Abstract
This essay addresses the numerous instances of irony in Sophocles' renowned Greek tragedy "Oedipus the King"; in the plot, the themes, and the dialogues. The author discusses how the audience knows of Oedipus' situation, long before he figures things out for himself, and examines one of the most ironic scenes between the king and the blind soothsayer, Teiresias.

From the Paper
"Oedipus the King is one of the best-known Greek tragedies in dramatic history. The central theme was instrumental to daily life of the early Greeks, because it demonstrates the powers of fate. The main plotline revolves around Oedipus and his quest to escape his own destiny, which turns his life to turmoil. The play is about murder, incest, and suicide. Knowing the play contains these exciting elements, one would think there would be no problem drawing an audience. When the play was produced, however, the Greek audience would have been familiar with the legend of Oedipus Rex. Sophocles faced a great challenge to develop a play that would generate interest in watching a play in which the patrons already knew the story. Sophocles captures and holds his audience's attention by introducing profound irony in the dialogue, in the plot and in the setting of Oedipus the King. "

Tags:greek, dialogue, plot, setting, sophocles, sphinx, jocasta, teiresias, audience, rex, laius, tragedy

Abstract
This paper traces the history of the architectural form and cultural function of the amphitheatre from its modest beginning in ancient Greece through to the Roman influenced theatre of today. It examines how, although some aspects of their design and function are debatable because so little of their physical structure exists today, Greek theaters can be chronologically classified into three categories: The early Athenian, Hellenistic and Graeco-Roman. It discusses how all of these theaters could be divided into essentially three parts: the theatron (or auditorium), the orchestra and the skene (or scene building) and how these standards developed over time.

From the Paper
"In its simplest form the orchestra of a theater is simply a circular plot of land designated as a place for dance and this idea defines the orchestra employed during this time. It was circular in shape with a diameter of about 66 feet and was believed to be a locus for supernatural powers. An altar (or thymele), described as "a short drum of marble decorated with low-relief carvings of garlands and satyrs, or other Greek icons? was usually erected in the epicenter of the orchestra. It was primarily used prior to performances for sacrifices in honor of the god Dionysus, however plays with religious content often incorporated the altar into the performance. A level surface area, raised one foot from the orchestra and situated below the skene, termed the proscenium, served as the area in which the majority of the dramatic action transpired."

Tags:ancient, architecture, building, drama, roman, rome, stage, skene, orchestra

Abstract
The paper discusses in great detail the evolution of the Roman theater, beginning from the Greek wooden origins to the stone monuments that became iconic with Roman architecture during the Republic and the Empire. A brief history of theater is discussed in the beginning of the paper, with special attention given to the religious implications of how theaters were originally set up. The importance of the orchestra and "skene" are given historical background, dating back to early Dionysian worship. The layout of the early Greek theaters are discussed, with a complete layout included that describes the circular performance area, the seating arrangements, background adjustments and a rudimentary stage. The rest of the paper deals with how the Romans, eager to take the art of theater from being a religious practice to more of an entertainment value for the masses, incorporated their own unique designs to the Greek theater layout to create a more efficient and clearly Roman design. Heavy attention is give to Vitruvius and his work " De Architectura" which provides a step-by-step process in which Roman theaters were built. Improvements are discussed from eliminating the completely circular stage to a half-circle, as well as creating an official stage that persists in modern theatrical performances. The paper takes each part of the theater and discusses the area extensively in terms of what the Romans did to improve upon or change from the early Greek models.

From the Paper
"Ancient Rome's concept of art and architecture was heavily influenced by the cultures that the Romans had conquered, but were in no way identical copies of the art that existed in those subjugated areas. The Romans excelled at taking artistic ideas from other civilizations and molding them into a form that could undoubtedly be identified as uniquely Roman. This technique can easily be seen in practice when one examines the Roman theater building. Roman theaters can be found throughout the area that used to be the Roman Empire, with remnants of theaters all over Europe and the Mediterranean. These theaters have details and building techniques that are exclusive to Roman designs, but when they are viewed in comparison with ancient Greek theaters, one can clearly see where the Romans received their inspiration."

Tags:ancient, architecture, greece, rome, theater, theatre, vitruvius

Abstract
The paper analyzes Sophocles' play "Antigone", which tells the narrative of the demise of Oedipus' daughter/sister in the context of the larger tragedy of the rulers of the ancient Greek city of Thebes. The paper discusses how, in the context of the play, Antigone does not only function as a singular individual, experiencing a single dilemma of character, she also functions as a young woman playing several roles. It shows that her first role is that of a bereaved sister, then her role is that of a daughter and sister of a uniquely tragic oedipal house. Finally her role is one of an ordinary woman dying before her time because of the fundamental, fated, and unsolvable conflict between the obligations of blood and obligations of a citizen.

From the Paper
"When her crime is discovered, Antigone adopts a new role, that of a woman whom is not only a sister of a dead brother, but also the descendant of a house uniquely battered at torn at by fate who has a unique destiny to fulfill. She assumes this destiny in contrast to her sister Ismene. When asked if she feels any hatred for the killer of her own brother, Antigone says, "Brother yes, by the same mother, the same father." In other words, both brothers slew his brother; both have committed the tragic crime of fratricide. In the face of such evil, who can judge one brother above another? That is the essence of the tragedy of Thebes, of the confusion of familial roles."

Tags:Creon, sibling, conflict, Ismene

Abstract
This paper discusses the extent to which tragedy was both a part of and, at the same time, reflected the social, political, and religious climate of 5th century Athens. In particular, the writer examines Sophocles' tragedy "Antigone" as an artwork immersed in, and a product of, this complex social climate. A description of the historical and cultural background of the play is given, focusing on the City Dionysia, the Athenian religious festival dedicated to Dionysus' worship, out of which Athenian tragedy developed. Politically, the composition of "Antigone" coincides with Pericles' further development of the Athenian democratic system. The writer shows that Sophocles in his "Antigone" considers various types of justice, power models and the negative consequences of living under a tyrant, and this would resonate with the Athenian audience who were moving from an oligarchical to a democratic government. The paper concludes that artistic forms and content are rooted in the culture from which they emerge and that tragedy is a social, intellectual, and religious, as well as a political tool.

From the Paper
"In the Antigone we are confronted with a clash of wills portrayed through the agonistic struggle of Antigone and Creon, initially, and between Creon and all other characters as the play continues. Set in Thebes (Grene 181), Creon comes to power following the deaths of both of Oedipus' sons, Eteocles and Polyneices. Creon represents the voice of absolute authority; violators of his law are faced with death (line 40). Creon's monarchy is clearly delineated from the direct democracy that the Athenians participated in; to the Athenian, Creon's monarchy clearly reflects the negative aspects of oligarchy, including that of the Spartans."

Tags:strategoi tribute ceremony polis Ekklesia citizen, civic ideology, rhetoric

Abstract
The paper discusses how the character of Bartleby, in Melville's "Bartleby the Scrivener," stands in opposition to the tacit 'laws' of civilization. The paper then looks at how Sophocles' "Antigone" presents the law of the state in a conflict between individuals, with the character of Antigone embodying the will of the individual standing alone in righteous defiance.

From the Paper
"The character of Bartleby, in Melville's Bartleby the Scrivener, stands in opposition to the tacit 'laws' of civilization, which seek to create a structured, complex and supposedly rational world. Its 'laws' are intended to create order and protect the happiness of mankind, which was greatly disturbed by Bartleby's obvious pain and his meek, yet firm, "I would prefer not to" . The narrator makes concessions to Bartleby in a type of sympathy: "[t]here was something about Bartleby that not only strangely disarmed me, but in a wonderful manner touched and disconcerted me" . Bartleby's manner of existence pulls the veneer of superficial happiness off of those 'laws' and social codes of civilization, revealing something more deeply human to the narrator and threatening the order imposed upon life around him."

Tags:social, codes, Creon, rights, reason

Abstract
According to the author, this work is filled with many seemingly tragic yet ironic occurrences. Whenever a character attempts to change fate, this is ironic to an audience who knows that the tragic outcome of the story cannot be avoided. Metaphors are analyzed which deal with eyes, sight and vision as well as distorted perception.

From the Paper
"It has been said many times that people have been blinded by the truth. The answer to their question or problem might have been right in front of their eyes all along. Yet, the fail to see the answer. Being blinded by the truth. This irony plays a role in Oedipus Rex. Oedipus while gifted with sight, is blind to himself. The blind may not have physical sight, but they have a different kind of vision that is just as precious. In Oedipus Rex, Teiresias, the blind prophet, presents the truth to King Oedipus and Jocasta. When Oedipus does find the truth, he loses his vision. Because of the truth, Oedipus gains a second vision. In Sophocles tragedy Oedipus Rex, Oedipus is blessed with the gift of perception, yet he cannot see what is right before his eyes. Blinded by the truth, this fleeting view was critical for development of self-awareness and growth of Oedipus."

Tags:irony, sophocles, ancient, literature, play

Abstract
This paper discusses the psychological stress placed upon the main characters in both Sophocles' "Oedipus Rex" and George Ryga's "The Ecstacy of Rita Joe". The author examines the root of their stress: having no true place to call home, and no true sense of belonging.

From the paper:

"Humans need a place where they are comfortable and where they know they belong. The absence of this sanctuary causes severe psychological stress. For Rita and
Oedipus, the tragedy of their lives is this absence. Unable to find their sanctuary, they lead lives beset with confusion. In an attempt to find their home, they searched endlessly for the truth. The real tragedy is that there was no home to find. They were isolated wanderers. Wherever they went, their feet hurt."

Tags:george, joe, oedipus, rita, ryga, sophocles, sanctuary, jocasta, creon

Abstract
This paper discusses the more complex character and motives behind Macbeth's actions which characterize him as a tragic hero. The paper shows that Shakespeare's Macbeth must have seemed like nothing more than a butcher to his victims but upon careful analysis of the text, one realizes that Macbeth was not fully evil, but a potentially great man who was led to evil through errors and forces beyond his control.

From the Paper
"In the culmination of Shakespeare's Macbeth, Malcolm refers to Macbeth as "this dead butcher". Superficially, Macbeth is nothing more than a butcher - he murdered his king, his kinsmen, even innocent women and children. From Malcolm's perspective, Macbeth is no more than a heartless killer gone mad, Key lines in this play show that Macbeth is not heartless or a butcher. Macbeth had a potential for greatness, but tragic errors led to his downfall - both in his death and his "fall from grace". Macbeth also experiences intense remorse for what he has done. The character of Macbeth is a tragic hero."

Tags:error, tragedy, Malcolm, Banquo

Abstract
This paper examines how in Sophocles "Oedipus the King", Oedipus endures a dramatic transformation in character. It details the fall of Oedipus's character from a confident king to an ashamed person of exile. It also follows Oedipus's change in his self-perception and his change in identity.

From the Paper
"When Oedipus first addresses the city of Thebes, he confidently states, "Here I am myself-- you all know me, the world knows my fame: I am Oedipus" (ll. 7-9.) This statement affirms his self-assured nature. At this point in the play, by claiming "I am Oedipus," he is emphasizing his self-knowledge, or at least what he believes to be this. He feels proud of his past accomplishments and believes that he has nothing to hide. He appears confident, open, and trustworthy; these characteristics have brought Oedipus respect and admiration within the community, and they have helped him to achieve such a prestige position as king."

Tags:exile, hero, theban, tragedy