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Bibliographies thématiques / Casina (Plautus, Titus Maccius)

Littérature scientifique sur le sujet « Casina (Plautus, Titus Maccius) »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 27 juillet 2024

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Articles de revues sur le sujet "Casina (Plautus, Titus Maccius)"

1

Fontaine, Michael. « Titus Maccius Plautus, Cistellaria edidit Waltharius Stockert. » Gnomon 83, n^o 6 (2011) : 495–99. http://dx.doi.org/10.17104/0017-1417_2011_6_495.

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Lowe, N. J. « V Plautus ». New Surveys in the Classics 37 (2007) : 97–114. http://dx.doi.org/10.1017/s0017383508000478.

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If Plautus had a real name, it seems never to have been known or inquired after. ‘Titus Maccius Plautus’ means something like ‘Willy McBozo Greasepaint’, and the disquieting proliferation of variants in the manuscripts is the equivalent of indecision over whether ‘McBozo’ should be spelled with a ‘Mac-’ and a small B. Plautus is a variant form of planipes (‘flatfoot’), attested as a nickname for performers in the barefoot Latin mime; Maccius means ‘son of Maccus’, the buffoonish hero of the Oscan fabula Atellana; while even the innocuous-looking praenomen Titus was used as a pet name for the male organ of business. The strong theatrical connections are nevertheless suggestive in the light of the ancient biographical tradition on Plautus, which is a shaky-looking edifice, but on one striking central point, there seems never to have been any doubt in antiquity: unlike other early Roman dramatists, Plautus came to the writing of plays not as a poet but as a professional man of the theatre. In contrast to his contemporaries Naevius and Ennius, he specialized in a single dramatic genre, and it may be his indifference to epic and tragedy in particular that kept him out of the aristocratic patronage and politics in which the careers of others were enmeshed.

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Kysučan, Lubor. « Titus Maccius Plautus : Curculio, (24. ledna 2018), kino Scala, Brno ». Graeco-Latina Brunensia, n^o 1 (2018) : 255–56. http://dx.doi.org/10.5817/glb2018-1-19.

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Foucher, Antoine. « Marco Borea (éd.), Titus Maccius Plautus Pseudolus. Introduzione, testo con scansione metrica completa e commento a cura di Marco Borea ». Kentron, n^o 38 (31 décembre 2023) : 227–31. http://dx.doi.org/10.4000/kentron.6978.

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Thèses sur le sujet "Casina (Plautus, Titus Maccius)"

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Albicker, Sharonne L. « The language of Plautus his linguistic methods and their reflection of Roman society / ». Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054393937.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains viii, 216 p. Includes abstract and vita. Advisors: Kirk Freudenburg, Dept. of Greek and Latin; Brian D. Joseph, Dept. of Linguistics. Includes bibliographical references (p. 208-216).

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Walker, Joanne. « A commentary on Plautus' 'Aulularia' ». Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/14536.

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This thesis provides a commentary on Plautus' Aulularia. In the introduction I examine the key themes and issues of Aulularia, in particular the two main textual problems of the names of the slaves and the lost ending, and the two main themes of communication and religion. The introduction also examines the characters of the play, some aspects relating to the Greek model, the main features of Plautine Latin, and the MSS tradition. However, there is not an attempt either to discover exactly what Plautus wrote, or to reconstruct the Greek model. The commentary focuses on the explanation of lines which are difficult or unusual linguistically, metrically, or textually, but also discusses social and historical themes as they arise, which are not examined in the introduction. Thus I have aimed to investigate technical aspects in detail, while keeping in mind a broader perspective, which enables one to discover the themes of the play. These themes have been emphasised in order to create a form useful to both undergraduate and postgraduate students, since the ultimate aim is to publish the commentary. At the end of the commentary there is a conspectus metrorum, which aims to provide a starting-point for an investigation of the metre of the play, rather than a definitive analysis. It is the aim of this commentary and introduction to aid appreciation and understanding of the material that survives to us, while not forgetting that it does not exist in isolation from its Greek model, but recognising that there is value in a study of this play for itself, whether or not Plautus remained close to or deviated much from his Greek model.

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Dunsch, Boris. « Plautus' 'Mercator' : a commentary ». Thesis, University of St Andrews, 2001. http://hdl.handle.net/10023/7089.

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This thesis comprises an introduction, a lemmatic commentary, and indices. The introductory chapter, apart from a brief discussion of a more general nature, investigates the play and the relation it bears to Philemon's Emporos, its lost Greek model, especially with regard to the actdivisions of the Greek play and the pacing of the action in Plautus' adaptation. The commentary is provided to address problems posed by the Latin text, notably those of exegesis, textual criticism, metre, grammar, humour, imagery, staging, and the relationship to the Graeco-Roman comic tradition. An attempt is also made to distinguish between elements which may reflect the Greek comic tradition and those which suggest Plautine origin. In recent work about Plautus and Philemon it has been argued that the plot of the Emporos underwent far-reaching changes at the hands of Plautus, but the author of this thesis argues for the essential unity of the Mercator and for Plautus' conservative treatment of the plot of the Greek original, at the same time allowing for the fact that Plautus may have Romanised, exaggerated, and extended Philemon's play at certain points. By its structure, metrical arrangement, pacing, juxtaposition of contrasting types, parallel arrangement of core scenes, and the recurrence of key imagery, themes and motifs, the Mercator proves to be a carefully conceived, effectively balanced, and well-composed play.

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Dutsch, Dorota. « Boundless nature : the construction of female speech in Plautus ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36765.

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The existence of specific lexical features marking the speech of female characters in Roman Comedy is signalled in scholiastic literature, and has been confirmed by modern quantitative research. This thesis, focusing on the comedies of Plautus, investigates the question of why the playwrights made specific linguistic choices for female personae.
Greek and Roman literary theory stipulated that the speech of women in drama had to be constructed so as to reveal the speakers' feminine nature. Philosophical doctrines that construed gender as a polar opposition evince a fundamental distinction, defining male as 'bond' and female as 'boundless'. The association of female with boundlessness, it is argued, also determines woman's position with respect to speech. A study of Greek New Comedy reveals that the reflections on female nature and expression found there depict woman as adverse to limits, a concept which Plautus seems to have subsequently adapted from his sources.
Donatus's scholia to Terence characterize female speech as disorderly and disrespectful of the norms of verbal interaction. Concrete linguistic patterns are rationalized as symptoms of 'softness' and querulousness, both representing the female propensity to violate interpersonal limits. The text of Plautus, examined for meta-textual asides on female speech, confirms the scholiast's observations. An inquiry into the Plautine perception of blanditia reveals that female mannerisms are interpreted as tokens of a contagious moral disorder, and that they earmark the feebleness of female (and effeminate) personae. The otherness of female complaints, emphasized during the performance of palliata by both verbal and para-verbal means, is intimately associated in the text of the comedies with the chaos within women's minds. Female speech patterns in Plautus thus illustrate the concept of infirmitas sexus.

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Eberle, Katrin. « Plautus' "Aulularia" in Frankreich die Rezeption der Figur des Geizigen von Pierre de Larivey bis Albert Camus ». Tübingen Narr, 2003. http://deposit.ddb.de/cgi-bin/dokserv?id=2778039&prov=M&dok_var=1&dok_ext=htm.

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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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Bean, Joann Ruth MacLachlan. « From Thraso to Herod : Hrotsvitha meets the bragging soldier / ». *McMaster only, 1999.

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8

Way, Mahalia Lynn. « Ars Cladis violence and the construction of society in Plautus / ». 1998. http://books.google.com/books?id=NW9fAAAAMAAJ.

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Krauss, Amanda Neill Moore Timothy. « Untaming the shrew marriage, morality and Plautine comedy / ». 2004. http://repositories.lib.utexas.edu/bitstream/handle/2152/1348/kraussa03348.pdf.

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Krauss, Amanda Neill. « Untaming the shrew : marriage, morality and Plautine comedy ». Thesis, 2004. http://hdl.handle.net/2152/1348.

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Livres sur le sujet "Casina (Plautus, Titus Maccius)"

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Italy) Lectura Plautina Sarsinatis (Conference) (17th 2013 Sarsina. Rudens : Sarsina, 28 settembre 2013. Urbino : QuattoVenti, 2014.

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Oberlander, Katie. Applause for Plautus : Three comedic plays based on the work of Titus Maccius Plautus. Tallahassee, FL (P.O. Box 14367, Tallahassee 32317) : Eldridge Pub. Co., 2007.

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W, Beenen B. F., Harmsen A. J. E, Damsteegt B. C, Blasius Joan 1639-1672 et Plautus Titus Maccius, dir. De Tweeling van Plautus : Twee zeventiende-eeuwse Plautus-bewerkingen. Utrecht : HES, 1985.

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4

Plautus, Titus Maccius. Plautus' komedie Pseudolus. Aarhus : Aarhus Universitetsforlag, 1987.

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5

Italy) Lectura Plautina Sarsinatis (Conference) (19th 2015 Sarsina. Trinummus : (Sarsina, 26 settembre 2015). Urbino : QuattroVenti, 2016.

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1903-, Hammond Mason, Mack Arthur M et Moskalew Walter, dir. Miles gloriosus. Cambridge, Mass : Harvard University Press, 1997.

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Anderson, William Scovil. Barbarian play : Plautus' Roman comedy. Toronto : University of Toronto Press, 1993.

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8

Plautus in performance : The theatre of the mind. Princeton, N.J : Princeton University Press, 1985.

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9

Anaphore, cataphore et deixis chez Plaute : Les emplois de is, hic, iste, ille. Leuven : Peeters, 2013.

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Moore, Timothy J. The theater of Plautus : Playing to the audience. Austin, Tex : University of Texas Press, 1998.

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Plus de sources

Chapitres de livres sur le sujet "Casina (Plautus, Titus Maccius)"

1

« Plautus, Titus Maccius : Comoediae ». Dans Die Inkunabeln in der Universitätsbibliothek Bern. BOP Books, 2023. http://dx.doi.org/10.36950/991154598589705501.

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« Plautus, Titus Maccius : Comoediae ». Dans Die Inkunabeln in der Universitätsbibliothek Bern. BOP Books, 2023. http://dx.doi.org/10.36950/991002920839705501.

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Gonçalves, Lucas Cairê. « A ESCRAVIDÃO SEGUNDO TITUS MACCIUS PLAUTUS EM SUA OBRA “CAPTIVI” ». Dans Reflexões sobre a Sociedade Humana : Perspectiva Filosófica e Sociológica, 1–10. Atena Editora, 2023. http://dx.doi.org/10.22533/at.ed.0202314111.

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