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• W8591811 abstract "Drama and the plastic arts are different manifestations of the mimetic impulse, each in its own way bringing about a form of visual pleasure. (1) It seems obvious that ancient Greek theatre and vase painting drew on the same repertoire of visual conventions, although ceramic art seldom represents particular scenes from dramatic productions. (2) Yet when one form of mimesis imitates another, there is great potential for self-reflexivity. References to painting, sculpture, or drawing in a tragedy take advantage of the audience's shared cultural experience and ability to visualize such artifacts. It is this phenomenon, specifically the art motif in Aeschylus' Agamemnon, that I examine in this paper. Although Greek has no single word for art per se, the Agamemnon clearly sets up a distinction between reality and representation. Implicated in the Agamemnon's various allusions to representational art is another recurring image, the gaze or the bolt from the eyes. These intertwined motifs, I believe, have something to tell us about the experience of watching tragedy. It is my hypothesis that the relationship between viewers and viewed objects within the dramatic world can serve as a paradigm for the audience's interaction with the tragic spectacle. In this article, after a preliminary discussion of theoretical issues, I examine four figures in the Agamemnon who are in some way conceived as or associated with objects of art: Iphigenia, Helen, Agamemnon, and Cassandra. As I shall demonstrate, the play treats vision and representation as gender-related categories. Initially, viewing is presented as a voyeuristic activity in which woman is assigned a passive role--that of the viewed object--while man takes on the active roles of viewer and displayer. This binarism suggests a male subject-position for the drama's audience whose voyeurism helps to produce meaning for the play. The characters of Agamemnon and Cassandra, however, call into question any simple binary code, and in the final analysis the audience's engagement with the tragedy turns out to be much more complex than a unilateral, voyeuristic activity. My study of the Agamemnon hinges on the cultural context of its production, in particular, on Greek society's understanding of the process of sight. Ancient theories of perception suggest that sight involves a physical connection between the viewer and the viewed. As Frontisi-Ducroux puts it, vision for the Greeks was a type of long distance touch (97 n. 33). Optic theories, apparently dating from the early Pythagoreans, were based on the premise that sight is effected by an active beam of light from the eyes which connects with eidola or images emanating from the perceived object. (3) Myth and poetry reflect the popular idea that viewing is an active process and that the gaze has a performative power. (4) The fear of the evil eye and the myth of Medusa exemplify this belief in extra-mission: active bolts of light come from the viewer's eyes and illuminate the viewed object like a deer caught in the headlights, to borrow Andrew Stewart's trenchant phrase (19). The erotic gaze has the special transformativ e power of instilling desire in its recipients; hence, pottery depicts respectable young women (whose gazes can be devastatingly powerful) with their eyes downcast. It is important to recognize that for the Greeks a woman should never be the instigator of the gaze, and that Greek art, myth, and literature were unanimous in their uneasiness about a woman's glance. (5) Conversely, the depiction of a phallus endowed with an eye on various ceramics signifies a congruity between vision and masculinity (Frontisi-Ducroux 93). This culturally inflected way of looking, or scopic regime, is informed by a patriarchal ideology that determines the everyday looking of both men and women in public situations. The gaze of the polis at large is filtered through a lens of male dominance. (6) Even though Greco-Roman concepts of vision were culturally shaped, there exists a significant continuity between the ancient and modern worlds. …" @default.
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• W8591811 date "1999-03-22" @default.
• W8591811 modified "2023-09-23" @default.
• W8591811 title "Exchanging Glances: Vision and Representation in Aeschylus' Agamemnon" @default.
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