Abstract
AbstractAs naming gives heroic stature to the characters of Jean Racine's Andromache, it paradoxically reflects their demolition. Naming Andromache's ancestors focuses on the past, while naming absent family members in Iphigenia focuses on the future. Naming unifies the plays on the stage with their literary antecedents by creating a bond of familiarity between characters and audience. Absences made present by naming extend boundaries of time and space backward by coloring memories which determine the course of present actions and forward by hinting at future greatness.
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