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Journal articles on the topic 'Samia (Menander)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Hamilton, Richard, D. M. Bair, and Menander. "Menander: Samia." Classical World 79, no. 1 (1985): 54. http://dx.doi.org/10.2307/4349813.

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2

BRUZZONE, RACHEL. "MENANDER, SAMIA 606–8." Classical Quarterly 59, no. 2 (November 23, 2009): 640–42. http://dx.doi.org/10.1017/s0009838809990267.

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3

Fountoulakis, Andreas. "A Note on Menander, Samia 98-101a." Mnemosyne 61, no. 3 (2008): 467–76. http://dx.doi.org/10.1163/156852507x235263.

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4

Harrison, S. J. "MENANDER'S THAIS AND CATULLUS' LESBIA." Classical Quarterly 65, no. 2 (June 17, 2015): 887–88. http://dx.doi.org/10.1017/s0009838815000026.

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Menander's lost comedy Thais with its famous protagonist, the hetaira lover of Ptolemy I Soter and perhaps Alexander himself, was plainly well known at Rome, and is alluded to several times in Latin poetry of the Augustan and later periods, as Ariana Traill has shown. My purpose here is to argue that the literary characterisation of Thais in Menander's play underlies certain aspects of Lesbia as presented in the poetry of Catullus; that Catullus' poetry uses the plays of Menander has been demonstrated by Richard Thomas, arguing that Catullus 8 shows clear traces of Demea's monologue in the Samia (325–56).

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5

Lenz, Lutz. "Menander, Samia (The Woman from Samos). Edited by Alan H. Sommerstein." Gnomon 89, no. 3 (2016): 13–17. http://dx.doi.org/10.17104/0017-1417-2016-3-13.

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6

Gutzwiller, Kathryn. "The Tragic Mask of Comedy: Metatheatricality in Menander." Classical Antiquity 19, no. 1 (April 1, 2000): 102–37. http://dx.doi.org/10.2307/25011113.

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The plays of Menander have been largely absent from the recent critical attention given the metatheatrical aspects of ancient comedy because they avoid direct reference to performance and maintain dramatic illusion. But as readings of tragic self-reflexivity have shown, even consistently illusionistic drama can make reference to itself as drama so that the audience is encouraged to view the play in double focus, as both a pretense of reality and as an evident dramatic artifice. Metatheatricality in Menander has its basis in the recurring view of the characters that life is like a tragedy. A number of characters state that the events at hand resemble a tragic situation, comment on events by quoting from a tragedy, or ask other characters to view the current situation through the lens of a particular tragic drama. In other instances, reference is made to aspects of dramatic staging or to the constitutive parts of plays. Such comments are realistic, or probable, because it is likely that Greeks of the fourth century regularly interpreted their own lives through the paradigm of myth, best known in dramatized form, and used theatrical metaphors to refer to everyday events. At the same time, however, audience members may experience a character's comparison of the dramatic situation to tragedy as humorously ironic because they know that the plot is destined to fulfill itself in a comic mode. Tragedy is in fact a mask worn by Menander's comedy, and the audience has a metadramatic experience whenever it focuses on the fact of masking. Analysis of passages from the Dyscolos, Epitrepontes, Perikeiromene, and Samia, as well as fuller discussion of the Aspis, demonstrates that Menader's plays invite metadramatic readings in which the plot develops through the struggles of characters to impose on themselves and others tragic readings of their comic situation.

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7

HEAP, ANGELA M. "THE BABY AS HERO? THE ROLE OF THE INFANT IN MENANDER." Bulletin of the Institute of Classical Studies 46, no. 1 (December 1, 2003): 77–129. http://dx.doi.org/10.1111/j.2041-5370.2003.tb00736.x.

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Abstract Babies are prominent in Menander to a degree that is unusual in ancient drama. It is clear from the fact that they entered the iconography that the scenes in which they appear were memorable for the audience. Babies provide, by their actual presence on stage, or by means of reactions to their existence, powerful reminders of such important themes as Athenian male anxieties about illegitimacy or the dangers that might pose a threat to one's freeborn status and privileges. They also provide the means of creating, at one end of the spectrum, pathos, and, at the other end, farce. Whether on stage, or off stage, or as the subject of dialogue and monologue, they constitute a coherent link in the action. Most importantly, however, in Samia and Epitrepontes, at least, they act as a touchstone for the characterization.

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8

Ingrosso, Paola. "MENANDER, SAMIA - A.H. Sommerstein (ed.) Menander: Samia (The Woman from Samos). Pp. xii + 367. Cambridge: Cambridge University Press, 2013. Paper, £22.99, US$38.99 (Cased, £60, US$99). ISBN: 978-0-521-73542-1 (978-0-521-51428-6 hbk)." Classical Review 65, no. 2 (August 20, 2015): 387–89. http://dx.doi.org/10.1017/s0009840x15000773.

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9

Arnott, W. Geoffrey. "MENANDER’S SAMIA FOR STUDENTS." Classical Review 53, no. 1 (April 2003): 24–26. http://dx.doi.org/10.1093/cr/53.1.24.

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10

Groton, Anne H. "Anger in Menander's Samia." American Journal of Philology 108, no. 3 (1987): 437. http://dx.doi.org/10.2307/294666.

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11

Grant, John N. "The Father-Son Relationship and the Ending of Menander's "Samia"." Phoenix 40, no. 2 (1986): 172. http://dx.doi.org/10.2307/1088510.

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12

Saconi, Patricia Mabel. "La intriga en la Samia de Menandro: el error y la ironia." Classica - Revista Brasileira de Estudos Clássicos 5, no. 1 (January 19, 2018): 111. http://dx.doi.org/10.24277/classica.v5i1.548.

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13

Konstantakos, Ioannis M. "†D. Parker (trans.) Aristophanes and Menander. Three Comedies: Peace, Money, the God, Samia. Edited with Introductions and Notes by Timothy J. Moore. Pp. xiv + 230, figs. Indianapolis and Cambridge: Hackett Publishing Company, Inc, 2014. Paper, £13.50, US$16 (Cased, £40, US$48). ISBN: 978-1-62466-185-3 (978-1-62466-186-0 hbk)." Classical Review 67, no. 1 (October 20, 2015): 306–7. http://dx.doi.org/10.1017/s0009840x15001687.

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14

BUIS, EMILIANO J. "Las virtudes del derecho inexacto: la imprecisión jurídica como estrategia literaria en Menandro (Samia 570-588 y Héroe 18-40)." Cuadernos de Literatura, no. 16 (August 27, 2021): 28. http://dx.doi.org/10.30972/clt.0165416.

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<p>A pesar de que suele decirse que, a diferencia de las obras aristofánicas, la comedia de Menandro no se caracteriza por incluir referencias al derecho ateniense, un análisis de sus piezas conservadas permite apreciar un número considerable de alusiones a leyes, litigios y procedimientos judiciales. El objetivo de este trabajo es examinar dos pasajes en que se despliega ese recurso del plano jurídico (<em>Sam.</em> 570-588; <em>Her.</em> 18-40) con el fin de examinar las estrategias mediante las cuales allí Menandro manipula literariamente el derecho. En particular, se relevará en ambos textos la voluntad por apelar de modo genérico y vacilante al universo del derecho. A partir de una comparación con el pasaje de <em>Escudo</em> 174-189, se concluirá que la imprecisión y la vaguedad –características privilegiadas de estas referencias– replican los malentendidos tipos de los enredos cómicos y las incertidumbres de <em>status</em> con las que los argumentos de las piezas suelen revestir a sus personajes.</p>

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15

Philippides, Katerina. "Secrets and Lies in Menander’s Samia: A Reading of the Play Focused on Light and Darkness." Wiener Studien 132 (2019): 7–28. http://dx.doi.org/10.1553/wst132s7.

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16

Ireland, Stanley. "Alan H. Sommerstein , Menander: Samia (The Woman from Samos). Cambridge Greek and Latin Classics, Cambridge: CUP, 2013. xii + 367 pp. ISBN 978-05-2173-542-1." Exemplaria Classica 19 (November 26, 2015). http://dx.doi.org/10.33776/ec.v19i0.2667.

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