In lieu of an abstract, here is a brief excerpt of the content:

• Unveiling Female Feelings for Objects:Deianeira and Her ὌPΓΑΝΑ in Sophocles' Trachiniai
• Anne-Sophie Noel

"Comme on aime ce que l'on quitte!"

H. Caïn¹

In Objects of the Dead, sociologist Margaret Gibson investigates how modern Australians utilize material culture in dealing with the death of loved ones. "Death reconstructs our experience of personal and household objects in particular ways," she notes. It also confronts us with "the strangeness of realizing that things have outlived persons." Hence "the materiality of things is shown to be more permanent than the materiality of the body" (Gibson 2008.1).

Inspired by these insights, I wish to bring into focus some objects featured in the narrative of the death of Deianeira, the wife of Heracles, in Sophocles' Trachiniai, a tragedy produced in Athens in 450–40 bce. These objects are mundane domestic instruments (organa); nevertheless, they provoke the tears of Deianeira when she grabs them just before committing suicide. What are these organa, defined as familiar tools that she frequently used, and how should her emotional last encounter with them be understood? Although these material objects have not drawn a lot of [End Page 89] attention in the recent scholarship on theatrical props (Chaston 2010, Mueller 2016, and Telò and Mueller 2018), they were discussed by commentators as early as the Hellenistic period. The Alexandrian scholiasts proposed several hypotheses to elucidate the identity of these organa, but, remarkably, they also clearly engaged with the question of the affective relationship between a woman and her tools. From the perspective of the history of emotions, this is a rare literary testimony that attests to the gendered experience of material artifacts.

I will first discuss the identification of Deianeira's organa as her weaving tools, a hypothesis made by the scholiasts that is well supported by internal textual clues and external proofs in the historical and cultural contexts of fifth-century Greek drama. I then evaluate the pertinence of the Alexandrian scholiasts' affective interpretations of Deianeira's special relationship with her tools. Combining textual and material testimonies, I challenge their emphasis on the connection between Deianeira's instruments and her relationship with her husband, Heracles. I argue that her last physical contact with her tools is also charged with emotions related to her own experience as a female weaver and her own female agency.

I. IDENTIFYING DEIANEIRA'S INSTRUMENTS

Sophocles' Trachiniai dramatizes the devastation of Heracles and Deianeira's oikos through a complex chain of causality. The posthumous revenge of the centaur Nessus—killed decades ago by Heracles (565–69)—is brought to completion through Deianeira's attempt to regain the love of her husband. Persuaded (sincerely or not) that the blood that had dripped from the deadly wound of Nessus could act as a love charm, she has anointed a fine white peplos with it. She is deceiving Heracles when she sends him a gift supposedly meant to enhance the purity of the sacrifice he is about to fulfill on Mount Œta. While performing the ritual, Heracles is almost instantly consumed by the poisonous robe. A widow-to-be resented by all—including her son Hyllos—Deianeira rushes into her bedroom to commit suicide.

The account of her death is offered by the old nurse who delivers a virtuoso messenger speech (870–946). One could apply the enactive reframing of enargeia ("vividness of style"), recently proposed by Jonas Grethlein and Luuk Huitink, to this gripping narrative.² Deianeira is first [End Page 90] described secretly observing Hyllos preparing a litter for his dying father (901–03). She then runs into the thalamos ("the bridal chamber"), finding on her way both people and objects that greatly affect her emotionally (904–10). There she arranges the bed and climbs onto it to voice her ultima verba, quoted in a direct speech addressed to the bed itself (912–22). She lastly detaches her gold pin, loosens her peplos, and plunges a sword into her left side (923–26). Through these numerous mentions of simple bodily actions, the nurse's speech encourages the spectators' embodied responses. Her story not only prompts visualization but also triggers all kinds of sensory stimuli that allow the audience to enact "a quasi...

中文翻译：

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揭露女性对物体的感觉：狄安妮拉和她在Sophocles的《 Trachaniai》中的ὌPΓΑΝΑ

代替摘要，这里是内容的简要摘录：

• 揭露女性对物体的感觉：狄安妮拉和她在Sophocles的《Trachaniai》中的ὌPΓΑΝΑ
• 安妮·索菲·诺埃尔（Anne-Sophie Noel）

“的Comme上AIME CE上quitte阙L'！”

凯恩¹

在死者的对象，社会学家玛格丽特·吉布森探讨如何现代澳大利亚人利用的物质文化在处理亲人的死亡。她说：“死亡以特殊的方式重建了我们对个人和家用物品的体验。” 这也使我们面临“意识到事情已经超越了人类的奇怪现象”。因此，“事物的实体被证明比身体的实体更持久”（Gibson 2008.1）。

通过这些见解的启发，我想纳入重点得伊阿尼拉，赫拉克勒斯的妻子死亡的叙事特色的一些对象，在索福克勒斯的Trachiniai，在450-40雅典产生了悲剧BCE。这些物品是平凡的家用乐器（organa）；然而，当黛安妮拉自杀之前，他们抓住了他们的眼泪。这些经常被定义为熟悉的工具的器官是什么？她应该如何理解她最后一次与他们的情感接触？尽管这些实物还没有画很多[End Page 89]在最近关于戏剧道具的奖学金（Chaston 2010，Mueller 2016，Telò和Mueller 2018）中受到关注，评论员早在古希腊时代就开始讨论它们。亚历山大的流浪汉提出了一些假说来阐明这些器官的身份，但值得注意的是，他们也明确地涉及到女性与其工具之间的情感关系问题。从情感历史的角度来看，这是一种罕见的文学见证，证明了物质人工制品的性别体验。

我将首先讨论迪亚内拉（Deaneira）的有机体是她的编织工具的识别，这种假设是由流浪汉做出的，在第五世纪希腊戏剧的历史和文化背景下，内部文本线索和外部证据很好地支持了这一假设。然后，我评估亚历山大·舒拉斯特人对Deianeira与她的工具之间特殊关系的情感解释的相关性。结合文字和材料的证词，我向他们强调了戴安妮拉的乐器与她与丈夫赫拉克勒斯的关系之间的联系。我认为，她最后一次与工具的身体接触还伴随着与自己作为女性织布工和自己的女性经纪人的经历有关的情绪。

I.识别DEIANEIRA的乐器

Sophocles的Trachiniai通过复杂的因果关系链戏剧化了Heracles和Deianeira的oikos的毁灭。戴安娜（Deianeira）试图重新获得丈夫的爱，使半人马（Nessus）的死后复仇（几十年前被赫拉克勒斯（565-69）杀死）得以完成。她说服（无论是否真诚）从Nessus致命伤口上滴下的鲜血可以作为爱情的魅力，她用膏膏了一个精美的白色peplos。用它。当她给赫拉克勒斯送礼物给他时，她在欺骗赫拉克勒斯，据说该礼物旨在增强他将要在Œta山上履行的牺牲的纯正性。在执行仪式时，赫拉克勒斯几乎立即被有毒的长袍吞噬。所有人（包括她的儿子海洛斯）都会怀有一个寡妇，黛安妮拉（Deianeira）冲进她的卧室自杀。

她的死亡由老护士提供，他用演技使者讲话（870-946）。乔纳斯·格莱特琳（Jonas Grethlein）和卢克·惠廷克（Luuk Huitink）最近提出的那种夸张的夸张（“风格的生动性”）可以用于这种令人抓狂的叙述。² Deianeira首先被描述[第90页]，它是暗中观察Hyllos为即将去世的父亲准备的垃圾的（901-03）。然后，她撞上丘脑（“新娘房”），在途中发现对她的情感产生极大影响的人和物体（904-10）。她在那里整理床铺并爬上去，为她的最后通voice发声，这是直接针对床本身的讲话（912-22）。她最后松开金针，使她松开peplos，然后将剑插入她的左侧（923–26）。通过简单身体动作的无数提及，护士的演讲鼓励了观众的具体反应。她的故事不仅促使视觉化，而且引发各种感官刺激，使观众能够制定“准...