: exploring madness in "Orestes".