Relevant bibliographies by topics / Greek and Roman comedy

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Academic literature on the topic 'Greek and Roman comedy'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Greek and Roman comedy"

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Lowe, N. J. "IV From Greece to Rome." New Surveys in the Classics 37 (2007): 81–96. http://dx.doi.org/10.1017/s0017383508000466.

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The origins of Roman comedy are, in one sense, clear-cut: at the Ludi Romani or Roman Games of September 240, a Romanized Tarentine Greek known as Lucius Livius Andronicus, who at some point also translated the Odyssey into Latin, produced the first Latin translations of Greek plays on a Roman stage. This firm date, for which we have Cicero's friend Atticus to thank, marks the beginning of the establishment of a practice of translating classic Greek plays that would continue in both comedy and tragedy for at least a further century.
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Cartlidge, Ben. "JUVENAL 5.104: TEXT AND INTERTEXT." Classical Quarterly 69, no. 1 (May 2019): 370–77. http://dx.doi.org/10.1017/s0009838819000508.

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This paper draws on Juvenal's intertextual relationship with comedy to solve a textual crux involving fish-names. The monograph by Ferriss-Hill will no doubt warn scholarship away from the treatment of Roman satire's intertextuality with Old Comedy for a time. Yet, Greek comedy's influence on Roman satire is far from exhausted, and this paper will show that this influence goes more widely, and more deeply, than is usually seen. In time, one might hope for a renewed monographic treatment of the subject.
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Anderson, William S. "The Roman Transformation of Greek Domestic Comedy." Classical World 88, no. 3 (1995): 171. http://dx.doi.org/10.2307/4351674.

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Penniston, Joyce K. "Pragma and Process in Greek and Roman Comedy." Syllecta Classica 7, no. 1 (1996): 55–67. http://dx.doi.org/10.1353/syl.1996.0026.

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Goldberg, Sander M. "Roman Comedy Gets Back to Basics." Journal of Roman Studies 101 (May 25, 2011): 206–21. http://dx.doi.org/10.1017/s0075435811000074.

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Twenty-one plays survive under the name of Plautus. Add the six by Terence and the fragmentary record from Andronicus in the mid-third century to Turpilius late in the second, and the result is a significant corpus with something for nearly everyone: an extensive record of Latin at a key period in its history, a major arena for the Romans' ongoing struggle with Hellenism, a genre more central to later Western drama than anything Greek, and, however well scholarship may sometimes obscure the fact, plays that are genuinely funny and replete with the sights, sounds, and smells of what passes for daily life in the Roman Republic. Small wonder the comoedia palliata once attracted some of the great names in Roman studies. What Alison Sharrock was taught to regard as only ‘a stereotype-ridden exercise in lamentable literary secondariness’ (ix) must from the beginning have meant something quite different to Ritschl and Leo, not to mention Studemund, whose eyesight never recovered from the strain of transcribing the Ambrosian palimpsest of Plautus. How did the study of comedy ever become a literary backwater? And what has happened to it since?
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Feltovich, Anne. "Social Networking among Women in Greek and Roman Comedy." Classical World 113, no. 3 (2020): 249–78. http://dx.doi.org/10.1353/clw.2020.0024.

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Feltovich, Anne. "Controlling Images: Enslaved Women in Greek and Roman Comedy." Arethusa 54, no. 1 (2021): 73–92. http://dx.doi.org/10.1353/are.2021.0002.

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Connors, Catherine. "Monkey Business: Imitation, Authenticity, and Identity from Pithekoussai to Plautus." Classical Antiquity 23, no. 2 (October 1, 2004): 179–207. http://dx.doi.org/10.1525/ca.2004.23.2.179.

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Abstract This essay explores references to monkeys as a way of talking about imitation, authenticity, and identity in Greek stories about the ““Monkey Island”” Pithekoussai (modern Ischia) and in Athenian insults, and in Plautus' comedy. In early Greek contexts, monkey business defines what it means to be aristocratic and authoritative. Classical Athenians use monkeys to think about what it means to be authentically Athenian: monkey business is a figure for behavior which threatens democratic culture——sycophancy or other deceptions of the people. Plautus' monkey imagery across the corpus of his plays moves beyond the Athenian use of ““monkey”” as a term of abuse and uses the ““imitative”” relation of monkeys to men as a metapoetic figure for invention and play-making. For Plautus, imitator——and distorter——of Greek plays, monkeys' distorted imitations of men are mapped not onto the relations between inauthentic and authentic citizens, as in Athens, but onto the relation of Roman to Greek comedy and culture at large. Monkey business in Plautus is part of the insistence on difference which was always crucial in Roman encounters with Greek culture.
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Reid, Jeffrey. "Hegel and the Politics of Tragedy, Comedy and Terror." Epoché: A Journal for the History of Philosophy 25, no. 1 (2020): 135–53. http://dx.doi.org/10.5840/epoche2020108172.

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Greek tragedy, in Hegel’s Phenomenology of Spirit, represents the performative realization of binary political difference, for example, “private versus public,” “man versus woman” or “nation versus state.” On the other hand, Roman comedy and French Revolutionary Terror, in Hegel, can be taken as radical expressions of political in-difference, defined as a state where all mediating structures of association and governance have collapsed into a world of “bread and circuses.” In examining the dialectical interplay between binary, tragic difference and comedic, terrible in-difference, the paper arrives at hypothetical conclusions regarding how these political forms may be observed today.
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Čiripová, Dáša. "Greek Drama in the Hellenistic Period." Slovenske divadlo /The Slovak Theatre 65, no. 4 (December 1, 2017): 373–82. http://dx.doi.org/10.1515/sd-2017-0022.

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Abstract This study deals with a period of the Greeco-Roman history related to theatre. Hellenism is a period which is often overlooked by theatre scholars although it is an immensely important and rich transformatory and revolutionary period from a historical point of view. Hellenism is not only marked with the encounter of two worlds, but also with their mutual enrichment. In the world of diverse peoples, theatre and drama turn to lighter themes (comedy is more popular than tragedy), show preference for entertaining theatre forms, gradually divert their attention from serious textual levels and turn to non-verbal genres. Menandros is a typical representative of Hellenistic drama. Unfortunately, a great number of texts and files, which would contain at least mentions of drama production at that time, have been lost.
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Dissertations / Theses on the topic "Greek and Roman comedy"

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Feltovich, Anne C. "Women's Social Bonds in Greek and Roman Comedy." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1311691038.

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Arnold, Paul J. "The pornoboskos and leno in Greek and Roman comedy." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310312.

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Frost, Kathryn Jane. "Plautus' Amphitruo : a commentary on lines 551-860." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303528.

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Boroughs, R. J. C. "Eumolpus : literary and historical approaches to characterisation in Petronius." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318352.

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Rich, Laura Brooke. "Language and power in Roman comedy." Thesis, [Austin, Tex. : University of Texas Libraries, 2009. http://hdl.handle.net/2152/ETD-UT-2009-05-157.

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Karakasis, Evangelos. "Terence and the language of Roman comedy." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620973.

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Eilers, Claude. "Roman patrons of Greek cities /." Oxford [u.a.] : Oxford University Press, 2002. http://www.loc.gov/catdir/enhancements/fy0615/2003276954-d.html.

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Burrell, Barbara. "Neokoroi : Greek cities and Roman emperors /." Leiden ; Boston (Mass.) : Brill, 2004. http://catalogue.bnf.fr/ark:/12148/cb39078101m.

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Lada, Ismene. "Initiating Dionysus : ritual and theatre in Aristophanes' Frogs." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357777.

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Dimitriou, Tzoulia. "Funny love: images of Aphrodite in old comedy." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31537.

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Thesis (Ph.D.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
This study investigates the relationship between Aphrodite's literary image and her cultic role in Athenian civic religion. The plays and fragments, especially those in the Aristophanic corpus, demonstrate that in Old Comedy the goddess not only holds the role of sexualized patroness of femininity, but also reflects the political associations of her Athenian cults. Chapter I investigates the cultic role of Aphrodite in Athens and her place within the Athenian religious and social system. At Athens, Aphrodite reveals aspects beyond her popular panhellenic position as a deity of love and overseer of marriage, but never displays the relationships to sacred prostitution claimed in some late-antique sources. Aphrodite's sanctuaries were associated with such putative pioneers of democracy as Theseus and Solon. The uniquely Athenian cult of Aphrodite Pandemos, worshipped in association with Peitho, emphasized her importance in the Athenian political system as a representative of (seductive) persuasion. Analysis shows that the "Platonic" dichotomy between Aphrodite Pandemos and Urania reflects later (mis)readings of Plato's Symposium. The fragments of Old Comedy (Chapter II) illustrate how Aphrodite aided the introduction of female protagonists onto the comic stage, both as hetaerae, who worshipped Aphrodite as their patroness, and Athenian wives, who were comically depicted as licentious and bibulous. Understanding Aphrodite's role as the mediator between comic raunchiness and female decorum helps explain the origins of the erroneous traditions regarding the dedication of prostitutes to the goddess. Chapters III and IV examine Aphrodite in the Aristophanic corpus, with Chapter IV entirely devoted to the Lysistrata. Aristophanes explores Aphrodite's comic persona to highlight the social and political issues of Athens, often associating the degeneration of the city with men's unnatural connection to Aphrodite. In the Lysistrata, Aphrodite plays her most extensive role in extant comedy and exhibits her political associations. The solidarity of the female protagonists depends on Aphrodite's role as a symbol of unification and social reform. The goddess in association with Athena successfully presides over Lysistrata's peace plot as the embodiment of the late fifth-century political slogan of "eros for the city" played out in the seduction of Kinesias by Myrrhine.
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Books on the topic "Greek and Roman comedy"

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Moore, Timothy J. Music in Roman comedy. New York: Cambridge University Press, 2012.

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

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Athenian comedy in the Roman Empire. New York: Bloomsbury Academic, 2015.

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Music in Roman comedy. New York: Cambridge University Press, 2012.

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Roman laughter: The comedy of Plautus. 2nd ed. New York: Oxford University Press, 1987.

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The forensic stage: Settling disputes in Graeco-Roman New Comedy. Cambridge, U.K: Cambridge University Press, 1997.

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De l'idéalisme au réalisme: Une étude du comique dans le roman grec. Salerno: Helios, 2007.

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Tylawsky, Elizabeth Ivory. Saturio's inheritance: The Greek ancestry of the Roman comic parasite. New York: P. Lang, 2002.

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Leeds International Latin Seminar (1993). Papers of the Leeds International Latin seminar : seventh volume 1993: Roman poetry and drama; Greek epic, comedy, rhetoric. Leeds: Cairns, 1993.

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Francis, Cairns, and Heath Malcolm, eds. Papers of the Leeds International Latin seminar : sixth volume 1990: Roman poetry and drama; Greek epic, comedy, rhetoric. Leeds: Cairns, 1990.

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Book chapters on the topic "Greek and Roman comedy"

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Williams, Richard. "Performance and dramatic discourse in New Comedy." In Greek and Roman Drama: Translation and Performance, 125–45. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02908-9_8.

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Sidwell, Keith. "Tragedy and Comedy in Greek Participatory Communities." In A Companion to Greek Democracy and the Roman Republic, 429–45. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118878347.ch24.

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O'Bryhim, Shawn. "Tragedy and Comedy in the Roman Participatory Context." In A Companion to Greek Democracy and the Roman Republic, 446–58. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118878347.ch25.

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Brown, Peter. "Greek Comedy at Rome." In A Handbook to the Reception of Greek Drama, 63–77. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch4.

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Brown, Peter. "Terence and Greek New Comedy." In A companion to Terence, 15–32. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118301975.ch1.

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"CHAPTER 2. GREEK COMEDY." In Nature of Roman Comedy: A Study in Popular Entertainment, 18–38. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400872374-004.

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"Three Actors in Old Comedy, Again." In Performance in Greek and Roman Theatre, 257–78. BRILL, 2013. http://dx.doi.org/10.1163/9789004245457_015.

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Graham, Anderson. "Fantasy in Old Comedy and Lucian." In Fantasy in Greek and Roman Literature, 149–59. Routledge, 2019. http://dx.doi.org/10.4324/9780429029578-12.

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"2. si-amicus Diphilo aut Philemoni es: Plautus’ Exploitation of Other Writers and Features of the Greek Comic Tradition." In Barbarian Play:Plautus' Roman Comedy. Toronto: University of Toronto Press, 1996. http://dx.doi.org/10.3138/9781442671171-004.

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Goldberg, Sander. "Comedy and society from Menander to Terence." In The Cambridge Companion to Greek and Roman Theatre, 124–38. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521834568.008.

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Conference papers on the topic "Greek and Roman comedy"

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Coanca, Mariana. "EDUCATION IN ANCIENT GREEK AND ROMAN CIVILIZATIONS. CREATION OF MEDICAL TERMINOLOGY." In 12th International Technology, Education and Development Conference. IATED, 2018. http://dx.doi.org/10.21125/inted.2018.2361.

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Wang, Ruishu, and Wanbing Shi. "Teaching Objectives and Strategies of Greek and Roman Mythology for College Students*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.141.

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Garbrecht, Jürgen D., and Guenther K. H. Garbrecht. "Sedimentation of Harbors and Counter-Measures in the Greek and Roman Era." In Water Resources and Environment History Sessions at Environmental and Water Reources Institute Annual Meeting 2004. Reston, VA: American Society of Civil Engineers, 2004. http://dx.doi.org/10.1061/40738(140)3.

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Xiaobin, Ji. "Teaching “Greek and Roman Mythology” in a CLIL Classroom: Towards a New Approach." In Proceedings of the 2019 4th International Conference on Social Sciences and Economic Development (ICSSED 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icssed-19.2019.77.

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Marinis, Agis, Elina Daraklitsa, and Chryssanthi Mitta. "The mask in commedia dell�arte and ancient Greek comedy. A comparative and historical approach, with emphasis on the methodology of acting." In 7th SWS International Scientific Conferences on ART and HUMANITIES ISCAH 2020. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.f2020.7.2/s07.09.

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Liu, Hong. "An Analysis of the Enlightenment of Greek and Roman Mythology to English Language and Literature." In 2016 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ieesasm-16.2016.95.

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Stojsih, Sarah E., and Cynthia A. Bir. "Comparison of Experimental and Real-Time Data in Amateur Boxers." In ASME 2009 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2009. http://dx.doi.org/10.1115/sbc2009-206372.

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The sport of boxing dates back to the time of the ancient Greeks and Romans. While boxing has come a long way from its origin in fist fighting, head injury is of great concern in the sport of boxing. A study found that over 70% of acute injuries occur in the head region, with almost half of the injuries to this region being concussions [1]. Various techniques have been implemented to discern the risk of head injury in boxing. Although some surrogate data have been collected to assess the mechanism that causes the injuries [2], real-time head acceleration data from the ring has yet to be obtained.
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Anghel, S. "Magnetometric Researches Used in the Archaeological Studies of the Greek Roman Fortress (Histria) Located on the Shore." In Near Surface 2008 - 14th EAGE European Meeting of Environmental and Engineering Geophysics. European Association of Geoscientists & Engineers, 2008. http://dx.doi.org/10.3997/2214-4609.20146339.

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Ji, Xiaobin. "The Design of Blended Learning Based on MOOC --- Taking the “Greek and Roman Mythology” as an example." In 2019 International Conference on Education Science and Economic Development (ICESED 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/icesed-19.2020.86.

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Campagna, Lorenzo, and Giuseppe Scardozzi. "The Archaeological Map for the Reconstruction of the Ancient Topography of the Greek and Roman City of Taormina." In Landscape Archaeology Conference. VU E-Publishing, 2016. http://dx.doi.org/10.5463/lac.2014.28.

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Reports on the topic "Greek and Roman comedy"

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Seamans, Thomas, and Allen Gosser. Bird dispersal techniques. U.S. Department of Agriculture, Animal and Plant Health Inspection Service, August 2016. http://dx.doi.org/10.32747/2016.7207730.ws.

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Conflicts between humans and birds likely have existed since agricultural practices began. Paintings from ancient Greek, Egyptian, and Roman civilizations depict birds attacking crops. In Great Britain, recording of efforts at reducing bird damage began in the 1400s, with books on bird control written in the 1600s. Even so, the problem persists. Avian damage to crops remains an issue today, but we also are concerned with damage to homes, businesses, and aircraft, and the possibility of disease transmission from birds to humans or livestock. Bird dispersal techniques are a vital part of safely and efficiently reducing bird conflicts with humans. The bird must perceive a technique as a threat if it is to be effective. No single technique can solve all bird conflicts, but an integrated use of multiple techniques, each enhancing the other, generally provides relief.
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