{'fraction_non_alphanumeric': 0.02862882973380211, 'fraction_numerical': 0.0025113008538422904, 'mean_word_length': 4.946268656716418, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
How To Do Things with (ἐ)κεῖνος and αὐτός in Tragedy: Initial Suggestions

This chapter offers an input on the pragmatics of (ἐ)κεῖνος and αὐτός, mainly when they are used as anaphoric markers and, in a few cases, as deictic markers.1 The target corpus is formed by Classical tragedies, where anaphoric references are third-person references, that is to say, other characters than the ‘I’-‘you’ present on stage, i.e. people who are absent at a given moment staged in the performance: people who have disappeared, who are going to appear later, or even dead people. This paper selects investigation materials and pursues selected results: on the one hand, (ἐ)κεῖνος and αὐτός are selected out of other third-person pronouns used in Classical Greek (e.g. οὗτος, σφforms) because their grammar (in terms of language use) still needs additional considerations; on the other hand, the readings that I am about to offer cannot claim any general conclusions as they apply to very few passages. In other words, this contribution presents preliminary analyses, and the thoughts being put forward invite expansion through future research and more systematic investigations. However limited the evidencemay be, the theoretical back-up relies on considerable work in linguistics from the second half of the 1970s.Moreover, parallels in modern literary texts as well as in other Ancient Greek genres do not fail to provide significant cases. The present argument does not start from classical Greek drama language or from ancient Greek grammars but aims at importing concepts and ideas from outside ancient Greek, in line with other chapters in this volume. The overarching goal is to view the skilful usages of these words by Aeschylus, Sophocles, and Euripides as part of a bigger set of usages, that is, what literary genres offer also in modern times; most of all, they will be observed in the light of general linguistic studies on howwe process anaphoric markers in order to understand each other.