Academic literature on the topic 'Aristophanes. eng'
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Journal articles on the topic "Aristophanes. eng"
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ROBSON, JAMES. "Transposing Aristophanes: The Theory and Practice of Translating Aristophanic Lyric." Greece and Rome 59, no. 2 (2012): 214–44. http://dx.doi.org/10.1017/s0017383512000095.
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The reception of Aristophanes has gained extraordinary momentum as a topic of academic interest in the last few years. Contributions range from Gonda Van Steen's ground-breaking Venom in Verse. Aristophanes in Modern Greece to Hall and Wrigley's Aristophanes in Performance 421 BC–AD 2007, which contains contributions from a wide range of scholars and writers, a number of whom have had experience of staging Aristophanes' plays as live theatre. In Found in Translation, J. Michael Walton has also made strides towards marrying the theory of translation to the practice of translating Aristophanes (something I have myself also sought to do in print). And with the history of Aristophanic translation, adaptation, and staging being rapidly pieced together (in the English-speaking world at least, where Hall, Steggle, Halliwell, Sowerby, Walsh, and Walton, for example, have all made their own contributions), much of the groundwork has been laid for a study such as is attempted in this article. Here I aim to take a broad look across a range of translations in order to see how one particular text type within Aristophanic drama has been approached by translators, namely Aristophanes' lyric passages. The aim of this study will be to give both an insight into the numerous considerations that translators take into account when translating Aristophanic lyric and an impression of the range of end products that have emerged over the last two hundred years.
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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 (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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Wilson, N. G. "Two textual problems in Aristophanes." Classical Quarterly 50, no. 2 (2000): 597. http://dx.doi.org/10.1093/cq/50.2.597.
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In 1023ff. the poet explains that he has not been spoiled by success. The verb ༐κτελσαι in 1024 has been suspected, and though recent editors accept it, taking it as absolute, I am far from convinced that it is what the author wrote. Blaydes, in his usual fashion, records conjectures and makes some of his own, but though he hits the mark quite often in Aristophanes as he does in Sophocles, in this passage his efforts, e.g. ༐κγελσαι, fail to satisfy. I propose instead ༐κχαλσαι, ‘relax’. It might be transitive, but I slightly prefer to take it as intransitive. It is a rare word and all the more likely to be corrupted. The best parallel I can find is Hippocrates, De Octimestri Partu 1.2 (ed. Joly, 5 ed. Grensemann): οἱυες ༐υ oἶσι τυ ρχυ ༐τρøη, ὣσπερ τυ σταχωυ, ζεχλασαυ πρσθευ υαγκαζώμευου 祴 τελεως ζαδρυυθυαι τυ καρπυ.The verb is correctly transmitted in the best MS, Marc.gr. 269, while the other main source of the treatise, Vat.gr. 276, offers ζεκλεσαυ9, which is clearly due to an error by a scribe who did not recognize the unusual word required by the context. As to the date of this treatise, it is believed by one of the best modern authorities to be no later than the end of the fifth century and is therefore nearly contemporary with Aristophanes.
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Storey, Ian C. "Aristophanes, Clouds 1158–62: A Prosopographical Note." Classical Quarterly 39, no. 2 (1989): 549–50. http://dx.doi.org/10.1017/s0009838800037575.
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In his article on the early career of Aristophanes, in particular on the relevance of the thiasotai on IG ii2.2343 and the importance of Herakles in the plays of Aristophanes, David Welsh has supported the thesis of Dow, that several of the thiasotai are mentioned by Aristophanes in his plays (e.g. Simon, Amphitheus, Antitheos). He suggests that another of these thiasotai, Lysanias, may be alluded to at Clouds 1162. Here the unusual word λυσαν⋯ας in the text means ostensibly ‘deliverer’, but Welsh argues that in view of the rarity of the word ‘the spectators would have been put in mind of a contemporary individual…a Lysanias who was known for his filial piety or forensic ability (or lack of the same).’
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Morales, Helen. "Aristophanes' Lysistrata, the Liberian ‘sex strike’, and the Politics of Reception." Greece and Rome 60, no. 2 (2013): 281–95. http://dx.doi.org/10.1017/s0017383513000107.
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In October 2011 the Liberian peace activist Leymah Gbowee was awarded the Nobel Peace Prize for her tireless campaign to end violence in Liberia. Part of her campaign involved a so-called ‘sex strike’. Gbowee is said to have organized women protestors to solicit their husbands' cooperation by withdrawing sex until the men, too, made peace a priority. The Western media, both through official reporting in newspapers and through the less formal commentating in blogs, have repeatedly reported the women's political action by drawing comparisons with the ‘sex strike’ dramatized in Aristophanes' play Lysistrata, and between Leymah Gbowee and the character Lysistrata. In a review in the Huffington Post, Jericho Parms wrote: ‘Employing the strength of Lysistrata, and Aristophanes’ heroines of the Peloponnesian War, they withheld sex from their men'. R. Weinrich commented in Gossip Central, ‘Self-assured and instinctively political, Gbowee is a modern day Lysistrata, as in the ancient Greek satirist Aristophanes’ play'. A report in the Daily Telegraph went even further, and suggested a causal relationship between Lysistrata and the resistance in Liberia: ‘perhaps her [Gbowee's] most famous moment came in 2002, when she persuaded many Liberian women to withhold sex from their warring menfolk unless they came to the negotiating table, a devastatingly successful campaign inspired by the Aristophanes’ Lysistrata [sic], who used the same strategy during the Peloponnesian War'. Reports in the Liberian press, to the best of my knowledge, do not mention Aristophanes' Lysistrata.
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Hooper, Anthony. "THE GREATEST HOPE OF ALL: ARISTOPHANES ON HUMAN NATURE IN PLATO'S SYMPOSIUM." Classical Quarterly 63, no. 2 (2013): 567–79. http://dx.doi.org/10.1017/s0009838813000104.
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In recent years there has been a renaissance of scholarly interest in Plato's Symposium, as scholars have again begun to recognize the philosophical subtlety and complexity of the dialogue. But despite the quality and quantity of the studies that have been produced few contain an extended analysis of the speech of Aristophanes; an unusual oversight given that Aristophanes' encomium is one of the highlights of the dialogue. In contrast to the plodding and technical speeches that precede it, the father of Old Comedy structures his own speech around a fantastic fable in which he tells how humans, having originally taken the form of comically grotesque ‘circlemen’, assumed their present shape after being divided in two for their impious actions against the gods. This story forms the basis of his discussion of Eros, which he claims is nothing more than a desire to return to our original form (192e–193a). One study on which commentators continue to draw heavily for their own interpretation of Aristophanes' encomium is that of Arlene Saxonhouse. As the title of her article suggests, central to Saxonhouse's analysis is her interpretation of the Net of Hephaestus passage (192c–e), in which Aristophanes suggests that, if offered the chance to be welded together with their beloveds and so become circlemen once more, all humans would leap at the opportunity, thinking that this would be all of the fortune that they could ever desire. For Saxonhouse this passage, more than any other, demonstrates that, on Aristophanes' view, our original nature is one of perfection. According to Saxonhouse, our original form is the telos of human existence and the standard by which we judge the good life, because she understands circlemen as being self-complete beings entirely free from desire and need. Put simply, to be a circleman is to be a perfect being. Eros, on this reading, as the desire for wholeness, is to be praised because it reminds us of our deficiency, and instills in us a desire to actualize our potential for perfection. But unlike Socrates' encomium, which ends with the lover realizing their potential by possessing knowledge of the divine, Saxonhouse believes that the Net of Hephaestus passage lends a tragic end to Aristophanes' speech. For Saxonhouse it is Plato's dirty trick that he turns Aristophanes into a tragedian.
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Taplin, Oliver. "Phallology, phlyakes, iconography and Aristophanes." Proceedings of the Cambridge Philological Society 33 (1987): 92–104. http://dx.doi.org/10.1017/s0068673500004946.
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Two highly unusual vase paintings, which may be more or less direct representations of Aristophanes, have been first published recently. They have received little attention to date, and yet both bring with them intriguing problems, which are not, in my opinion, resolved in the original publications. This double accession is all the more remarkable since up till now there has been so little that might be claimed to illustrate pictorially the golden age of Old Comedy (say 435 to 390 B.C), however loosely or tightly the debatable term ‘illustration’ is used (see note 24). The best known has probably been the attic oenochoe with a squat, near-naked figure prancing on a low stage before an audience of two. He is usually taken to be burlesquing Perseus; but presumably his stage model, if indeed the genre is comedy at all, did not really perform naked and without mask. Closer to representation of actual performance may be the four unglazed oenochoai with polychrome decoration from towards the end of the fifth century, found in the Athenian Agora in 1954. For example the two porters, who are alleged to be carrying a large Dionysiac loaf, and who may be slaves or members of a chorus, have masks which are fairly grotesque, but their bodies are not particularly so (unless the one on the left is supposed to have a long but sketchy phallus pointing diagonally down?).
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Fernández, Claudia N. "Emotions in Antiquity: Indignation and Envy in Aristotle and Aristophanes." Circe, de clásicos y moderno 25, no. 1 (2021): 75–98. http://dx.doi.org/10.19137/circe-2021-250104.
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Krinks, Philip. "The End of Love?" Revista Archai, no. 29 (March 31, 2020): e02906. http://dx.doi.org/10.14195/1984-249x_29_6.
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Plato’s Symposium contains two accounts of eros which explicitly aim to reach a telos. The first is the technocratic account of the doctor Eryximachus, who seeks an exhaustive account of eros, common to all things with a physical nature. For him medical techne can create an orderly erotic harmony; while religion is defined as the curing of disorderly eros. Against this Socrates recounts the priestess Diotima finding a telos, not in technical exhaustiveness, but in a dialectical definition of eros in the light of the good. What is common to all human beings is the desire to be in eternal relation to the good. All technai are forms of poiesis, by which things pass from being to not being. The erotic harmony recommended by Eryximachus, no less than the Aristophanes” recommendation of eros as “of a half, or of a whole’, is subject to the question whether “it happens to be good’. A self-harmonisation produced by techne can no more evade the sovereignty of good, than can projects of self-completion with a beloved in our likeness.
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Stehle, Eva. "The Body and its Representations in Aristophanes' Thesmophoriazousai : Where Does the Costume End?" American Journal of Philology 123, no. 3 (2002): 369–406. http://dx.doi.org/10.1353/ajp.2002.0043.
Full textDissertations / Theses on the topic "Aristophanes. eng"
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Oliveira, Jane Kelly de. "As funções do coro na comédia de Aristófanes /." Araraquara : [s.n.], 2009. http://hdl.handle.net/11449/102382.
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Orientador: Maria Celeste Consolin Dezotti<br>Banca: Adriane da Silva Duarte<br>Banca: Marisa Giannecchini Gonçalves de Souza<br>Banca: Edvanda Bonavina da Rosa<br>Banca: Fernando Brandão dos Santos<br>Resumo: As funções do coro na comédia de Aristófanes é o título e o tema desta tese que investiga o coro no gênero que foi praticado na Grécia antiga. Nossa investigação pautou-se no princípio de que os textos da Comédia Antiga que chegaram à nossa época foram compostos para serem postos em cena e, por isso mesmo, têm peculiaridades que devem ser levadas em consideração no momento da análise. Os textos das onze comédias de Aristófanes preservadas registram um roteiro ficcional que pode ser recuperado apenas pela leitura, como é comum em todo texto teatral, mas, além disso, os enredos das peças deixam gravadas as estratégias cênicas de realização concreta da obra em um espaço teatral específico. Assim, a partir do texto, é possível depreender tanto o enredo quando elementos da performance. Quando observamos o coro neste gênero, notamos que, nestes dois aspectos da comédia, ele desempenha importantes funções: na narrativa, ele assume diferentes papéis actanciais de acordo com as exigências do roteiro ficcional da peça; e, na performance, assume funções técnicas que viabilizam a apresentação da peça em um espaço concreto. A estrutura narrativa das obras foi estudada pelo viés teórico da semiologia do teatro. Para o estudo das funções do coro na performance das comédias, foram levadas em consideração as condições materiais dos festivais teatrais do século V a.C. - espaço amplo da orquestra, aglomeração no theatron, restrição a, no máximo, cinco atores para desempenhar todas as personagens da peça - e, a partir dessas exigências concretas, observou-se que o coro é um elemento estrutural do gênero frequentemente usado pelo poeta para solucionar os problemas ligados às dificuldades espaciais próprias da realização teatral da Atenas do século V a.C.<br>Abstract: The functions of the chorus in the Aristophanes comedy is the title and the main subject of this thesis which study the chorus in the genre practiced in the Ancient Greece. Our investigation grounded in the principle the texts of the Ancient Comedy that survived until our time were made to be put in scene and for that reason they have some singular characteristics that needed to be considered in the analysis. The texts of the eleven preserved comedies of Aristophanes show a fictional script that can be recovered only by reading, as usual in every theatric text, but, more than that, the plot of the plays keep record the scenic strategies applied in its concrete realization. So, from the text it is possible to comprehend the plot and elements of the performance. When we focus the chorus in this genre we can notice that - in theses two aspects of comedy - it has important functions: in the narrative it took different actantial roles according to the demands of the script of the play; and in the performance it took some technical roles that make possible the presentation of the play in a concrete space. The narrative structure of the plays was studied using as theoretical support the theater semiology. To study the functions of the chorus in the performance of the comedies the material resources in the theater festivals during the 5th century B.C. were considered - and from theses concrete demands, we could see that the chorus is a structural element of the genre frequently used by the poet to solve some problems caused by space difficulties characteristic of the theatral realization in the 5th century B.C. Athens.<br>Doutor
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Robson, James Edward. "Humour and obscenity in Aristophanes." Thesis, King's College London (University of London), 2000. https://kclpure.kcl.ac.uk/portal/en/theses/humour-and-obscenity-in-aristophanes(a0c2c40d-343a-48fa-a468-564fdf3cd8d8).html.
Full textBooks on the topic "Aristophanes. eng"
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Jendza, Craig. Paracomedy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190090937.001.0001.
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Paracomedy: Appropriations of Comedy in Greek Tragedy is the first book that examines how ancient Greek tragedy engages with the genre of comedy. While scholars frequently study paratragedy (how Greek comedians satirize tragedy), this book investigates the previously overlooked practice of paracomedy: how Greek tragedians regularly appropriate elements from comedy such as costumes, scenes, language, characters, or plots. Drawing upon a wide variety of complete and fragmentary tragedies and comedies (Aeschylus, Sophocles, Euripides, Aristophanes, Rhinthon), this monograph demonstrates that paracomedy was a prominent feature of Greek tragedy. Blending a variety of interdisciplinary approaches, including traditional philology, literary criticism, genre theory, and performance studies, this book offers innovative close readings and incisive interpretations of individual plays. The author presents paracomedy as a multivalent authorial strategy: some instances impart a sense of ugliness or discomfort; others provide a sense of lightheartedness or humor. While the book traces the development of paracomedy over several hundred years, it focuses on a handful of Euripidean tragedies at the end of the fifth century BCE. The author argues that Euripides was participating in a rivalry with the comedian Aristophanes and often used paracomedy to demonstrate the poetic supremacy of tragedy; indeed, some of Euripides’s most complex uses of paracomedy attempt to reappropriate Aristophanes’s mockery of his theatrical techniques. The book theorizes a new, groundbreaking relationship between Greek tragedy and comedy that not only redefines our understanding of the genre of tragedy but also reveals a dynamic theatrical world filled with mutual cross-generic influence.
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Hall, Edith. The Boys from Cydathenaeum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649890.003.0013.
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In this chapter, Edith Hall reconsiders the figure of Cleon, the archetypal Athenian demagogue, with the aim of illuminating Aristophanes’ Knights, in which Cleon is represented by the Paphlagonian slave of Demos. When Cleon’s story is retold in modern histories of Athens or of democracy, it is almost always colored by one of our two (hostile) major sources, Aristophanes and Thucydides. Hall points out that at the end of the Knights the Paphlagonian slave is elevated to the office of beloved statesman. A whole tradition of scholarship—motivated, Hall thinks, in part by fear of the play’s radical implications—has argued that Aristophanes ironically undermines the general joy of the ending. But in this case subtlety is being sought where little is to be found. This has implications for our understanding of Cleon’s standing among the poorer Athenians who supported him, and for our reading of Thucydides’ portrait of Cleon.
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Peterson, Anna. Laughter on the Fringes. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190697099.001.0001.
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This book examines the impact that Athenian Old Comedy had on Greek writers of the Imperial era. It is generally acknowledged that Imperial-era Greeks responded to Athenian Old Comedy in one of two ways: either as a treasure trove of Atticisms, or as a genre defined by and repudiated for its aggressive humor. Worthy of further consideration, however, is how both approaches, and particularly the latter one that relegated Old Comedy to the fringes of the literary canon, led authors to engage with the ironic and self-reflexive humor of Aristophanes, Eupolis, and Cratinus. Authors ranging from serious moralizers (Plutarch and Aelius Aristides) to comic writers in their own right (Lucian, Alciphron), to other figures not often associated with Old Comedy (Libanius) adopted aspects of the genre to negotiate power struggles, facilitate literary and sophistic rivalries, and provide a model for autobiographical writing. To varying degrees, these writers wove recognizable features of the genre (e.g., the parabasis, its agonistic language, the stage biographies of the individual poets) into their writings. The image of Old Comedy that emerges from this time is that of a genre in transition. It was, on the one hand, with the exception of Aristophanes’s extant plays, on the verge of being almost completely lost; on the other hand, its reputation and several of its most characteristic elements were being renegotiated and reinvented.
Book chapters on the topic "Aristophanes. eng"
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Jendza, Craig. "Euripides’s Orestes." In Paracomedy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190090937.003.0006.
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This chapter analyzes Euripides’s Orestes as a corrective paracomic response to the parodies and poetic criticisms from Aristophanes’s Women at the Thesmophoria. It suggests that Euripides reappropriates salient features from Aristophanes’s parodies of Euripides’s Helen, Palamedes, Andromeda, and Telephus in an attempt to show how Aristophanes’s views on tragic stagecraft are reductive. Various aspects of the plot, stagecraft, character, and symbolism of Orestes are interpreted as paracomic responses, including an escape plot with a large number of sword-bearing men, a metaphor in which Pylades is Orestes’s “oar blade,” a joke about the Gorgon’s head, and a threat to incinerate a hostage. Additionally, Euripides paracomically targets Aristophanes’s Peace and Clouds at key points at the beginning and end of the play. The chapter argues that Euripides employs paracomedy the way Aristophanes employs paratragedy—to establish his own genre’s primacy through a series of pointed contrasts with the other genre.
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Sommerstein, Alan H. "Sigla." In Aristophanes: Ecclesiazusae. Liverpool University Press, 1998. http://dx.doi.org/10.3828/liverpool/9780856687075.003.0008.
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* e.g. because it has been obliterated by a correction, or because a page has been tom. (This convention does not apply to papyri: where the text of a papyrus is wholly lost or illegible at the relevant point, the papyrus is normally not mentioned at all in the apparatus.)...
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"Alcman at the end of Aristophanes’ Lysistrata: ritual interchorality." In Archaic and Classical Choral Song. De Gruyter, 2011. http://dx.doi.org/10.1515/9783110254020.415.
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Moore, Christopher. "Fifth-Century Philosophoi." In Calling Philosophers Names. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691195056.003.0005.
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This chapter draws on the fifth-century BCE uses of philosophos and cognates for two purposes: as corroboration for the coinage meaning set out in Chapter 3 and the connection to Pythagoreans set out in Chapter 4, and as description of the drift in meaning the term underwent across several generations of use. It focuses on six authors, each of whom use the term once: Herodotus, Thucydides, the Hippocratic author of On Ancient Medicine, Gorgias, Aristophanes, and Lysias. Burkert already referred to these authors in his observation that philosophos did not first mean “lacking wisdom” or “spectating the universe.” Treated, however, in their respective literary and rhetorical contexts, they provide significant information about the fifth-century BCE career of the idea of being philosophos. It appears that at the end of that century, the term sometimes loses its wry implication and names a quite specific mode of dialectic exchange about matters of abstract or broad significance.
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Tolan, John. "Aristophane au Mont-Saint-Michel ? Les écueils de la recherche identitaire." In L'Islam médiéval en terres chrétiennes. Presses universitaires du Septentrion, 2009. http://dx.doi.org/10.4000/books.septentrion.13967.
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Tranier, Jacques. "Des oiseaux et des hommes, Aristophane revisité : William Arrowsmith vs Paul Muldoon." In L'adaptation théâtrale en Irlande de 1970 à 2007. Presses universitaires de Caen, 2010. http://dx.doi.org/10.4000/books.puc.445.
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Scolnicov, Samuel. "Plato on Education as the Development of Reason." In The Paideia Archive: Twentieth World Congress of Philosophy. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia1998370.
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Socrates' great educational innovation was in ascribing moral worth to the intellectual activity reflectively directed at one's own life. His concept of eudaimonia was so different from the ordinary that talking about it took on sometimes a paradoxical air, as in Apology 30b3. For him, reason is not a tool for attaining goals independently thought worthwhile; rather, rationality itself, expressed in the giving of reasons and the avoidance of contradictions, confers value to goals and opinions. Persons are reasonable, but obviously not the empirical human being. But education is aimed at the empirical man or woman and inevitably employs psychological means. How then is it possible that the result of education should grow out of the depths of each individual and be nevertheless valid for all individuals? In the Symposium, Plato gives Aristophanes the crucial move. Each of us is only half the whole person and we are moved by our desire for what we lack. In this context, to claim that the soul is immortal is to claim-at least-that the soul has a non-empirical dimension, that its real objects are not the objects of desire as such, and that a person's sensible life is not the true basis for the evaluation of his or her eudaimonia. However, in the soul which is not free from contradictions there is no advantage to right but unexamined options. There is in the life of the naïve just an insecurity which is not merely pragmatic. Even if a person never falters to the end of life, this is no more than moral luck. One is still guilty on the level of the logos, and liable to blame and punishment not for what one does, but for what one could have done.