20013996
Description
Flashcards by Allison Walker, updated more than 1 year ago
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Created by Allison Walker
over 4 years ago
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| Question | Answer |
| Methodological Individualism | all social realities are the result of individual actions and interactions. |
| Functionalism | The study of history based on a society's functions. |
| Social Structure | any relatively stable pattern of social behavior |
| Primary Codes of Communication | oral, written manuscripts, printed, electronic |
| Ritual Performance | Abydos passion play |
| Abydos passion play | slaying of Osiris and his followers by his brother Seth, the enactment of which apparently resulted in many real deaths. The ritual commemorates a big battle where the fifth son tries to rebel and gets sacrificed. |
| Commemorative drama | Performance to honor or appease higher beings |
| Moira | fate |
| Arete | Honor and standing in a community |
| Dike | Justice: the due share that each individual can claim and, more importantly, the principles and laws that guarantee that claim. (A system of justice) |
| Democracy | Government by the people |
| Delian League | Military alliance led by Athens |
| City Dionysia | Ancient dramatic festival in which tragedy, comedy, and satyric drama originated; it was held in Athens in March in honour of Dionysus, the god of wine. |
| Theatron Dionysia | The place where the City Dionysian plays were presented and seen. |
| tradgedy | A human being facing the world. |
| Dithyramb | a wild choral hymn of ancient Greece, especially one dedicated to Dionysus |
| Myth | A traditional story about gods, ancestors, or heroes, told to explain the natural world or the customs and beliefs of a society. |
| Choregoi | wealthy citizens who were "asked" to fund performances |
| Ekkyklema | platform on wheels used to bring out characters from inside the building |
| Machina | Crane for flying gods |
| Deux ex Machina | an unexpected power or event saving a seemingly hopeless situation, especially as a contrived plot device in a play or novel. |
| Pinakes | A kind of painted flat used for scenery |
| Periaktoi | A three sided prism that could be turned to represent three different scenes. |
| Satyr | Half man half goat |
| Chorus | A group of characters in Greek tragedy (and in later forms of drama), who comment on the action of a play without participation in it. |
| Chiton | A Greek tunic, the essential (and often only) garment of both men and women, the other being the himation, or mantle. |
| Aulos | a double flute used for tragedies |
| Lenaia | Another festival in honor of Dionysus, originally a festival closed to all but followers of the Dionysian cult but later opened to all; primarily associated with the development of comedy which was the major form of drama performed at this festival |
| Kothornos | Large platform shoes worn by greek actors |
| Old Comedy | Classical Greek comedy that pokes fun at social, political, or cultural conditions and at particular figures. |
| Prologue | Proposing the Outrageous idea |
| Parados | the entrance of the chorus |
| Agon | debating the Outrageous Idea |
| Parabasis | Chorus speaks directly to the audience on a topic thematically related to the Outrageous Idea. |
| Episodes | Validating the Outrageous Idea (a series of revue-like sketches) |
| The Poetics | The rules and principles of poetry developed by Aristotle. |
| Mimesis | imitation, in the sense of making a representation, an image, or a model |
| Magnitude | Greatness of size, strength, or importance/how an audience can relate to the play |
| Catharsis | the purification or purgation of the emotions (especially pity and fear) primarily through art |
| Peripeteia | a sudden reversal of fortune or change in circumstances, especially in reference to fictional narrative. |
| Hamartia | a fatal flaw leading to the downfall of a tragic hero or heroine |
| Inciting Incident | event that introduces the central conflict |
| Crisis | The largest crisis point occurs in the middle of the play |
| Resolution | is the point in which the plot ends. It does not necessarily end the play. Remember, it ends the conflict |
| Plot | Sequence of events in a story that occurs onstage |
| Denouement | the final part of a play, movie, or narrative in which the strands of the plot are drawn together and matters are explained or resolved. |
| Aeshylus | Father of tragedy Used 2 actors plots focused on conflict specifically RIGHT v.s WRONG Athenian glory and military prowess (fought in the battle of Marathon). structure Gods onstage |
| Sophocles | Greek writer of tragedies; developed modern day idea of a hero 3 actors being heroic wasn’t placed on wealth and power Being a hero was determined by how you responded to your fate and a person’s motivations over their actions never depicted the Gods onstage represented the Gods through messengers coming from Delphi or prophets like Teiresias. |
| Aeschylus’s Nature of Tragedy | moves humanity toward a greater understanding and greater achievements (moves society and civilization forward). |
| Aeschylus’s Honor | determined by greatness in battle. |
| Sophocles’s Nature of Tragedy | depicted the suffering of an individual who, through heroic action, ennobles all humans and provides an ideal to which all humans can aspire to be. |
| Sophocles’s Honor | determined by one’s service to the state and community. No longer determined by greatness in battle because during The Golden Age there were no wars. |
| Euripides | "The first modernist" 2 actors focused on hypocrisy and dishonesty within Greek culture, especially within the Greek political structure. less metaphysical Greek myths as sources but made characters more relatable. A version where Electra married a farmer rather than living in a palace. Sometimes the Gods were depicted onstage.they represented the frailty of human morals. |
| Euripides’s Nature of Tragedy | Humans are the cause of their own tragedies through greed for money and power. |
| Euripides’s Honor | determined by being honest and noble (behavior and not by what people seem to be) |
| Aristophones | only example of old comedy that has survived. His career corresponded with the Peloponnesian wars. only comedic playwright whose plays survived (all eleven) |
| Rabinal Achi | a play of two Mayan tribes battling, capturing the leader of the other tribe. |
| Metaphysics | How the world works |
| Homer | A Greek poet, author of the Iliad and the Odyssey |
| Thespus | introduced the actor, "thespian" |
| Solon | Early Greek leader who brought democratic reforms such as his formation of the Council of Four Hundred |
| Solon Laws | First official form of Justice |
| Golden Age | period of great cultural achievement due to lots of money. |
| Sophistry | The idea that the person who makes the best argument is right. |
| Cleisthenes | Created the three democratic systems (Ekklesia, Boule, and Dikasteria) |
| Boule | council of 500 citizens chosen for 1 year terms |
| Dikasteria | Pool of potential jurists |
| Pericles | Athenian leader noted for advancing democracy in Athens and for ordering the construction of the Parthenon. |
| Motto of Athens | "All things in moderation." |
| Stasima | choral odes |
| Stroph | a mini debate among the chorus |
| Antistroph | the opposing argument by the chorus to the stroph |
| Kommos | sung solos |
| Procession | Animalistic defile of rights |
| Theatron | a seeing place |
| Oresteia Trilogy | The only trilogy we have (written by Aeschylus): Agamemnon, The Libation Bearers, The Eumenides. |
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