Do we take pleasure in reading ancient Greek tragedy despite the unsettling content or because of it? Does a safe aesthetic distance protect us from tragic suffering, or does the proximity to death tap into something more primal? Aristotle proposed
catharsis, an emotional cleansing-or, in later interpretations, a sense of equilibrium-as tragedy's outcome, and Sigmund Freud and Jacques Lacan, grand theorists of the forces of anti-mastery in human and nonhuman existence, surprisingly agreed. Notwithstanding this deferral to Aristotle, their theorizations of the death drive-together with Jacques Derrida's notion of the archive as a place of conservation that inevitably fails-provide the groundwork for a radically new way of understanding tragic aesthetics.
With bold readings of thirteen plays by Aeschylus, Sophocles, and Euripides, including the Oedipus cycle, the
Oresteia, Medea, and
Bacchae; an eclectic synthesis of Freud, Lacan, Derrida, Zizek, Deleuze, and other critical theorists; and an engagement with art, architecture, and film, Mario Telò's
Archive Feelings: A Theory of Greek Tragedy locates Greek tragedy's aesthetic allure beyond catharsis in a vertiginous sense of giddy suspension, in a spiral of life and death that resists equilibrium, stabilization, and all forms of normativity. In so doing, Telò forges a new model of tragic aesthetics.
