Horror in Euripides' Hecuba and Heracles

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HORROR IN EURIPIDES‘ HECUBA AND HERACLES Derek Smith Keyser A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics. Chapel Hill 2011 Approved by: Peter M. Smith Owen Goslin Sharon L. James William H. Race Brendan P. Boyle ©2011 Derek Smith Keyser ALL RIGHTS RESERVED ii ABSTRACT DEREK SMITH KEYSER: Horror in Euripides‘ Hecuba and Heracles (Und
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   H ORROR IN EURIPIDES‘    HECUBA AND  HERACLES   Derek Smith Keyser A dissertation submitted to the faculty of the University of North Carolina at Chapel Hillin partial fulfillment of the requirements for the degree of Doctor of Philosophy in theDepartment of Classics.Chapel Hill2011Approved by:Peter M. SmithOwen GoslinSharon L. JamesWilliam H. RaceBrendan P. Boyle  ii©2011Derek Smith Keyser ALL RIGHTS RESERVED  iiiABSTRACT DEREK SMITH KEYSER: Horror in Euripides‘  Hecuba and  Heracles (Under the direction of Peter Smith)This dissertation investigates horrific material in Eurip ides‘  Hecuba and  Heracles . Itapplies analytic models found in modern horror criticism to discuss graphic violence and thecontradiction of normative cultural conventions within these plays. It argues that in both plays Euripides uses horrific material to demonstrate the inadequacy of such conventions as protections against ruthless brutality. It concludes that by eliciting horror from his audiencesand denying them the possibility of resolution following disaster Euripides invites them toquestion the stability of their cultural framework.In my first chapter I discuss how we should define and identify horror in ancient tragedy. I begin my investigation with an analysis of fear in Aristotle‘s  Poetics , but I turn tomodern horror theory to find a more suitable approach for identifying tragic horror. I adoptthe approach of Noel Carroll, who argues that horror is generated by severe and violentcontradictions of normative cultural categories.In my second chapter, I focus on horrific disruptions found in the  Hecuba . I focus onthree areas of the horrific in this play: the presence of ghosts, incidents of aberrant violenceagainst φίλοι  , and the manipulation of cultural categories in Hecuba‘s revenge. In my third chapter I analyze the way the horrific massacre in the  Heracles subverts traditionalassumptions concerning religion, family, and home.  ivFor Cathleen, whose smile brightens the darknessandFor Dr. Paws, who kept the perimeter secure
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