
Contents
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Introduction Introduction
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Tragedy as Drama and as Ritual Tragedy as Drama and as Ritual
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The Mousikos Agon of Tragic Performances The Mousikos Agon of Tragic Performances
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A Cult and Ritual Practices for Dionysos? A Cult and Ritual Practices for Dionysos?
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Verbal Rites in Tragedy: Hymnic Forms Verbal Rites in Tragedy: Hymnic Forms
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The Pragmatics of a Dramatized Choral Hymn The Pragmatics of a Dramatized Choral Hymn
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Prayer and Hymnic Practice Prayer and Hymnic Practice
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From ‘Myth’ to ‘Ritual’: Tragic Aetiologies From ‘Myth’ to ‘Ritual’: Tragic Aetiologies
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A Religious and Civic Conclusion A Religious and Civic Conclusion
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The Tragic Establishment of Rituals: The Blood of Men, the Blood of Women The Tragic Establishment of Rituals: The Blood of Men, the Blood of Women
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The Dramatic and Ritual Establishment of Founding Myths The Dramatic and Ritual Establishment of Founding Myths
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Conclusion Conclusion
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Suggested Reading Suggested Reading
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References References
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13 Drama
Get accessClaude Calame is Director of Studies at the École des Hautes Études en Sciences Sociales in Paris.
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Published:07 March 2016
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Abstract
As with myth, the ancient Greeks did not have a term equivalent to what we refer to as ritual. On the one hand, the heroic past of Greece was rendered as archaion or palaion, on the other, cultural and religious practices were grasped in terms of agency (dramain particular). Attic tragedy is particularly meaningful in terms of this double foundation, spoken word and (dramatic) action, of what we call Greek religion. Integrated into a mousikos agon, tragedy is itself a ritualized poetic form: it stages an exemplary action taken from the heroic past of the civic community to lead up, at times through the aetiological institution of a cult, to its musical performance as part of ritual honours dedicated to a deity. From this point of view, attention is directed in particular to the choral songs which frame and punctuate, though ritual pragmatics, the dramatization of the tragic action.
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