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<span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(39, 53, 64);">Dear Friends of Classics and Ancient History,</span></p>
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<span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(39, 53, 64);">We are delighted to invite you to the 3rd presentation of Semester 1, 2026 in our Classics and Ancient History research seminar series.</span></p>
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<span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(39, 53, 64);"><b>March 30th (Monday, 12.15pm UTC+11) </b></span></p>
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<span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(39, 53, 64);"><b>V. Gordon Childe Boardroom, Madsen Building Level 2.</b></span></p>
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<span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(39, 53, 64);"><b>Chair: Prof. Peter Wilson</b></span></p>
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<span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(39, 53, 64);"><b>Zoom link</b>
</span><span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(9, 79, 209);"><u><a href="https://uni-sydney.zoom.us/j/89574510422" data-outlook-id="8e9b448c-603f-4412-b3b6-fbde17e6ace2" style="margin-top: 0px; margin-bottom: 0px;">https://uni-sydney.zoom.us/j/89574510422</a></u></span></p>
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<b>Grace Gunning (Cambridge University) </b></div>
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<span style="text-transform: none;"><b><i>Rethinking Choruses and Community in Sophocles</i></b></span></div>
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<span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">In this paper, I propose that relationships between actors and chorus in tragedy are grounded in chorality. Many readers of tragedy see actors as individuals
set against the political collective represented by the chorus. I argue for a nuancing of this perspective, understanding the chorus not just as a political collective but, more fundamentally, as a choral collective shaped by a choral culture. Instead of understanding
the actor as situated outside and against the choral collective, I argue that the chorus/actor relationship mirrors the relationship between a chorus and its chorus leader, and that this dynamic is a component of tragic plotting. I will use the
<i>Antigone </i>as a case study, reading it alongside Euripides$B!G(B <i>Bacchae</i>.</span></p>
<p style="text-align: left; text-indent: 0px; text-transform: none;"><span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">At the end of the
<i>parodos </i>of the <i>Antigone</i>, the chorus invites Dionysos to come and $B!F(Brule$B!G(B the city $B!F(Bwith all-night choruses$B!G(B; they then turn to Creon and refer to him as the $B!F(Bnew king$B!G(B. These references to two authorities within five lines of each other set two
areas of civic life which should be harmonious, the ritual and the political, against each other. In placing these two planes in conflict, the chorus also stages the man and the god as rivals in a metatheatrical conflict that will develop through the rest
of the drama. Crucially, Dionysos$B!G(B rule is described as functioning through the ordering of choruses. </span></p>
<p style="text-align: left; text-indent: 0px; text-transform: none;"><span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">I will use the
<i>Bacchae</i>, which literalizes a similar conflict by placing Dionysus onstage, to draw out this element of the
<i>Antigone. </i>In both cases, the ritual and political collide as the myth of Dionysus$B!G(B arrival at, repulsion from, and eventual acceptance in a city is conflated with a political struggle between members of Thebes$B!G(B royal house. This is made possible by the
ability of tragic choruses to simultaneously embody Dionysian performers and political factions.</span></p>
<p style="text-align: left; text-indent: 0px; text-transform: none;"><span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);"><b><br>
</b></span></p>
<p style="text-align: left; text-indent: 0px; text-transform: none;"><span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">Grace Gunning is a fourth year PhD student at Cambridge University. Her thesis is on
narrative and chorality in Sophocles.</span></p>
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</span></p>
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We look forward to seeing you there, </div>
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Tamara</div>
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<span style="font-family: Helvetica; font-size: 7.5pt; color: rgb(145, 145, 145);">DR TAMARA NEAL FHEA | Senior Lecturer in Ancient Greek (Education Focused) | FASS Academic Advisor | Accredited University-wide
</span><span style="font-family: Arial, sans-serif; font-size: 8pt; color: rgb(127, 127, 127);"><u><a href="https://canvas.sydney.edu.au/courses/16284/pages/12-dot-1-peer-review-of-teaching-module-overview" title="https://canvas.sydney.edu.au/courses/16284/pages/12-dot-1-peer-review-of-teaching-module-overview" data-outlook-id="8e7ff8a8-d05f-4a00-8e26-2680a729c2cd" style="color: rgb(127, 127, 127); margin-top: 0px; margin-bottom: 0px;">Peer
Reviewer of Teaching</a></u></span><span style="color: rgb(127, 127, 127);"><br>
</span><span style="font-family: Helvetica; font-size: 7.5pt; color: rgb(127, 127, 127);">President
</span><span style="font-family: Helvetica; font-size: 7.5pt; color: rgb(5, 99, 193);"><u><a href="https://url.au.m.mimecastprotect.com/s/i4t8CVARKgC52KMzWcGfpSEPh4j?domain=classics.org.au/" data-outlook-id="34d229ed-96d2-454f-aa4a-7fc643b0af3f" style="color: rgb(5, 99, 193); margin-top: 0px; margin-bottom: 0px;">Classical
Association of NSW</a></u></span><span style="font-family: Helvetica; font-size: 7.5pt; color: rgb(145, 145, 145);"><br>
Classics & Ancient History | School of Humanities$B("(BFaculty of Arts & Social Sciences<br>
THE UNIVERSITY OF SYDNEY</span></p>
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