Journal articles on the topic 'Ancient Greek Comedy'
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1
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’.
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Hong, Eun-sook. "Posthumanist Perspectives in Ancient Greek Comedy: Collective Intelligence in Lysistrate and Assemblywomen." Journal of the Humanities 93 (December 31, 2020): 119–48. http://dx.doi.org/10.21211/jhum.93.5.
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Hong, Eun-sook. "Posthumanist Perspectives in Ancient Greek Comedy: Collective Intelligence in Lysistrate and Assemblywomen." Journal of the Humanities 93 (December 31, 2020): 119–48. http://dx.doi.org/10.21211/jhum.93.5.
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Goldberg, Sander M. "The Boastful Chef: The Discourse of Food in Ancient Greek Comedy (review)." Theatre Journal 55, no. 1 (2003): 185–86. http://dx.doi.org/10.1353/tj.2003.0022.
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Olson, S. Douglas. "Nonsense and Meaning in Ancient Greek Comedy, written by Kidd, Stephen F." Mnemosyne 69, no. 3 (May 7, 2016): 531–33. http://dx.doi.org/10.1163/1568525x-12342151.
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Vervain, Chris, and David Wiles. "The Masks of Greek Tragedy as Point of Departure for Modern Performance." New Theatre Quarterly 17, no. 3 (August 2001): 254–72. http://dx.doi.org/10.1017/s0266464x00014767.
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In this article, David Wiles and Chris Vervain stake out the ground for a substantial programme of continuing research. Chris Vervain, coming from a background in visual and performance art, is in the first instance a maker of masks. She is also now writing a thesis on the masks of classical tragedy and their possibilities in modern performance, and, in association with the University of Glasgow, working on an AHRB research programme that involves testing the effect of Greek New Comedy masks in performance. David Wiles, Professor of Theatre at Royal Holloway, University of London, has published books on the masks of Greek New Comedy and on Greek performance space, and lectured on Greek masks. Most recently, his Greek Theatre Performance: an Introduction (Cambridge University Press, 2000) included an investigation of the classical mask and insights provided by the work of Lecoq. He is now planning a book on the classical Greek mask. Wiles and Vervain are both committed to the idea that the mask was the determining convention which gave Greek tragedy its identity in the ancient world, and is a valuable point of departure for modern practitioners engaging with the form. They anticipate that their research will in the near future incorporate a symposium and a further report on work-in-progress.
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Xifra, Jordi. "Old Comedy, Public Intellectuals and the Origins of Dissent Communication: The Case of Aristophanes." Gerión. Revista de Historia Antigua 37, no. 1 (April 1, 2019): 9–33. http://dx.doi.org/10.5209/geri.63866.
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The purpose of this article is to explore the emergence of a strategic communication management of dissent (the so called dissent public relations) and to set its beginnings in the context of ancient Greek comedy represented by Aristophanes. Indeed, Old Comedy was the first great example of mass communication in which political satire was used to dissent and protest against political and social circumstances in fifth-century BC Athens. This situation was determined by the Peloponnesian War and its political, economic and social consequences. From this perspective, this article also constitutes an investigation into the intellectual history of public relations, of which Aristophanes can be considered one of its first practitioners.
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Bizzarro, Ferruccio Conti. "John Wilkins: The Boastful Chef. The Discourse of Food in Ancient Greek Comedy." Gnomon 76, no. 7 (2004): 577–81. http://dx.doi.org/10.17104/0017-1417_2004_7_577.
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Grozev, Stanul. "The Argument of Nature in Shakespeare’s “As you like it”." WISDOM 2, no. 5 (December 1, 2015): 66. http://dx.doi.org/10.24234/wisdom.v2i5.37.
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This paper examines the diverse ways in which the characters of Shakespeare’s comedy “As you like it” praise or mock each other on behalf of nature. Shakespeare works during the Renaissance, when the ides of the ancient philosophers and rhetoricians are highly influential, and for this reason the argument of nature is presented with emphasis on Ancient Greek Philosophy and rhetoric. The notion of nature in the play is examined in three main aspects: (1) human nature (2) the objective reality opposing the human organic and inorganic world (3) constructive beginning, strength, God. The argument of nature in the play is examined in relation to upbringing, education and free will. Since “As you like it” is a pastoral comedy, the argument of nature is present in the very setting of the play, for this reason the last section of the study deals with the innate virtue of nature and its cleansing power over men.
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Zvonska, Lesia. "UKRAINIAN TRANSLATIONS OF ANCIENT GREEK LITERATURE: ACHIEVEMENTS AND PROSPECTS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 30 (2021): 17–20. http://dx.doi.org/10.17721/1728-2659.2021.30.5.
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The article presents the history of Ukrainian translations of ancient Greek literature and describes the translation work of Ukrainian classical philologists, poets and prose writers. The reception of literary works of antiquity is represented by texts of different styles, poetic schools and Ukrainian language of different periods, which demonstrate the glorious tradition of domestic translation studies. It is noted that Ukrainian translations have a long history (from the first translation in 1788 and the first textbook in 1809); they were published in separate periodicals, collections, almanacs, as well as complete books and in textbooks and anthologies. Ukrainian translations of literature in the ancient Greek language of the аrchaic, сlassical and Hellenistic periods are analyzed. Translations of poetry (epic, elegy, iambic, monodic and choral lyrics, tragedy, comedy, folk lyrics, mimiyamb, epilium, bucolic, idyll, epigram) and prose (fable, historiography, philosophy, rhetoric, fiction, ancient novel, New Testament and Septuagint, early Christian patristic) are described. Significant in the history of translations are the achievements of the brilliant connoisseur of antiquity I. Franko. The high level of linguistic and stylistic assimilation of ancient Greek prose and poetic texts is demonstrated by the creative style of such outstanding translators as Borys Ten, V.Svidzinsky, M. Bilyk, G. Kochur, A. Smotrych, V. Derzhavуn, V. Samonenko, P. Striltsiv, A. Tsisyk, Y.Mushak, A. Biletsky, V. Maslyuk, J. Kobiv, Y. Tsymbalyuk, L. Pavlenko.The glorious traditions are continued by well-known antiquaries, writers and poets, among whom A. Sodomora has a prominent place. At the level of world biblical studies there are four translations of the Holy Scripture in Ukrainian (P. Kulish, I. Pulyuy, I. Nechuy-Levytsky, I. Ogienko, I. Khomenko, R. Turkonyuk). Іt is summarized that despite numerous Ukrainian translations of various genres of ancient Greek literature there is a need to create a corpus of translations of ancient Greek historiography, rhetoric, philosophy, natural science texts, Greek patristic.
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Biernat, Justyna. "O kulawym bogu Hefajstosie. W antycznej pracowni Jana Dormana." Pamiętnik Teatralny 68, no. 3-4 (December 18, 2019): 181–95. http://dx.doi.org/10.36744/pt.12.
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The paper is an analysis of Jan Dorman’s theatre practice in the context of the classical tradition. It examines the archival collections of The Theatre Institute documenting the collaboration of Jan Dorman with Anna Świrszczyńska on the staging of O kulawym bogu Hefajstosie (“The Lame God Hephaestus”), Świrszczyńska’s radio play. The extant correspondence between the creators of the production and the director’s copies permit us to explore and analyse the ways in which classical antiquity inspired Dorman’s work. Although Dorman never adapted any ancient Greek text to the stage, his practice indicates a strong presence of the classical tradition, in particular the Greek comedy, in his mode of theatre.
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Fögen, Thorsten. "Gender-Specific Communication in Graeco-Roman Antiquity: With a Research Bibliography." Historiographia Linguistica International Journal for the History of the Language Sciences 31, no. 2-3 (2004): 199–276. http://dx.doi.org/10.1075/hl.31.2-3.03fog.
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It has been the main interest of numerous studies in modern linguistics, in particular since the 1980s, to analyse gender-specific language and modes of communication. However, the vast majority of these contributions completely ignores the fact that some ancient authors already raised the problem of gender-specific language and thus made at least a first step towards a diaphasic sketch of the linguistic levels and varieties of both Greek and Latin. The ancient sources on women’s language are admittedly not very ample and, moreover, rather scattered. It is the aim of this contribution to bring together relevant metalinguistic passages and provide a close reading in order to obtain a more differentiated impression of the ancients’ views on gender-specific language and style. It is highlighted that differences are pointed out by ancient authors not only in pragmatic respects, but also for the phonological, morphological and lexico-semantic levels. The focus is on excerpts from Plato, Aristophanes, Roman comedy and rhetorical writings, but further (sometimes indirect) sources are also included. The final part of this contribution considers the evidence on “women’s speech” in Giovanni Boccaccio’s treatiseDe mulieribus claris.
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Fögen, Thorsten. "Gender-specific communication in Graeco-Roman antiquity." Historiographia Linguistica 31, no. 2-3 (December 31, 2004): 199–276. http://dx.doi.org/10.1075/hl.31.2.03fog.
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Summary It has been the main interest of numerous studies in modern linguistics, in particular since the 1980s, to analyse gender-specific language and modes of communication. However, the vast majority of these contributions completely ignores the fact that some ancient authors already raised the problem of gender-specific language and thus made at least a first step towards a diaphasic sketch of the linguistic levels and varieties of both Greek and Latin. The ancient sources on women’s language are admittedly not very ample and, moreover, rather scattered. It is the aim of this contribution to bring together relevant metalinguistic passages and provide a close reading in order to obtain a more differentiated impression of the ancients’ views on gender-specific language and style. It is highlighted that differences are pointed out by ancient authors not only in pragmatic respects, but also for the phonological, morphological and lexico-semantic levels. The focus is on excerpts from Plato, Aristophanes, Roman comedy and rhetorical writings, but further (sometimes indirect) sources are also included. The final part of this contribution considers the evidence on “women’s speech” in Giovanni Boccaccio’s treatise De mulieribus claris.
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Olson, S. Douglas. "Names and Naming in Aristophanic Comedy." Classical Quarterly 42, no. 2 (December 1992): 304–19. http://dx.doi.org/10.1017/s0009838800015949.
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One of the ironies of literary history is that the survival of Aristophanic comedy and indeed of all Greek drama is due to the more or less faithful transmission of a written text. Reading a play and watching one, after all, are very different sorts of activities. Unlike a book, in which the reader can leaf backward for reminders of what has already happened or forward for information about what is to come, a play onstage can be experienced in one direction only, from ‘beginning’ to ‘end’. Nor can a play be put down and picked up again at one's leisure or interrupted while the audience puzzles over a difficult or intriguing passage. Live theatre is an ephemeral and essentially independent thing, which must be experienced in its own time and on its own terms or not at all, and as a result we modern readers, dependent on the written page, are at a marked disadvantage in understanding ancient drama. Taplin's study of staging in Aeschylus has shed considerable light on the dramatic technique of Athenian tragedy. Stage-practice in Aristophanic comedy, and in particular the ways in which names and naming are used there, has received much less attention.
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Pöhlmann, Egert. "The Monody of the Hoopoe in Aristophanes’." Greek and Roman Musical Studies 5, no. 2 (August 10, 2017): 191–202. http://dx.doi.org/10.1163/22129758-12341300.
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Animal choruses are familiar in ancient Greek comedy. Besides Aristophanes, there are 13 examples of them. Vase paintings provide evidence from the beginnings of Old Comedy. They had to sing the traditional melic parts of the agon and the parabasis. Aristophanes used the comic animal chorus in Knights (424 bc), Wasps (422), Birds (414), Frogs (405) and Storks (395-387). Moreover, with the song of the Hoopoe in the Birds 227-62, Aristophanes presents an animal as soloist which sings an extended monody, a perfect example of the astropha, the structure of which is defined by content, changes of metre and probably of music, but not by alternating strophes and antistrophes. It can be demonstrated that the Hoopoe’s monody follows the model of the late astrophic monodies of Euripides and mirrors the astrophic structures of the New Dithyramb, later parodied by Aristophanes (Birds 1373-1409) in the person of the dithyrambic poet Cinesias.
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Chiarini, Sara. "Οὐδὲν λέγειν / nihil dicere." Mnemosyne 72, no. 1 (December 6, 2018): 114–49. http://dx.doi.org/10.1163/1568525x-12342460.
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AbstractThe ancient theoretical debate on language and its purposes has long concerned scholarship, but only in recent years a growing attention has been directed to ancient concepts and instances of nonsense in both communication and artistic-literary expression, as the recent monograph by Stephen Kidd attests. This paper engages in an analysis of the phrase οὐδὲν λέγειν/nihil dicere, used to express the nonsense of a statement. An overview of the occurrences of οὐδὲν λέγειν is followed by a survey of what can be considered the ‘reception’ or calque of the Greek idiom in Latin, namely nihil dicere. The concentration of the occurrences, both in Greek and Latin, in the same two genres, i.e. comedy and philosophical dialogue, suggests that the phrase was borrowed from the colloquial vocabulary of the spoken language. The authority of Aristophanes and Plato seems to have eased the assimilation of the locution by authors such as Plautus, Terence and Cicero. The rarity of the phrase outside these authors and their genres supports the thought that, in literature, οὐδὲν λέγειν/nihil dicere were typical of the lexical repertoires of dramatic ἀγών and dialectics.
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Fox, R. J. Lane. "Theophrastus'Charactersand the historian." Proceedings of the Cambridge Philological Society 42 (1997): 127–70. http://dx.doi.org/10.1017/s0068673500002078.
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In a programmatic article, published nearly twenty years ago, Peter Laslett characterized historians who try to write social history from literature as people who look at the world through the wrong end of a telescope. His particular examples of their inverted gaze were not always well chosen: warfare in Homer, the young age at betrothal of Shakespeare's Juliet, the extra-marital affairs in Restoration Comedy. The main point, however, still challenges ancient historians. ‘The great defect of the evidence’, as A. H. M. Jones forewarned readers of his social history, ‘is the total absence of statistics’: at best, we have isolated numbers which do not survive in significant sequences. Yet since 1951, ancient historians have continued to look down their telescopes and find social history in a widening range of texts. In the past decade, Roman historians have re-read prose fictions for this purpose, while on the Greek side, more recent attention has gone to poetry, especially tragedy and Homeric epic.
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Spinelli, Helena De Negreiros. "“O Díscolo” e o feminino." CODEX – Revista de Estudos Clássicos 1, no. 2 (December 5, 2009): 16. http://dx.doi.org/10.25187/codex.v1i2.2832.
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<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>Este estudo apresenta de forma breve um panorama sobre as personagens femininas de <em>O Díscolo</em>, de Menandro, autor grego do século IV a.C. Partindo de um exame das personagens femininas na tragédia e na comédia antiga, percebemos que a comédia nova apresenta um retrato bastante fiel da mulher ateniense no que diz respeito aos diversos aspectos que envolvem a vida não apenas da cidadã, mas também da escrava.</span></p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span><strong>“The Dyscolos” and the feminine</strong> </span></p><p><span>Abstract </span></p><p><span>This study presents a brief overview of the female characters of The Dyscolos, by Menander, Greek author from the fourth century B.C. Starting with the examination of the female characters in Tragedy and in Old Comedy, we notice that the New Comedy presents a fairly accurate portrait of Athenian women regarding various aspects involving not only the lives of citizens but also the slaves. </span></p><p><span><strong>Keywords:</strong> Ancient Greek Literature; Theatre; New Comedy; Menander; The Dyscolos. </span></p></div></div></div></div></div></div>
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Pütz, Babette, and Kenneth Sheedy. "Bad Hair Day: Some Mementos of New Comedy Refurbished." Antichthon 44 (November 2010): 33–49. http://dx.doi.org/10.1017/s0066477400002069.
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Masks having a bad hair day? Two terracotta masks now in the Museum of Ancient Cultures, Macquarie University (figs 1-5), and the Classics Museum, Victoria University of Wellington (figs 9-12), seem to be in this embarrassing situation. Both of these tonsorially-challenged characters display highly unusual features (indeed the entire forehead of the male mask seems somewhat deformed) but a closer look suggests that in both cases their bad hair is the result of ‘tampering’ with classic mask representations or their moulds. That is to say, existing moulds have been modified and then brought back into use, or examples of each mask-type have been used as the basis for new moulds. Furthermore, the changes can be shown to have occurred at a much later date than that of the original masks or moulds. These changes confuse the identity of the mask, suggesting that those responsible for their later production did not fully understand the original iconography. They are thus of interest as evidence for the later reuse of artefacts relating to theatre, though we suggest in our conclusion that, in spite of their theatrical derivation, their purchaser was not primarily interested in them as souvenirs of Greek drama.
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Maltby, Robert. "The distribution of Greek loan–words in Terence." Classical Quarterly 35, no. 1 (May 1985): 110–23. http://dx.doi.org/10.1017/s0009838800014609.
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The aim of this paper is to discuss Terence's use of Greek loan-words and to examine their distribution by plays and by characters. How far are they used for stylistic effect and what relationship do they have to the themes of different plays? Is there any evidence for the concentration of these words, which often tend to be colloquial in tone, in the mouths of slaves and characters of low social status for the purposes of linguistic characterisation? Finally, does Terence's use of these words develop in the course of his short career? The usefuleness of a previous note on this subject by J. N. Hough is limited by the absence of any comprehensive list of occurrences, so that its objectivity is difficult to check. A more helpful discussion by P. Oksala gives a fuller list, but concentrates mainly on a comparison with Plautine usage in the type and frequency of these words and does not discuss their distribution within the Terentian corpus.The question of characterisation by linguistic means, particularly in the field of New Comedy, has received considerable attention in recent years. The doctrine that a character's speech should be appropriate to his or her age, sex or social status, is well attested in the ancient world, with reference both to the theatre and to the law-courts. The ancient scholia on Aristophanes, as well as the fourth-century commentary on Terence that goes under the name of Donatus, contain comments on the appropriateness of particular words and phrases to particular character types. Leo, commenting long ago on the distribution of Greek words in Plautus, observed that they were used predominantly by slaves and characters of low social standing, a point made earlier by N. Tuchhaendler. More recently M. E. Gilleland has produced detailed statistical evidence for both Plautus and Terence which tends to back up these observations.
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Walen, Denise A. "Momma Rose: An Aristotelian heroine in the mother of all musicals." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 293–306. http://dx.doi.org/10.1386/smt_00042_1.
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The character of Rose from Gypsy has been compared to tragic characters such as Medea, King Lear and Willy Loman. She has been credited as one of the most psychologically complex characters in musical theatre history and is a role coveted by performers. Equally appalling and compelling, Rose, like characters in ancient Greek tragedies, is an imperfect human struggling to do her best in difficult situations but is ultimately misguided and suffers a tragic reversal of fortune. This article applies dramatic theory from Aristotle’s Poetics and Arthur Miller’s article ‘Tragedy and the common man’ to discover the dramaturgical practices the authors of Gypsy used to structure Rose, a figure from musical comedy, within the theoretical constructs of a tragic heroine.
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Carrizo, Sebastián Eduardo. "Las emociones de lo risible: la invectiva cómica y la manipulación emocional en la yambografía griega arcaica y en la comedia antigua." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas 36, no. 2 (2022): 31–52. http://dx.doi.org/10.25145/j.fortunat.2022.36.02.
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In recent decades, research on emotions has gained greater relevance within the field of classical studies. An outstanding and innovative point of this perspective –with regard specifically to the literary sphere– is that the notions of emotion and affect help to conceptualize the frame of reference that governs the reception of a given text. To a certain extent, this implies understanding the emotional dimension that arises and manifests itself in the instance of poetic or dramatic performance as a constitutive element of the literary genre –beyond formal and normative characterizations.This paper aims to examine in archaic Greek iambography (Archilochus of Paros and Hipponax of Ephesus) and in ancient comedy (Aristophanes) the forms of manipulation of emotions in the laughable ἐχθρός construction through ψόγος
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Kasimis, Demetra. "Book Review: Future Freedoms: Intergenerational Justice, Democratic Theory, and Ancient Greek Tragedy and Comedy, by Elizabeth K. Markovits." Political Theory 47, no. 4 (March 12, 2019): 581–85. http://dx.doi.org/10.1177/0090591719836185.
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Szula, Karolina. "Nazewnictwo narzędzi medycznych w czwartej księdze Onomastikonu Polydeukesa." Kwartalnik Historii Nauki i Techniki, no. 2 (2021): 55–67. http://dx.doi.org/10.4467/0023589xkhnt.21.013.13711.
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Nomenclature of Medical Tools in Book Four of Onomasticon by Julius Pollux This article aims to discuss the nomenclature of medical tools in Book Four of Onomasticon by Julius Pollux and to assess the usefulness of this work as a source of knowledge in research on the history of medicine. The article contains an original translation that allows for a detailed analysis of the given passage. Onomasticon is an ancient lexicon and the only surviving work by Pollux who lived in the 2nd century CE and represented the Second Sophistic. In Onomasticon, he compiled ancient Greek vocabulary on various topics, including terminology relating to medical tools. The layout of the chapter is not accidental. The author divides the terms into several groups: cutting and mechanical tools, dressings, bloodletting devices and physician’s office equipment. Sometimes he indicates the authors – mainly comedy playwrights – from whom he resourced the chosen vocabulary. The terminology was also drawn from lexicons. The vast majority of phrases mentioned by Pollux was used in a medical context in other literary sources and medical treatises, for example by Hippocrates and Galen. Words that appear in a medical context only in Onomasticon may result from the author’s error or can be new evidence for the studies on ancient medicine.
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Revyakina, Nina. "Juan Luis Vives on the use of Ancient literature in education." Hypothekai 5 (September 2021): 214–35. http://dx.doi.org/10.32880/2587-7127-2021-5-5-214-235.
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The work “On Education” (De tradendis disciplinis) by the Spanish humanist Juan Luis Vives (1492/3–1540) is considered from the perspective of the use of ancient literature during the in-itial period of child school training (from 7 to 15 years). Vives’ appreciation of the Latin language, a positive attitude towards teaching Greek at school, and the influence of ancient languages on modern European languages — Italian, Spanish, and French are discussed. The article draws attention to some features in teaching the Latin language that are not characteristic of the hu-manists who preceded Vives and also wrote about school. They are as follows: using the native language as an instrument for mastering Latin at the initial stage of learning, and using modern literature - writers, grammarians, humanists, which helps to learn ancient languages in the subsequent period. These features can be explained by Vives’ epoch when national states were being estab-lished, national languages were strengthening, and pedagogical thinking was developing. The article also examines the issue brought up by Vives himself about the attitude to pagan literature and to some, in Vives’ opinion, morally questionable poets. With all the inconsistency of Vives and the low persuasiveness of his self-censorship, the solution to this problem comes down to se-lecting such authors the study of whose works will protect school students from vices. The article shows that both Latin and Greek literature (works on oratory, poetry, comedy, history, my-thology, etc.) are widely used in teaching. Ancient writings not only form and enrich the language, but also provide versatile knowledge, mainly of humanitarian kind, help to bring up an ed-ucated and cultured person. This is supported by a large survey of over 100 ancient authors, modern writers, scientists, humanists, early medieval writers, “church fathers”, publishers, translators, and commentators provided at the very end of Vives' discussion on education, with brief characteristics of many of them.
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Robson, James. "(S.E.) Kidd Nonsense and Meaning in Ancient Greek Comedy. Cambridge: Cambridge University Press, 2014. Pp. vi + 208. £55/$95.9781107050150." Journal of Hellenic Studies 135 (2015): 196–97. http://dx.doi.org/10.1017/s0075426915000270.
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Seidensticker, Bernd. "Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.
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Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.
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Pöhlmann, Egert. "The Delphic Paeans of Athenaios and Limenios between Old and New Music." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 328–38. http://dx.doi.org/10.1163/22129758-12341325.
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Abstract Currently, there are only 64 extant fragments of ancient Greek music, of which the bulk belongs to imperial times. Thus, the musical evidence for ‘New Music’, which had its climax in the second half of the 5th century, is limited. Nevertheless, one important observation is possible: fragments from classical times, which belong to antistrophic compositions, use melodies which do not mirror the prosody of the texts and simply repeat the melody of the strophe in the antistrophe. But all fragments in astrophic form have melodies which follow the prosody of the respective texts closely. This overturn is connected with Melanippides, who in the dithyramb replaced the strophic form with the free astrophic form, to the advantage of musical mimesis. Moreover, the polemics of Old Comedy provide evidence for melodic extravagances which depict highlights of the text. The Delphic Paeans are the heirs to these novelties.
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Śmiechowicz, Olga. "Self-Rapists, Adulterers and Unrelenting Inquisitors – How Bogusław Butrymowicz and Edmund Cięglewicz Introduced Aristophanic Comedy into Polish Reading Culture." Classica Cracoviensia 20 (March 30, 2018): 141–63. http://dx.doi.org/10.12797/cc.20.2017.20.08.
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In this article, I would like to reflect on the question of the introduction of Old Attic comedy to Polish reading culture. My main source for trying to reconstruct how Aristophanes’ comedies have been brought into Polish reading culture is the first “complete” translations produced at the beginning of the 20th century by Bogusław Butrymowicz and Edmund Cięglewicz. We are still in the period parallel to the Victorian era in England, so we can apparently predict, before even getting down to reading, what both the authors’ translation strategies may look like, especially in the face of Aristophanes’ prolific sexual innuendos. It turns out, however, that each of the authors being reviewed by me somehow tried to pick up the gauntlet which had been thrown down by the ancient playwright. Their courage to translate the original meanings without beating about the bush surprises us many a time, especially when we compare the Polish translations by them with those made into English by Benjamin Bickley Rogers, in the same period. Both Butrymowicz and Cięglewicz worked directly on the original Greek texts. Their prose translations released by the most popular publishers enabled outsiders to the small circle of experts to read pieces of ancient literature. As for pupils, students, theatre directors and theatregoers, their first (and usually only) contact with Aristophanes was by reading those translations.
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VARAKIS, ANGELIKI. "BODY AND MASK IN ARISTOPHANIC PERFORMANCE." Bulletin of the Institute of Classical Studies 53, no. 1 (June 1, 2010): 17–38. http://dx.doi.org/10.1111/j.2041-5370.2010.00002.x.
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Abstract In Greek comedy the masking of the head and dressing of the body was essential to effect a full transformation of the actor into a comic character. The body mask was as important as the head in its power to transform the actor into a different persona, suggesting that the comic characters' bodies were as significant as their heads in producing meaning and not a simple costume accessory. In attempting to understand the function of the comic mask and body in ancient performance, this paper considers the similarities between the distorted bodies through a careful examination of a series of vase paintings and terracotta figurines. In doing so, it aims to show that the Aristophanic mask would not have been perceived by the audience as fixed to echo pre-determined meanings but changeable in accordance with the wider performance context. The spectators would thus have had the freedom to ‘recreate’ the characters anew, allowing their imagination to flourish in line with the participatory nature of the event and playful nature of the dramatic parts.
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Walker, William. "Anadiplosis in Shakespearean Drama." Rhetorica 35, no. 4 (2017): 399–424. http://dx.doi.org/10.1525/rh.2017.35.4.399.
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A complex definition of the figure, anadiplosis, develops in the tradition that runs from ancient Greek and Roman rhetoricians up to sixteenth-century continental rhetorical theorists such as Susenbrotus. Drawing on and enriching this tradition, the English rhetoricians of Shakespeare's day defined the figure as the repetition of the word or words with which one phrase or line ends, at or near the beginning of the succeeding phrase or line. A series of anadiploses was understood to make for a gradatio (or climax). Having been schooled in these and other definitions of the tropes and figures, Shakespeare implements anadiplosis, as well as the rhetoricians’ rich metaphorical description of it, in his text. In so doing, he enhances his representation of people who are impassioned, thoughtful, witty, deranged, and ridiculous. In keeping with the rhetoricians’ recognition of the polysemy of the figure, Shakespeare also implements this figure to narrate events and make some of them seem inevitable (usually in history and tragedy) and others unlikely (usually in comedy). The Shakespearean script also frequently includes dialogic anadiplosis: the sharing of the figure by two speakers. In this form, it plays a significant role in Shakespeare's creation of authentic dialogue.
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Petrovic, Ivana, and Andrej Petrovic. "General." Greece and Rome 65, no. 2 (September 17, 2018): 282–97. http://dx.doi.org/10.1017/s0017383518000244.
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I was very excited to get my hands on what was promising to be a magnificent and extremely helpfulHandbook of Rhetorical Studies, and my expectations were matched – and exceeded! This handbook contains no less than sixty contributions written by eminent experts and is divided into six parts. Each section opens with a brief orientation essay, tracing the development of rhetoric in a specific period, and is followed by individual chapters which are organized thematically. Part I contains eleven chapters on ‘Greek Rhetoric’, and the areas covered are law, politics, historiography, pedagogy, poetics, tragedy, Old Comedy, Plato, Aristotle, and closing with the Sophists. Part II contains thirteen chapters on ‘Ancient Roman Rhetoric’, which similarly covers law, politics, historiography, pedagogy, and the Second Sophistic, and adds Stoic philosophy, epic, lyric address, declamation, fiction, music and the arts, and Augustine to the list of topics. Part III, on ‘Medieval Rhetoric’, covers politics, literary criticism, poetics, and comedy; Part IV, on the Renaissance contains chapters on politics, law, pedagogy, science, poetics, theatre, and the visual arts. Part V consists of seven essays on the early modern and Enlightenment periods and is decidedly Britano-centric: politics, gender in British literature, architecture, origins of British Enlightenment rhetoric, philosophy (mostly British, too), science, and the elocutionary movement in Britain. With Chapter 45 we arrive at the modern age section (Part VI), with two chapters on feminism, one on race, and three on the standard topics (law, political theory, science), grouped together with those on presidential politics, New Testament studies, argumentation, semiotics, psychoanalysis, deconstruction, social epistemology, and environment, and closing with digital media. The volume also contains a glossary of Greek and Latin rhetorical terms. As the editor states in his Introduction, the aim of the volume is not only to provide a comprehensive history of rhetoric, but also to enable those interested in the role of rhetoric in specific disciplines or genres, such as law or theatre and performance, to easily find those sections in respective parts of the book and thus explore the intersection of rhetoric with one specific field in a chronological sequence.
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Slater, W. J. "Hooking in harbours: Dioscurides XIII Gow-Page." Classical Quarterly 49, no. 2 (December 1999): 503–14. http://dx.doi.org/10.1093/cq/49.2.503.
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Klaus Alpers has recently recovered from the obscurity of Byzantine lexica the fragments of what appears to be a novel dating from c. A.D. 100, and notable to us, as it was for the Byzantine excerptor, for the elegant verbal borrowings from ancient comedy, always a favourite source of good Attic Greek for the atticists of imperial times. One of these glosses gives occasion to look again at fishing metaphors for erotic business, a subject discussed often enough by scholars, but still perhaps capable of revealing new nuances. These hunting and fishing metaphors are used as one would expect in many non-amatory contexts, but in both love poetry and its allied genres they occur throughout antiquity in such quantity that the metaphorical complexity reaches into very allusive language. Long ago Preston had already pointed out that ‘Figures from hunting, fowling and fishing as parallel to the arts of the meretrix, are very frequent, and are developed at unusual length.’ There was undoubtedly a realistic side to all of this metaphorical hunting. ‘The lover is a fish to be baked, as long he has juice in him’, says the bawd at Plautus, Asinaria 177, and one needs little imagination to realize what plays can be made on such a theme, and indeed were made at all levels throughout antiquity.
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SMITH, AYANA. "THE MOCK HEROIC, AN INTRUDER IN ARCADIA: GIROLAMO GIGLI, ANTONIO CALDARA AND L'ANAGILDA (ROME, 1711)." Eighteenth Century Music 7, no. 1 (January 21, 2010): 35–62. http://dx.doi.org/10.1017/s1478570609990443.
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ABSTRACTIn 1711 the opera L'Anagilda was performed in the private theatre of Francesco Maria Ruspoli, an important Roman patron of the Arcadian Academy. L'Anagilda's librettist (Girolamo Gigli) and composer (Antonio Caldara) were both associated with this society, but the opera contrasts with the basic goal of Arcadian aesthetics – namely, to reform literature and opera by imitating the structure of ancient Greek tragedy and the stylistic purity of Italian renaissance poets. Rather, Gigli and Caldara created an opera infused with comedy, interspersed with fantastic intermezzos and formulated according to a genre not endorsed by Arcadian literary critics, the mock heroic. This article explores topics related to one central question: why would Gigli and Caldara openly flout the literary precepts of Arcadia? Gigli was a career satirist whose works eventually caused him to be exiled from his native Siena, all of Tuscany and the Papal States, and to be expelled from three major literary academies, the Intronati, the Cruscanti and the Arcadians. Since he continually criticized the organizations to which he belonged for their narrow-mindedness, prejudice and hypocrisy, I contend that L'Anagilda represents a critique of Arcadia. Yet in the process, Gigli also shows the Arcadians that there is more than one path to verisimilitude and the imitation of classical models. Despite the mock-heroic characteristics of the libretto, Gigli adheres to some Arcadian structural requirements, and Caldara's score heightens the characterizations and the overall verisimilitude of the opera.
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Shaw, Carl. "SLAVERY AND GREEK COMEDY - (B.) Akrigg, (R.) Tordoff (edd.) Slaves and Slavery in Ancient Greek Comic Drama. Pp. xvi + 271, ills. Cambridge: Cambridge University Press, 2013. Cased, £60, US$99. ISBN: 978-1-107-00855-7." Classical Review 64, no. 1 (March 20, 2014): 35–37. http://dx.doi.org/10.1017/s0009840x13002229.
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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ." World Science 3, no. 8(48) (August 31, 2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.
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Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his interest in European civilization and artistic attainment. On the other hand, he tends to synthesize arts. As you know, the phenomenon of synthesis of the arts also comes from antiquity. According to the Greek mythology, Parnassus is the home of gods and also the residence of the nine muses – the patronesses of arts and sciences.The first piece «Clio» (the muse of history) is aimed at improvisation. At the same time the author accompanies every miniature with remarks concerning instrumentation, manner, tempo, rhythm, provides detailed notes as to the sound dynamics, etc.The second piece «Euterpe» (the muse of lyrical poetry and music) is marked by the lack of lilt organization. Music theme has abundant rhythmics, abrupt texture and dynamic changes.The third and the fourth pieces «Thalia» (the muse of comedy) and «Melpomene» (the muse of tragedy) expose quite the opposite images and emotions of the Greek theatre genres. However, the composer applies means of humorous and tragic music spheres of different epochs.The fifth piece «Polyhymnia» (the muse of sacred poetry and pantomime) is based on the intonations of antique chants. Melody develops gradually, has narrow range, but in the middle of the piece reaches significant dramatic effect. The sixth miniature «Urania» (the muse of astronomy) is the illustration of a starry night. Quiet and peaceful sounding dominates, short motives are directed upwards.In the seventh piece «Terpsichore» (the muse of dance and choral singing), with the help of antiphonous sounding of imaginary male and female groups of singers, the author reproduces the model of an ancient syncretic roundelay. The eighth miniature «Erato» (the muse of love lyrics) resembles the second piece (Euterpe) in images’ character and exposition.The last piece «Calliope» (the muse of epos) reflects V. Manyk’s aspiration to generalize the contents of the entire cycle. That’s why short reminiscences of all previous pieces are quite prominent here.The cycle of short miniatures is enriched with the wide range of historic, cultural and even philosophical connotations. Programme plot embodies by means of expression such as improvisation of musical texture, s broad range articulation, characteristic contrast melodies and motifs, the uniqueness semantic structure work.
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Bihorac, Ahmet, and Kemal Dzemic. "THE MOTIVE OF MADNESS IN WORLD LITERATURE." Knowledge International Journal 29, no. 1 (February 28, 2019): 83–88. http://dx.doi.org/10.35120/kij2901083b.
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The paper is based on the hypothesis that the motive of madness is very common in literary works starting from the literature of the old age to modern and postmodern literary production. Many famous world writers have worked on this motive in various literary epochs, genera and species. In antique comedy, man's insanity was portrayed in a witty, playful and humorous way, and the same poetic, approach to the treatment of this motive is also of later comedical works. In tragedy, madness is often the cause of starvation, but also the ability to get to know essential knowledge, truth and ideas. Sometimes madness is considered obsessive, sick, or just punishment. In Renaissance literature, this state of the human spirit is seen through the theory of human wonders, attributing melancholy to educated young men, and hysteria to young women. It was caused by disappointment, suffering, unrequited love or sin. In the focus of our research were found some of the world's renowned literary creators, moral psychologists, who along with each psychological portrait also offer ethical values that characterize character. The theme of this paper is the motive of madness in some literary works. This paper is an attempt to address the complex issues of insanity in world literature through literary research supported by psychology. The aim of the paper is to examine the presence of the motif of madness, its understanding and interpretation from the ancient Greek drama, through the literature of the Middle Ages, Renaissance, Classicism, Romanticism, Realism, to modern and postmodern literary traditions. The image of madness is given through various manifestations of character behavior, that it is authentic or irradiated, and through the comments of other heroes, eyewitnesses and interpreters.
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Bridges, Emma, and Joanna Paul. "Reception." Greece and Rome 65, no. 2 (September 17, 2018): 277–82. http://dx.doi.org/10.1017/s0017383518000232.
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The cinematic and televisual reception of the ancient world remains one of the most active strands of classical reception study, so a new addition to the Wiley-Blackwell Companions series focusing on Ancient Greece and Rome on Screen is sure to be of use to students and scholars alike (especially given how often ‘Classics and Film’ courses are offered as a reception component of an undergraduate Classical Studies programme). The editor, Arthur Pomeroy, himself a respected and prolific ‘early adopter’ of this branch of scholarship, has assembled many of the leading names in cinematic reception studies (including Maria Wyke, Pantelis Michelakis, Alastair Blanshard, and Monica Cyrino), alongside a good number of more junior colleagues, resulting in a varied and rewarding compendium that will provide a useful accompaniment to more detailed explorations of this field. (Some, though not all, chapters offer further reading suggestions, and most are pitched at an accessible level.) The twenty-three contributions span the ‘canonical’ and already widely treated aspects of screen reception, from 1950s Hollywood epics to adaptations of Greek tragedy, as well as ranging across material which has only more recently began to attract the attention it deserves, such as TV documentary, or adaptations for younger audiences. The volume is not as easily navigable as it might be, with the four-part division of the chapters sometimes seeming a little arbitrary. (So, for example, a chapter which discusses ‘The Return of the Genre’ in films like Gladiator appears under the heading ‘Comedy, Drama, and Adaptation’, when it might have been better placed in the first section, on ‘The Development of the Depiction of Ancient Greece and Rome on Screen’.) But rich discussions are not hard to find, especially in those chapters which show how cinematic receptions are indicators of more widely felt concerns relating to our reception of the past, as in Blanshard's assessment of ‘High Art and Low Art Expectations: Ancient Greece in Film and Popular Culture’. Michelakis’ chapter on the early days of cinema is also a valuable distillation of some of his recent work on silent film, crisply and concisely setting out the plurality of approaches that must inform our understanding of the cinematic medium (for example, spectatorship, colour, and relationships to other media). More broadly, the collection makes a solid and welcome attempt to put this pluralism into practice, with Pomeroy stressing ‘the complexity of understanding film’ early in his introduction (3). Chapters focusing on music, and costumes, for example, allow us to see productions ‘in the round’, a panoptical perspective which is still too readily avoided by much classical reception scholarship. (It is also good to see at least one chapter which ranges beyond screen media in the West.) Other vital areas of film and TV studies could arguably have received more attention. Some contributors touch on the importance of assessing audience receptions of these films, or the impact of marketing and other industrial considerations (such as screening practices), but more chapters dedicated to these approaches might have been a more sustained reminder to readers of just how widely screen scholarship can (and often needs to) range. To that end, a particularly significant chapter in the book – one of only 3 by non-Classicists – is Harriet Margolis’ account of how film historians might evaluate ancient world film. Newcomers to this field should pay particular attention to this, and to Pomeroy's introductory comments on how we should regard film as much more than a quasi-literary medium.
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Arnott, W. Geoffrey. "Staging Greek Tragedy: Insights on Sites; Staging Roman Comedy: Pompeian Painting and Plautus. Ancient Theatre and its Legacy. By Richard C. Beacham. University of Warwick, 1987. Booklet pp. 14 and video; Booklet pp. 45 and video. £38.50 each." Greece and Rome 44, no. 2 (October 1997): 216–17. http://dx.doi.org/10.1017/s0017383500025055.
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Osiński, Piotr. "KOMIZM I JEGO ŹRÓDŁA W PIŚMIE „DE VITANDO AERE ALIENO” PLUTARCHA Z CHERONEI." Studia Europaea Gnesnensia, no. 17 (June 15, 2018): 9–23. http://dx.doi.org/10.14746/seg.2018.17.1.
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This paper is devoted to the humour in Plutarch’s speech De Vitando Aere Alieno (That One Ought Not to Borrow). Although the problem raised in this work appears to be serious, Plutarch included humorous elements. Among the ancient Greeks and Romans, not only was usury a grave issue, but also one which gave rise to humour. Plutarch used the tradition of comedy and Cynic-Stoic diatribe in a rhetorical purpose. His aim was to persuade the listener or the reader to adopt a moral attitude towards usury.
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Tueller, M. A. "The Great White Hunter - (R.) Hunter On Coming After. Studies in Post-classical Greek Literature and its Reception. In two volumes. Part 1: Hellenistic Poetry and its Reception. Part 2: Comedy and Performance, Greek Poetry of the Roman Empire, the Ancient Novel. (Trends in Classics Supplementary volumes 3.) Pp. x + 908. Berlin and New York: Walter de Gruyter, 2008. Cased, €148, US$184. ISBN: 978-3-11-020441-4." Classical Review 60, no. 2 (September 28, 2010): 382–85. http://dx.doi.org/10.1017/s0009840x10000247.
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