Academic literature on the topic 'Ancient Greek Comedy'
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Journal articles on the topic "Ancient Greek Comedy"
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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek New Comedy." New Theatre Quarterly 20, no. 3 (August 2004): 245–64. http://dx.doi.org/10.1017/s0266464x04000144.
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Chris Vervain is a mask maker who has for a number of years trained and directed in performing masked drama. On the basis of research she has undertaken, using her own masks, on how to perform the ancient Greek plays, in this article she questions some of the modern orthodoxies of masked theatre, drawing specifically on her experience with Menander's New Comedy. With David Wiles, she contributed ‘The Masks of Greek Tragedy as Point of Departure for Modern Performance’ to NTQ 67 (August 2001) and, with Richard Williams, ‘Masks for Menander: Imaging and Imagining Greek Comedy’ to Digital Creativity, X, No. 3 (1999). Some of her masks can be seen at www.chrisvervain.btinternet.com. She is currently working towards a doctorate on masks in Greek tragedy at Royal Holloway, University of London.
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Ruffell, I. A. "Review Article: Comedy." Journal of Hellenic Studies 132 (September 6, 2012): 157–71. http://dx.doi.org/10.1017/s0075426912000110.
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AbstractThis paper reviews and discusses two major publications on Greek comedy (J. Rusten, The Birth of Comedy and I. Storey, Fragments of Old Comedy) in the light of recent advances and trends in scholarship. It focuses in particular on periodization of the genre, including an evaluation of the contribution of ancient scholarship; the evidence for variety in Old Comedy; the different perspectives on competition within the genre; and the presentation and implications of the comic body. An assessment is offered of the impact on scholarship of large-scale research projects such as Kassel and Austin's Poetae Comici Graeci and Koster et al.'s Scholia in Aristophanem, as well as the growing material evidence for Greek comedy, its context and reception. Some significant ongoing problems are identified which require further study.
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Shaw, Carl A. "‘Genitalia of the Sea’: Seafood and Sexuality in Greek Comedy." Mnemosyne 67, no. 4 (July 1, 2014): 554–76. http://dx.doi.org/10.1163/1568525x-12341278.
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Fish play a sizable role in the remains of ancient Greek comedy. Although scholars have proposed various cultural, economic, and generic explanations for comedy’s interest in sea creatures, they have not adequately considered the importance of seafood’s relationship to obscenity and sexuality. Greek comic poets correlate a range of sea creatures with sex and sexuality in imaginative and humorous ways, making obscene jokes about courtesans and aphrodisiacs, as well as creating double entendres for male and female genitalia. This study provides a lexical resource for Greek comedy’s numerous seafood fragments, uncovering many neglected ancient sexual jokes and offering fresh insight on comedy’s interest in sea creatures.
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Dardano, Paola. "How to be impolite in ancient Greek: silencers and dismissals in Greek comedy." Veleia, ´39 (February 21, 2022): 65–83. http://dx.doi.org/10.1387/veleia.22300.
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This paper examines impoliteness in ancient Greek, taking into account the linguistic structure of silencers and dismissals, their communicative functions and their gender distribution in three comedies by Aristophanes. Silencers and dismissals serve a number of different communicative goals: reinforcing disagreement, creating comic effect, and advancing the plot. We will analyse the possibilities that speakers have at their disposal to express them, and the interference that occurs with other speech acts that are conceptualised in a similar way.
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Medda, Enrico. "Stephen E. Kidd: Nonsense and Meaning in Ancient Greek Comedy." Gnomon 89, no. 3 (2017): 195–99. http://dx.doi.org/10.17104/0017-1417-2017-3-195.
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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek Tragedy." New Theatre Quarterly 28, no. 2 (May 2012): 163–81. http://dx.doi.org/10.1017/s0266464x12000255.
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Chris Vervain is a mask maker who has for a number of years directed masked Greek drama. On the basis of the research she has undertaken using her own masks, in this article she considers some of the practical issues involved in a masked staging of the plays today, drawing specifically on her experience of directing the Bacchae and the Antigone. Here she extends the discussion started previously in ‘Performing Ancient Drama in Mask: the Case of Greek New Comedy’ in NTQ 79 (August 2004). Earlier, with David Wiles, she contributed ‘The Masks of Greek Tragedy as Point of Departure for Modern Performance’ to NTQ 67 (August 2001). In 2008 she completed a doctorate on masks in Greek tragedy at Royal Holloway, University of London.
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Sens, Alexander, and John Wilkins. "The Boastful Chef: The Discourse of Food in Ancient Greek Comedy." Classical World 96, no. 1 (2002): 97. http://dx.doi.org/10.2307/4352720.
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Ruffell, Ian. "Nonsense and Meaning in Ancient Greek Comedy by Stephen E. Kidd." Classical World 109, no. 1 (2015): 142–44. http://dx.doi.org/10.1353/clw.2015.0083.
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Boegehold, Alan L. "Two ‘Fragmenta Dubia Incertae Sedis’, Possibly Comic." Classical Quarterly 41, no. 1 (May 1991): 247–48. http://dx.doi.org/10.1017/s0009838800003724.
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Eustathios, in his commentary to Homer's Iliad 768.20–2 preserves two elements of Attic speech which could derive originally from comedy. Although neither of them appears as so much as a conjecture in standard collections, a possibility that they are quotations from a lost comedy merits testing. They may, as it turns out, even be fragments of a comedy by Kratinos. The argument for this possibility rests on a manner Eustathios (and other Greek writers) has of presenting evidence to support his general observations. The pattern is as follows: He will say that such-and-such a usage can be observed among the ancients, and then he will cite an ancient author in whose work he has observed such a phenomenon. A good, simple, short example of this presentation can be found at Eustathios' Commentary to Homer's Odyssey 1419.50–4; λλ κα πλλαξ ξ οὗ κα παλλακή κα παλλκια δ κατ Aἴλιν Διονσιον οὑ παλλήκια οἱ παδες, στιν εὑρεν παρ τος παλαιος οἲ δικαστήριον ἱστοροσιν πώνυµον τς Παλλδος. 'Aριστοφνης ἄκων κτεν σε τκνον. δ'ὑπεκρνατο π Παλλαδωι κτλ (Aristophanes, frag. 602 PCG).
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Lowe, N. J. "I Comedy: Definitions, Theories, History." New Surveys in the Classics 37 (2007): 1–20. http://dx.doi.org/10.1017/s0017383508000430.
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Comedy’, from Greek komoidia, is a word with a complex cultural history. Its modern, as opposed to its ancient, use covers all formally marked varieties of performed humour, whether scripted or improvised, group or solo, in any medium: theatre, film, television, radio, stand-up, and various hybrids and mutations of these. It is also, by extension, applied more loosely to novels and other non-performance texts that share recognizable features of plot, theme, or tone with the classical tradition of comic drama; and used more loosely still as a casual synonym for humour’. As a countable noun, however, the word is restricted to works with a narrative line; thus sketch shows, stand-up, and variety acts can be comedy’ but not comedies’.
Dissertations / Theses on the topic "Ancient Greek Comedy"
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Dimitriou, Tzoulia. "Funny love: images of Aphrodite in old comedy." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31537.
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Thesis (Ph.D.)--Boston UniversityPLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
This study investigates the relationship between Aphrodite's literary image and her cultic role in Athenian civic religion. The plays and fragments, especially those in the Aristophanic corpus, demonstrate that in Old Comedy the goddess not only holds the role of sexualized patroness of femininity, but also reflects the political associations of her Athenian cults. Chapter I investigates the cultic role of Aphrodite in Athens and her place within the Athenian religious and social system. At Athens, Aphrodite reveals aspects beyond her popular panhellenic position as a deity of love and overseer of marriage, but never displays the relationships to sacred prostitution claimed in some late-antique sources. Aphrodite's sanctuaries were associated with such putative pioneers of democracy as Theseus and Solon. The uniquely Athenian cult of Aphrodite Pandemos, worshipped in association with Peitho, emphasized her importance in the Athenian political system as a representative of (seductive) persuasion. Analysis shows that the "Platonic" dichotomy between Aphrodite Pandemos and Urania reflects later (mis)readings of Plato's Symposium. The fragments of Old Comedy (Chapter II) illustrate how Aphrodite aided the introduction of female protagonists onto the comic stage, both as hetaerae, who worshipped Aphrodite as their patroness, and Athenian wives, who were comically depicted as licentious and bibulous. Understanding Aphrodite's role as the mediator between comic raunchiness and female decorum helps explain the origins of the erroneous traditions regarding the dedication of prostitutes to the goddess. Chapters III and IV examine Aphrodite in the Aristophanic corpus, with Chapter IV entirely devoted to the Lysistrata. Aristophanes explores Aphrodite's comic persona to highlight the social and political issues of Athens, often associating the degeneration of the city with men's unnatural connection to Aphrodite. In the Lysistrata, Aphrodite plays her most extensive role in extant comedy and exhibits her political associations. The solidarity of the female protagonists depends on Aphrodite's role as a symbol of unification and social reform. The goddess in association with Athena successfully presides over Lysistrata's peace plot as the embodiment of the late fifth-century political slogan of "eros for the city" played out in the seduction of Kinesias by Myrrhine.
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Polyakov, Maxim. "The power of time : old age and old men in ancient Greek drama." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:2d238e6d-e040-479a-ae8f-dcf5ecd7e838.
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The study of old age in the humanities has developed significantly in the last few decades, but there is still much scope for progress. This thesis, therefore, seeks to contribute to the growing academic discourse in this area by considering ageing as it is represented in ancient Greek theatre. At the same time, it seeks to take its place within Classical Studies by developing new readings of the plays. To develop a context for its analysis, this study begins with consideration of the contemporary demographics, social position, and stage portrayal of old age, and following this dedicates a chapter to each of the four surviving fifth century dramatists. In Aiskhylos’ Agamemnon, old age emerges as a crucial element in choral self-identity, and an important component of the authority that they display. Following this, the thesis considers the chorus of Euripides’ Herakles, in particular its use of metadramatic language, and the impact this has on plot-development and the representation of their age. The next chapter, on Oidipous Koloneus, shifts to consideration of the protagonist. The old age of Oidipous emerges as a powerful driver of his mental and spiritual power, and forms a striking background to the exploration of his character. The final chapter of the thesis examines how mechanisms of renewal that old men undergo in Aristophanes’ comedies (Knights, Akharnians, Peace, Wasps, Birds) differ across the dramas, and the impact this difference has on their interpretations. Such reassessments of ancient dramatic texts through the lens of old age can provide significant insight into the complexity of old men’s characterisations and of their involvement in the dramas. At the same time (from a gerontological perspective), this thesis’ analysis contributes to the developing discussion of the history of ageing, and highlights the differences between the ancient and modern worlds in this respect.
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Jackson, Lucy C. M. "The Athenian dramatic chorus in the fourth century BC." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6a2c8350-1b7e-4abb-982b-ff958c8d7276.
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This thesis tackles a conspicuous absence in current scholarship on ancient theatre. Amid the recent scholarly interest in the rapid expansion of the theatre industry from the late fifth-century BC onwards, no study has been made of a central, defining even, element of ancient Greek drama at that time – the chorus. Instead, what we find is a widespread assumption concerning the fourth-century dramatic chorus, particularly with regard to the comic chorus, still prevalent in today’s scholarship: ‘The history of the dramatic chorus is one of decline both quantitatively and qualitatively’, states one of the more detailed recent reviews of the evidence for dramatic choral culture in the ancient world (Csapo and Slater 1995:349). The thesis focuses on the literary sources available to us concerning fourth-century dramatic choruses in Athens. The material is divided into three sections. The first section addresses the important testimony of Aristotle concerning the choruses of his day, particularly in the Poetics (chapter one). The second section analyses the choral text in the (probably fourth-century) Rhesus (chapter two), the interpolated choral passages in the Iphigenia at Aulis and Seven Against Thebes (chapter three), and the choruses of Aristophanes’ Assemblywomen and Wealth, as well as extant fragments of fourth-century comedy (chapter four). The third section is a survey of how the chorus is used in a wide range of fourth-century texts (chapter five), and gives special attention to Plato’s somewhat idiosyncratic presentation of the chorus in his works (chapter six). These analyses show 1) that ‘decline’ is an inappropriate term to describe the development of the chorus and 2) the creativity with which the chorus is used and thought about in fourth-century drama and society. The thesis aims to provide an elucidation of dramatic choral activity in the fourth century and to provoke further interrogation of the assumptions commonly held about the development of both the ancient chorus and ancient drama as a whole.
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Peterson, Anna I. "Laughter in the Exchange: Lucian's Invention of the Comic Dialogue." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275416015.
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McDonald, Matthew William McDonald. "The Good, the Bad, and the Grouch: A Comparison of Characterization in Menander and the Ancient Philosophers." Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461335881.
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Spinelli, Helena de Negreiros. "O díscolo: estudo e tradução." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-09122009-145805/.
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Este trabalho consiste no estudo introdutório e tradução da comédia O Díscolo, de Menandro, autor grego do século IV a.C. A primeira parte do estudo contempla a apresentação da comédia em seu contexto e sua estrutura dramática. A segunda parte é dedicada à análise das personagens - por ser uma comédia que privilegia os caracteres, julgo importante estender-me sobre eles. Essa seção divide-se em nove partes, cada uma dedicada a uma personagem, exceto no caso da primeira seção intitulada A Divindade, que apresenta uma análise sobre o deus Pã e as Ninfas; e a quinta seção, intitulada Personagens femininas, que traz a análise da menina, filha de Cnêmon, de Simica, e da mãe de Sóstrato. A tradução, segunda realizada no Brasil a primeira é de Mário da Gama Kury tem o objetivo de divulgar a obra do autor grego para o público brasileiro em geral. Com esse intuito, o texto foi vertido para o português em prosa, procurando-se manter o seu ritmo fluido e sua linguagem. Além disso, a linha do verso foi mantida para facilitar a consulta ao original grego.This work consists in the introductory study and translation of the comedy Dyskolos, of Menander, Greek author of the fourth century BC. The first part of the study includes the presentation of comedy concerning its context and its dramatic structure. The second part is devoted to the analysis of the characters - as a comedy that emphasizes the characters, I consider it important. This section is divided into nine parts, each one devoted to one character, except for the first section entitled The Divine, which presents an analysis of the god Pan and the Nymphs, and the fifth section, entitled Female characters, which conveys the analysis of the girl, the daughter of Knemon of Simike, and of Sostratos mother. The translation, the second one developed in Brazil the first is by Mario da Gama Kury aims to disseminate the work of the Greek author to the Brazilian public. With this purpose, the text was converted to Portuguese on prose, trying to keep its rhythm and language. Besides that, the line of the verse was kept to make it easier the consultation with the original.
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Ponelis, Karlien. "Die invloed van die Plautiniese klug op die moderne klug." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52206.
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Thesis (MPhil)--Stellenbosch University, 2001.ENGLISH ABSTRACT: The present thesis deals with the impact of the ancient Greek farce on modem literature with specific reference to the play Kinkels innie Kabel (1971) by the contemporary Afrikaans author André P. Brink. This play is loosely based on Shakespeare's The Comedy of Errors, which in tum derives from Plautus' Menaechmi. Brink's play thus resonates with an entire European tradition. The relationship between the modem and the ancient farce is studied with reference to the concept of comedy. Comic effects, the difference between comedy and tragedy in respect of the handling of vital issues and the comic vision of the playwright are all taken into account. The analysis of the development of Athenian Old Comedy to the Roman Comedy refers to the contribution of Plautus and Terence to the continuation and revitalisation of Greek New Comedy. A comparison of these two playwrights reveals the characteristics of the farce and the difference between farce and comedy. The modem relevance of the farce is studied on the basis of Brink's text. For this purpose Plautus' original plot, the Shakespearian version and Brink's rendition are discussed and compared. On the basis of the similarities and differences in plot, caricaturisation, misidentifications, politics, fantasy, coincidence, irony, farcical violence, mechanical structure, temporal structure and linguistic register, the influence of the ancient farce on its modem counterpart is demonstrated. In addition to farce, Brink employs the classical devices of satire and parody to drive home his (political) message. Finally it is shown that the farcical in Plautus, Shakespeare and Brink serves a significant and serious thematic purpose.
AFRIKAANSE OPSOMMING: Hierdie verhandeling handel oor die impak van 'n antieke Griekse komedievorm, die klug, op moderne werke en denke. A.P. Brink se verhoogstuk Kinkels innie Kabel (1971) is 'n vrye verwerking van William Shakespeare se The Comedy of Errors. Laasgenoemde werk is weer op sy beurt gebaseer op Plautus se Menaechmi. In sy verwerking van Plautus en Shakespeare laat A.P. Brink die hele Europese tradisie deurklink. Die verhouding tussen die moderne klug en die antieke klug word bestudeer deur te fokus op die term komedie: die verhouding daarvan met lag en hoe die komedie van die tragedie verskil ten opsigte van die hantering van lewensproblematiek en komiese visie van die komedieskrywer, maak deel uit van hierdie bespreking. Die komedie se herkoms en ontwikkeling vanaf die Ou Komedie tot die Romeinse Komedie, val ook onder die soeklig. In aansluiting hiermee word Plautus en Terentius bespreek as twee komedieskrywers wat 'n rol gespeel het in die oorlewering en verlewendiging van die Griekse Nuwe Komedie. Hierdie twee skrywers word ook met mekaar vergelyk sodat die eienskappe van die klug geïllustreer word, en hoe dit in wese verskil van komedie. Die relevansie van die klug in moderne denke word bestudeer aan die hand van Brink se teks. In hierdie verband word daar 'n uiteensetting gegee van die oorspronklike Plautiniese verhaal, die Shakespeariaanse weergawe en die Brinkiaanse teks. Aan die hand van die ooreenkomste en verskille in intrige, karikaturisering, identiteitsvergissings, politiek, die fantasie-element, toeval, ironie, klugtige geweld, die meganiese struktuur, die tydstruktuur en taalregister word die invloed van die antieke klug op die moderne klug geïllustreer. Benewens die klug word Brink se werk ook verder beïnvloed deur twee klassieke middele, met name satire en parodie. Hiermee bring Brink sy (politieke) boodskap tuis. Ten slotte word die dieperliggende temas in Plautus, Shakespeare en Brink se werk bespreek deur aan te toon dat die werk nie net om die klugtige gaan nie, maar ook die meer ernstige.
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Aniceto, Bárbara Alexandre. "As relações de gênero em Aristófanes : um estudo das esposas legítimas na sociedade ateniense (Sécs. V-IV a.C.) /." Franca, 2017. http://hdl.handle.net/11449/153674.
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Orientador: Margarida Maria de CarvalhoResumo: Tradicionalmente reduzida a um impulso exclusivo de comicidade, a inserção de personagens femininas nas comédias de Aristófanes foi lida por alguns historiadores como uma preocupação do teatrólogo em ridicularizar a imagem da mulher grega. Ao nos debruçarmos sobre a leitura das peças Lisístrata (411 a.C.), As Tesmoforiantes (411 a.C.) e Assembleia de Mulheres (392 a.C.), encenadas no contexto da Guerra do Peloponeso e posterior derrota de Atenas, formulamos a hipótese de que a esposa legítima foi representada como mantenedora da cidade ateniense, uma vez que percebemos a ênfase em sua importância cívica por ser considerada um veículo justo de crítica nas peças aristofânicas. Ao problematizar os acontecimentos e decisões políticas de seu período, o comediógrafo o fez inserindo mulheres ativas em suas obras, responsáveis por aconselhar seus maridos sobre aquilo que julgavam prejudicial à pólis. Pela lei de Péricles, vigente a partir de meados do V século a.C., eram essas mulheres ativas que carregavam o compromisso de reproduzir cidadãos atenienses, contribuindo para a manutenção da lógica democrática clássica. Em nossa visão, o poeta publicita a faceta atuante e interventora do feminino justamente porque ela estava calcada na legitimidade da transmissão da cidadania. Pautados na análise da documentação textual e na História de Gênero, pretendemos compreender a participação feminina, especificamente das esposas legítimas, na sociedade ateniense do V e início do IV séculos a.C.,... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Traditionally reduced to an exclusive comicality impulse, the insertion of female characters in the comedies of Aristophanes was read by some historians as a concern of the playwright in ridiculing the image of Greek woman. When we dive into the reading of Lysistrata (411 BC), Thesmophoriazusae (411 BC) and Assemblywomen (392 BC), staged in the context of the Peloponnesian War and subsequent defeat of Athens, we formulated the hypothesis that the legitimate wife was represented as maintainer of the Athenian city, since we perceive the emphasis in her civic importance as a righteous vehicle of criticism in Aristophanes‘ plots. In problematizing the occurrences and political decisions of his period, the playwright did it inserting active women in his plots; they were responsible for advising their husbands on what they judged to be harmful to the polis. By the law of Pericles, valid since the middle of the fifth century BC, these active women were committed to reproducing Athenian citizens, contributing to the maintenance of the classical democratic logic. In our view, the poet shows the acting and intervening facet of the feminine precisely because it was based on the legitimacy citizenship transmission. Based on the analysis of the textual documentation and on Gender History, we intend to understand the feminine participation, specifically of the legitimate wives, in the Athenian society of the fifth and beginning of the fourth centuries BC, by problematizing the relation bet... (Complete abstract click electronic access below)
Mestre
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Costa, Natalie. "Ridicule reversed : the failure of aristophanes' mockery and its ironic inspiration." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1385.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
English Literature
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Assan, Libé Nathalie. "Mendiants et mendicité dans la littérature grecque archaïque et classique." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040113.
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Cette thèse de doctorat porte sur la mendicité et la figure du mendiant dans la littérature grecque, d’Homère jusqu’au philosophes cyniques. Quatre familles de mots servent de point de départ à cette étude : πτωχός « le mendiant », ἀγύρτης « le prêtre mendiant », ἀλήτης « vagabond », πλάνης « le rôdeur » et la triade ἐπαίτης, προσαίτης, μεταίτης « le quémandeur ». Le hasard de la conservation veut que les attestations de la mendicité dans la littérature grecque se cantonnent au corpus poétique. Or, par sa dimension pragmatique, la poésie grecque reste liée à son contexte d’origine, en traitant toujours de problématiques sociales qui lui sont contemporaines. Notre travail se propose d’étudier dans quelle mesure les représentations littéraires et esthétiques de la mendicité sont investies d’une fonction sociale. Notre thèse adopte trois perspectives méthodologiques : une étude lexicale de la mendicité examinant les jeux de synonymie et les connotations, un examen des fonctions littéraires et dramatiques du personnage, tantôt catalyseur de l'action, tantôt vecteur d'émotions, et une analyse sur son rôle argumentatif dans les réflexions politiques et morales sur la pauvreté au IVème siècle. Le motif de la mendicité permet aux Grecs d’envisager un certain type d’exclusion civique, et en contre-point, d’appréhender la nature du lien social. Une étude chronologique montre que ce personnage, initialement contre-modèle du parfait citoyen, devient aux moments de grands bouleversements économiques un personnage attachant, permettant à la cité de réintégrer symboliquement les pauvres et de prôner indirectement la solidarité collectiveThis study/PhD thesis is focused on the beggary and the beggar in Greek literature, from Homer to the cynicism. At the beggining, I am dealing with the study of four word groups : πτωχός ‟beggar”, ἀγύρτης ‟begging priest”, ἀλήτης ‟vagabond”, πλάνης ‟wanderer” and ἐπαίτης, προσαίτης, μεταίτης ‟almsman”. The preserved corpus of Greek literature with mention of the beggary is fortuitously restricted to poetry. By her pragmatic function, ancient Greek poetry remains connected with contemporary social problems. My work's aim is to investigate how literary and aesthetic representations of the beggary have a social function. I adopted three methodological perspectives: a semantic study of the beggary (synonyms and connotations), an study of the literary and dramatic functions of that character (sometimes action accelerator, sometimes factor of emotions), and an analysis of his argumentative role in political and moral reflexions about poverty during the fourth century B.C. The motive of the beggary enabled Greek people to consider a type of civic exclusion, and in parallel, to apprehend the nature of the social cohesion. A chronological approach shows that this character, previously a counter-model of the perfect citizen, becomes - when big economical changes arrive - an endearing character, who symbolically reinstates excluded people in the city and indirectly promote public solidarity
Books on the topic "Ancient Greek Comedy"
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Performing Greek comedy. Cambridge: Cambridge University Press, 2011.
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The catharsis of comedy. Lanham, Md: Rowman & Littlefield Publishers, 1994.
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The boastful chef: The discourse of food in ancient Greek comedy. Oxford: Oxford University Press, 2000.
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Slaves and slavery in ancient Greek comic drama. New York: Cambridge University Press, 2013.
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Athenian comedy in the Roman Empire. New York: Bloomsbury Academic, 2015.
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1960-, O'Bryhim Shawn, and Franko George Fredric, eds. Greek and Roman comedy: Translations and interpretations of four representative plays. Austin: University of Texas Press, 2001.
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L, Cairns Douglas, Knox Ronald A, Arnaoutoglou Ilias 1964-, and MacDowell Douglas M, eds. Law, rhetoric and comedy in classical Athens: Essays in honour of Douglas M. MacDowell. Swansea: Classical Press of Wales, 2004.
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Colvin, Stephen. Dialect in Aristophanes: And the politics of language in ancient Greek literature. Oxford: Clarendon Press, 1999.
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Alcidamas, Aristophanes, and the beginnings of Greek stylistic theory. Stuttgart: F. Steiner, 1992.
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Menander in Centuripe. Stuttgart: F. Steiner Verlag Wiesbaden, 1989.
Find full textBook chapters on the topic "Ancient Greek Comedy"
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Sommerstein, Alan H. "Combat Trauma in Athenian Comedy: The Dog That Didn’t Bark." In Combat Trauma and the Ancient Greeks, 225–36. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137398864_11.
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Holmes, Brooke. "Canguilhem and the Greeks: Vitalism Between History and Philosophy." In History, Philosophy and Theory of the Life Sciences, 107–29. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12604-8_7.
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AbstractIn this essay, I examine the role of ancient Greek medicine and philosophy in Georges Canguilhem’s analysis of vitalism at the intersection of history and philosophy in his essay “Aspects of Vitalism” in light of larger questions about the historicity of “life” as a concept in the history and philosophy of science and contemporary biopolitical theory. Vitalism, for Canguilhem, is not a proper object of the history of science. But nor is it a philosophy that exists outside of historical time. I show how Canguilhem embeds vitalism both historically and trans-historically by threading each of its three “aspects” in the essay through ancient Greece. Canguilhem distinguishes his own understanding of both life and vitalism from that of the “classical” vitalists of the eighteenth century by refusing to read ancient Greece as romantically naïve or pre-technological and instead locating a dialectic between vitalism and mechanism already in antiquity. I argue for a critical re-reading of Canguilhem’s own conjunction of vitalism and Hellenism that resists its figuration of ancient Greece as the place where the human qua species first comes to take itself as an object of knowledge. I instead propose reading ancient Greek medical and philosophical texts that are read and reread in debates about the nature of human life and the life of Nature over millennia as part of a milieu that shapes how contemporary thinkers theorize life in the interest of human flourishing.
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"Greek Comedy." In A Guide to Ancient Greek Drama, 169–229. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470776209.ch4.
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"Introduction." In Ancient Greek Comedy, 1–4. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110646269-001.
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"The Characters of Doric Comedy." In Ancient Greek Comedy, 7–28. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110646269-002.
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"Connotations of ‘Comedy’ in Classical Athens." In Ancient Greek Comedy, 29–48. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110646269-003.
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"Types and Functions of Para Prosdokian in Aristophanes – And What About Oxymoron?" In Ancient Greek Comedy, 49–68. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110646269-004.
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"‘Middle Comedy’: An Outdated Term or Still A Useful Notion?" In Ancient Greek Comedy, 69–84. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110646269-005.
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"Glimpses of a Male World: Performing Masculinities in Menander." In Ancient Greek Comedy, 85–108. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110646269-006.
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"Fathers and Sons in Clouds and Wasps." In Ancient Greek Comedy, 111–20. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110646269-007.
Full textConference papers on the topic "Ancient Greek Comedy"
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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.
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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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Marinis, Agis, Elina Daraklitsa, and Chryssanthi Mitta. "The mask in commedia dell�arte and ancient Greek comedy. A comparative and historical approach, with emphasis on the methodology of acting." In 7th SWS International Scientific Conferences on ART and HUMANITIES ISCAH 2020. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.f2020.7.2/s07.09.
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Vladetić, Srđan. "Biblioteka Asinija Poliona (bibliotheca asini pollionis): prva javna biblioteka u starom Rimu." In XVI Majsko savetovanje. University of Kragujevac, Faculty of Law, 2020. http://dx.doi.org/10.46793/upk20.367v.
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Thanks to Greek influence, firstly through some individuals, and after that through conquests, Romans have come to contact with books and libraries. The first Roman libraries were private collections that belong to the military commanders and to the members of higher social class. Development of public libraries starts at the end of the 1st century BC with founding of Library of Asinius Pollio. In this work it would be pointed out on when, how and where this particular library was found. In addition, it would present overview of library collection and library staff. At the end in the article services that library has provided to its clients will be presented, as well as its influence and importance for the work of other public libraries in Ancient Rome.
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Vladetić, Srđan. "Biblioteka Asinija Poliona (bibliotheca asini pollionis): prva javna biblioteka u starom Rimu." In XVI Majsko savetovanje. University of Kragujevac, Faculty of Law, 2020. http://dx.doi.org/10.46793/upk20.367v.
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Thanks to Greek influence, firstly through some individuals, and after that through conquests, Romans have come to contact with books and libraries. The first Roman libraries were private collections that belong to the military commanders and to the members of higher social class. Development of public libraries starts at the end of the 1st century BC with founding of Library of Asinius Pollio. In this work it would be pointed out on when, how and where this particular library was found. In addition, it would present overview of library collection and library staff. At the end in the article services that library has provided to its clients will be presented, as well as its influence and importance for the work of other public libraries in Ancient Rome.
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Stojsih, Sarah E., and Cynthia A. Bir. "Comparison of Experimental and Real-Time Data in Amateur Boxers." In ASME 2009 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2009. http://dx.doi.org/10.1115/sbc2009-206372.
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The sport of boxing dates back to the time of the ancient Greeks and Romans. While boxing has come a long way from its origin in fist fighting, head injury is of great concern in the sport of boxing. A study found that over 70% of acute injuries occur in the head region, with almost half of the injuries to this region being concussions [1]. Various techniques have been implemented to discern the risk of head injury in boxing. Although some surrogate data have been collected to assess the mechanism that causes the injuries [2], real-time head acceleration data from the ring has yet to be obtained.
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Bečvář, Jindřich. "Kruh v egyptské matematice." In Orientalia antiqua nova XXI. Západočeská univerzita v Plzni, 2021. http://dx.doi.org/10.24132/zcu.2021.10392-1-14.
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The article analyzes five exercises (R50, R48, R41, R42 and R43) from the Rhind Mathematical Papyrus (de-posited in the British Museum) that comes from the Second Intermediate Period of Egypt and is one of the best known examples of ancient Egyptian mathematics. One exercise (K2) from the Kahun Mathematical Papyrus (British Museum) is also discussed. The exercise R50 shows how Egyptian scribes calculated the area of a cir-cle with a given diameter. The exercise R48 compares the area of a circle with a given diameter to that of its cir-cumscribing square. Four other exercises demonstrate how to calculate the volume of a cylindrical grain silo with a given diameter and height. The author explains the algorithm which was used by Egyptian calculators. He also offers three ways how they could find a fairly accurate calculation, and how they approximated the value for π and compared Egyptian approximation with the approximation using by Babylonian scribes as well as Greek mathematicians.
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Valenti, Rita, Sebastiano Giuliano, and Emanuela Paternò. "Una rappresentazione digitale del castello Eurialo per l’indagine storico-interpretativa." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11526.
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A Digital representation of Euryalus fortress: a historical interpretive studyIt is clear that concepts and cognitive processes aimed at putting forward fortified systems in their relation with the territory and with the surrounding landscape, establish inextricably interwoven “interests” and a consequent osmotic hysteresis between their emergence and disappearance into the deepest part of the earth. The logic behind the defensive structures of Euryalus fortress is particularly interesting. The fortress designed during the Greek period and located on the top of Epipolae hill, represented a strategic fortification for the city’s defence. Therefore, it is reasonable to think about a sequence of emerging or disappearing empty spaces; a semantic vacuum to be filled with logical-subjective interpretations pertaining to those who visit the place. The conceptual framework provides knowledge and documentation meant as indispensable supporting instruments to understand Dionysius I and Archimedes’ thoughts where the integration of people and environment forms the basis of the close iterative connection among nature, artifice and landscape. The research takes this direction implementing innovative technological systems trying to go beyond in order to achieve virtual reconstruction processes, even if partial, of the fortress. Survey, thus, can be applied as an instrument for the knowledge of historical heritage which once converted into digital heritage is a support for the reconstruction of lost ancient scenarios. Actually, the implementation of innovative systems allows an easy-to-use data viewing which supports the interpretive phase, the archiving, consultation and dissemination of survey products. In particular, the survey of the fortress with integrated methodologies (both instrumental and photogrammetric) provides not only a fundamental basis for the documentation of the fortress conditions but also provides a basis for the collection of reconstructive hypotheses formulated by researchers who have been involved with the structure so far. Interactions among archaeology, history, geomorphology and technology make history and a past renowned glory come alive with the common spirit of coming up to a strong synergy between the past and the future destiny of the place.
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Ballarin, Matteo, and Nadia D'Agnone. "Paesaggio, suolo, tempo: la rappresentazione dei tempi geologici nella citta' di Catania." In International Conference Virtual City and Territory. Roma: Centre de Política de Sòl i Valoracions, 2014. http://dx.doi.org/10.5821/ctv.8041.
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Parlare di tempo geologico è un modo di contestualizzare i processi materiali della terra nella
sua storia. La scala dei tempi geologici suddivide la lunga storia della terra in eoni, ere, periodi
ed epoche, non omogenei tra loro, ma in relazione l'un l'altro a seconda di ciò che emerge
dall'analisi dei dati stratigrafici o dallo studio della stratificazione dei diversi livelli della crosta
terrestre.
Recentemente negli studi relativi a territorio e paesaggio è stata introdotta l'idea che l'epoca
dell'Olocene, iniziata circa 11.700 anni fa, sia terminata e che sia stata sostituita da una nuova
epoca geologica chiamata Antropocene, ovvero, 'l'era della razza umana'.
Per confermare o meno questa ipotesi, siamo partiti da due categorie concettuali di paesaggio:
il paesaggio terrestre ed il paesaggio costruito.
Il caso studio della città di Catania, in Sicilia, ben si applica a questa ricerca: il suolo della città
si è costruito sia tramite l'intensa opera dell'uomo -negli ultimi 40 anni fino a risalire al XVII
secolo ed al nucleo greco antico- sia tramite una non indifferente attività geologica,
rappresentata dalle molteplici eruzioni vulcaniche e dai frequenti terremoti che hanno colpito la
conurbazione nel corso dei secoli. L'analisi -tramite sezioni e carotaggi- della stratigrafia storica
ha evidenziato come la forma non solo della città ma del paesaggio di Catania abbia risentito in
maniera eccezionale delle mutazioni geologiche intercorse, più di ogni altra città europea, e la
rende un oggetto di studio privilegiato per esaminare la correlazione tra paesaggio, tempo ed
usi. Geologic time is a way of contextualizing the material processes of the Earth within its long
history. The geologic time scale divides the long history of the earth in eons, eras, periods and
epochs, not separately, but in relation to each other depending on what emerges from the
analysis of stratigraphic data and the different levels of the crust of the earth.Recently, studies
related to territory and landscape have introduced the idea that the current Holocene epoch that began 11,700 years ago has ended and has been replaced by a new geological epoch called
the Anthropocene, or, 'the era of human race'. To confirm or reject this hypothesis, we started
from two conceptual categories of landscape: the terrestrial landscape and the constructed
landscape. We apply this research using the case study of Catania, Sicily. The soil of the city of
Catania is built is through both the intense work of man – in the last 40 years going back to the
seventeenth century and to antiquity with the ancient Greeks – and, through substantial
geological activity – by the many volcanoes and frequent earthquakes over the centuries.
The analysis is defined by a sectioning and dissection of the historical stratigraphy of the ground
of Catania. It reveals how the form of the city and landscape of Catania has undergone
exceptional change and mutation evolving slowly in geologic time, more so than any other
European city. It is therefore an interesting object of study to examine the relationship between
landscape, time and use.