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Journal articles on the topic 'Aristophanes. eng'

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Published: 4 June 2021

Last updated: 2 February 2022

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1

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 (

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2

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 d

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3

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

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4

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 co

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5

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

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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,

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7

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 proba

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8

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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9

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 relati

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10

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.

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11

Olson, S. Douglas. "Names and Naming in Aristophanic Comedy." Classical Quarterly 42, no. 2 (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

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12

Brock, Roger. "Athenian oligarchs: the numbers game." Journal of Hellenic Studies 109 (November 1989): 160–64. http://dx.doi.org/10.2307/632041.

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By the last quarter of the fifth century it was generally agreed that there were three basic forms of government: monarchy, democracy and oligarchy, and this basic division continued to the end of the classical period. For the Athenians, this choice was for practical purposes reduced to one between democracy and oligarchy: kings might appear on the tragic stage, but in contemporary Athens sole rule was synonymous with tyranny, a form of government which had been beyond the pale since the expulsion of the Peisistratids. Indeed, in the late fifth century it was the object of a public hysteria wh

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13

Sulprizio, Chiara. "You Can't Go Home Again: War, Women and Domesticity in Aristophanes' Peace." Ramus 42, no. 1-2 (2013): 44–63. http://dx.doi.org/10.1017/s0048671x00000060.

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Peace was performed at the City Dionysia in 421 BCE, just days before the signing of the fifty-year treaty known as the Peace of Nikias, which brought an end to the first ten years of the Peloponnesian War. The negotiations that led up to this definitive moment for Athens and Sparta had been initiated the previous summer by the simultaneous deaths of Cleon and Brasidas at Amphipolis, who had been, according to Thucydides, ‘the two principal opponents of peace on either side’ (5.16.1). These unexpected deaths created a power vacuum which was filled by more moderate politicians on both sides of

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14

Gripp, Brunno Salviano. "A língua presa de Fidípides." Nuntius Antiquus 3 (June 30, 2009): 70–84. http://dx.doi.org/10.17851/1983-3636.3..70-84.

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Pheidippides has been the most overseen character in Aristophanes’ Clouds, even if the ultimate end to the comedy depends on him. He has been often thought by many commentators as a less interesting character than Socrates or Strepsiades. We attempt to interpret his character in terms of his characterization, origin and interests. As we can see from his dealings with horses and his association with Socrates, he bears a strong connection with the thoughts and activities of the higher class Athenian youth, and due to his high debts and his lisp we can attach him to Alcibiades, who seems to be an

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15

Gripp, Brunno Salviano. "A língua presa de Fidípides." Nuntius Antiquus 3 (June 30, 2009): 70. http://dx.doi.org/10.17851/1983-3636.3.0.70-84.

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<p>Pheidippides has been the most overseen character in Aristophanes’ Clouds, even if the ultimate end to the comedy depends on him. He has been often thought by many commentators as a less interesting character than Socrates or Strepsiades. We attempt to interpret his character in terms of his characterization, origin and interests. As we can see from his dealings with horses and his association with Socrates, he bears a strong connection with the thoughts and activities of the higher class Athenian youth, and due to his high debts and his lisp we can attach him to Alcibiades, who seems

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16

San Román, Mariana Franco. "Violent times: êthos, metaphor, and violent body in Cleon’s representation in Aristophanic comedy." Circe, de clásicos y moderno 23, no. 1 (2019): 91–121. http://dx.doi.org/10.19137/circe-2019-230106.

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17

Donelan, Jasper F. "EVIDENCE FOR AND AGAINST AUDIENCE-ACTOR CONTACT IN ARISTOPHANES (PAX 877–906, ACH. 257–83, THESM. 659–87 AND NUB. 275–355)." Classical Quarterly 65, no. 2 (2015): 518–29. http://dx.doi.org/10.1017/s0009838815000324.

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Unlike tragedy, Old Comedy openly acknowledges its own festival context and the existence of a world beyond the one created for and occupied by its masked characters. Admission of the theatrical setting is a standard well-documented feature and was an effective way of drawing spectators into the drama's fiction. To the same end, speaking directly to the audience formed an integral part of Aristophanes' plays and very probably of the comic genre as a whole. We can therefore think of comedy as an ‘inclusive’ art form, one that (self-)consciously attempted to involve and engage its consumers, in

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18

Taplin, Oliver. "Fifth-century tragedy and Comedy: A synkrisis." Journal of Hellenic Studies 106 (November 1986): 163–74. http://dx.doi.org/10.2307/629650.

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At the very end of Plato'sSymposiumour narrator awakes to find Socrates still hard at it, and making Agathon and Aristophanes agree that the composition of tragedy and comedy is really one and the same thing:… προсαναγκάӡειν τὸν Σωκράτη ὁμολογεῖν αὐτοὺс τοῦ αὐτοῦ ἀνδρὸс εἷναι κωμωιδίαν καὶ τραγωιδίαν ἐπἰсταϲθαι ποιεῖν, καὶ τὸν τέχνηι τραγωιδοποιὸν ὄντα καὶ κωμωιδοποιὸν εἷναι. ταῦτα δὴ ἀναγκαӡομένουϲ αὐτοὺϲ … the two playwrights succumb to sleep, leaving Socrates triumphant. Socrates had to ‘force’ his case; and it is a fact that, though we know of well over 100 fifth-century playwrights, we do

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19

Olechowska, Elżbieta. "Ancient Plays on Stage in Communist Poland." Keria: Studia Latina et Graeca 20, no. 3 (2018): 41–74. http://dx.doi.org/10.4312/keria.20.3.41-74.

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A recently published analytical register of all ancient plays and plays inspired by antiquity staged in Poland during communism, provided factual material for this study of ancient drama in Polish theatre controlled by the state and of its evolution from the end of WW2 to the collapse of the Soviet regime. The quasi-total devastation of theatrical infrastructure and loss of talent caused by the war, combined with an immediate seizing of control over culture by Communist authorities, played a crucial role in the shaping of the reborn stage and its repertoire. All Aeschylus’ plays were performed

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20

Konstantakos, Ioannis. "The Drinking Theatre: Staged Symposia in Greek Comedy." Mnemosyne 58, no. 2 (2005): 183–217. http://dx.doi.org/10.1163/156852505774249532.

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AbstractStaged symposia, like those found in some comedies of Plautus (As., Mos., Per., St.), were presented also in Greek comedy: this is indicated by a large number of fragments which present characters drinking and performing sympotic rituals on stage. Sympotic scenes formed a favourite comic spectacle in the 4th century and apparently occurred already in Old Comedy (e.g. Pherekrates' Korianno). Plautus' staged banquets may well have been inspired by Greek scenes of this sort. The lunch-party of the women at the beginning of Menander's Synaristosai can be seen as a variation of the traditio

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21

Meluzzi, Chiara. "Pragmatic use of ancient greek pronouns in two communicative frameworks." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 26, no. 3 (2016): 447–71. http://dx.doi.org/10.1075/prag.26.3.05meh.

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This paper deals with the use of personal pronouns (PPs) in Ancient Greek in two Aristophanes’ comedies (i.e. Lysistrata and Ecclesiazusae). The main purpose of this study is to show that Ancient Greek PPs often have a pragmatic function, in particular linked to the speaker’s communicative goals. The analysis highlights the presence of a gender-related distribution and a context-dependent use of personal pronouns. In particular, male characters prefer 1st person singular pronouns, whereas female characters use more 1st person plural pronouns with an inclusive value. Moreover, in two communicat

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22

Heath, Malcolm. "Greek Literature." Greece and Rome 66, no. 1 (2019): 113–18. http://dx.doi.org/10.1017/s0017383518000347.

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It felt slightly spooky when I opened The Winnowing Oar and found a lecture by Martin West on editing the Odyssey that concludes with a pre-emptive defence of his endorsement of Aristophanes’ reading at Od. 13.158: six months earlier, in my brief review of West's edition (G&R 65 [2018], 272), I had – somewhat recklessly – described that reading as ‘reckless’. It's an excellent lecture, and well worth reading. But the Aristophanic variant still fails to convince me. This difference of opinion pales into insignificance, however, next to the textual bombshell in Franco Montanari's chapter in

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23

Dover, K. J. "Some Types of Abnormal Word-Order in Attic Comedy." Classical Quarterly 35, no. 2 (1985): 324–43. http://dx.doi.org/10.1017/s0009838800040209.

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On the analogy of the colloquial register in some modern languages, where narrative and argument may be punctuated by oaths and exclamations (sometimes obscene or blasphemous) in order to maintain a high affective level and compel the hearer's attention, it is reasonable to postulate that Attic conversation also was punctuated by oaths, that this ingredient in comic language was drawn from life, and that the comparative frequency of ║ (|) M M (M) Δ in comedy is sufficiently explained thereby. There are obvious affinities between some passages of comedy, relaxed conversation in Plato and Xenoph

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24

Heath, Malcolm. "Greek Literature." Greece and Rome 65, no. 2 (2018): 242–47. http://dx.doi.org/10.1017/s0017383518000189.

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ἄνδρά μοι ἔννεπε…: Are you shocked to find a misprint at the very beginning of Martin West's Teubner Odyssey? Then you've not been reading the poem in the editions of La Roche (1867–8) or Ludwich (1889–91), and you have not been reading the Iliad in West's edition (1998). You will need to consult the latter if you want to gain enlightenment on this and other orthographic niceties: the introduction to West's Odyssey is, inconveniently, not a stand-alone resource. Sampling his text alongside Allen's routinely derided OCT rarely revealed differences more substantive than, for example, ἐνὶ vs ἐπὶ

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25

Lopatina, Marina. "Fusion of Ancient Heritage and Christian Doctrine in the Poem of John of Gaza “Description of the Cosmic Table”." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (February 2021): 222–30. http://dx.doi.org/10.15688/jvolsu4.2020.6.17.

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Introduction. John of Gaza is the only known grammarian poet who belongs to the cultural environment of the Gaza School. His work “Description of the Сosmic Table” is a unique extant poetic work that corresponds to the ancient literary genre. Despite the final Christianization of Gaza at the end of the 4th century, the classical elements did not outlive their usefulness. The poem by John of Gaza written in the genre of ekphrasis is a vivid example of this phenomenon. The author actively appealed to the works of ancient authors and to a lesser extent to the Christian works when he created his p

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26

Gratwick, A. S. "Catullus 1. 10 and the title of his Libellus." Greece and Rome 38, no. 2 (1991): 199–202. http://dx.doi.org/10.1017/s0017383500023573.

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It was a natural and well-established usage in antiquity that works of literature might readily be referred to by their opening words. Aristophanes accidentally lends the ‘Παλλάδα περсέέολιν δεινάν …. ’ ‘Pallas the awful city-sacker …’ of a certain Lamprocles or maybe of Stesichorus and the ‘Τηλέπορον τι βόαμα …’, ‘Some far-reaching shriek …’ of one ‘Kydidas’ a pale and partial immortality this way (Nub.967), and in the imaginary world of Theocritus an imaginary poem the ‘τὸν ἐμὸν Λύκον….’ ‘Lycus my lover…’ by an imaginary ‘Larisaean fellow’ is thus evoked (Id. 14.30). Cicero refers to Ennius'

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27

Mataira, Peter. "‘Sitting in the fire’, an indigenous approach to masculinity and male violence: Māori men working with Māori men." Aotearoa New Zealand Social Work 20, no. 4 (2017): 35–40. http://dx.doi.org/10.11157/anzswj-vol20iss4id328.

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There were these three sexes, because the sun, the moon and the earth are three: and man was originally the child of the sun, the woman of the earth, and the man-woman of the moon … He cut them in two and bade Apollo give the face and the half of the neck a turn in order that the man might contemplate the section of himself … Each of us when separated is but the indenture of man and he is always looking for his other half … Human nature was originally one and we were a whole, and the desire and pursuit of the whole is called love (Plato Symposium. Aristophane’s Speech, The Double Nature of Man

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28

Deitelzweig, S., A. Keshishian, A. Kang, et al. "P4794Comparative effectiveness and safety of non-VKA oral anticoagulants versus warfarin in non-valvular atrial fibrillation patients with differential treatment duration: an ARISTOPHANES study analysis." European Heart Journal 40, Supplement_1 (2019). http://dx.doi.org/10.1093/eurheartj/ehz745.1170.

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Abstract Background The ARISTOPHANES (Anticoagulants for Reduction In STroke: Observational Pooled analysis on Health outcomes ANd Experience of patientS) study showed that non-vitamin K antagonist oral anticoagulants (NOACs) were associated with lower risks of stroke/systemic embolism (S/SE) and variable comparative risks of major bleeding (MB) versus warfarin. Purpose To assess long-term use of non-VKA oral anticoagulants (NOACs) vs. warfarin in ARISTOPHANES by evaluating the risk of S/SE and MB among non-valvular atrial fibrillation (NVAF) patients by duration of treatment (<1 and ≥1 yea

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Deitelzweig, S., A. Keshishian, A. Kang, et al. "P4768Comparative effectiveness and safety between non-VKA oral anticoagulants in non-valvular atrial fibrillation patients with differential duration of treatment: an analysis of the ARISTOPHANES study." European Heart Journal 40, Supplement_1 (2019). http://dx.doi.org/10.1093/eurheartj/ehz745.1144.

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Abstract Background The ARISTOPHANES (Anticoagulants for Reduction In STroke: Observational Pooled analysis on Health outcomes ANd Experience of patientS) study showed that apixaban was associated with lower risks of stroke/systemic embolism (S/SE) and major bleeding (MB) versus dabigatran and rivaroxaban; dabigatran was associated with similar risk of S/SE and lower risk of MB compared to rivaroxaban. Purpose To assess long-term use of non-VKA oral anticoagulants (NOACs) in ARISTOPHANES by evaluating the risk of S/SE and MB among non-valvular atrial fibrillation (NVAF) patients receiving diff

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30

"III. Mathematics." New Surveys in the Classics 29 (1999): 39–61. http://dx.doi.org/10.1017/s0533245100022392.

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Mathematics probably ranks as the Greeks’ greatest achievement, in the eyes of many modern scientists. And amongst the general public it is fair to say that some Greek mathematicians are better known than any other figures from antiquity, with the possible exception of Alexander the Great. For example, Pythagoras, Euclid, and Archimedes are household names two thousand years after they lived and wrote their mathematics. The Greek alphabet, or some of it anyway, is widely known today because modern mathematics uses it by preference for symbols. For example, α, β, and θ for angles, the amazing π

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