Download Performance, Iconography, Reception: Studies in Honour of by Martin Revermann, Peter Wilson PDF

By Martin Revermann, Peter Wilson

Functionality, Reception, Iconography assembles twenty-three papers from a world crew of students who have interaction with, and advance, the seminal paintings of Oliver Taplin. Oliver Taplin has for over 3 many years been on the vanguard of innovation within the examine of Greek literature, and of the Greek theatre, tragic and comedian, particularly. The experiences during this quantity centre on 3 key components - the functionality of Greek literature, the interactions among literature and the visible realm of iconography, and the reception and appropriation of Greek literature, and of Greek tradition extra greatly, in next historic classes.

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Halliwell, F. S. (1989), ‘Authorial Collaboration in the Athenian Comic Theatre’, GRBS 30: 515–28. Hanoosh, M. (1989), Parody and Decadence. Laforgue’s Moralités légendaires, Columbus. Harvey, D and Wilkins, J. ), The Rivals of Aristophanes: Studies in Athenian Old Comedy, London. Heath, M. (1990), ‘Aristophanes and his Rivals’, G&R 37: 143–58. Henderson, J. (1995), ‘Beyond Aristophanes’, in Dobrov (1995b), 175–84. –––– (1996), Three Plays by Aristophanes: Staging Women, London. –––– (2000), ‘Pherekrates and the Women of Old Comedy’, in Harvey and Wilkins (2000), 135–50.

Scharffenberger, E. W. (1995), ‘A Tragic Lysistrata? Jocasta in the Reconciliation Scene of the Phoenician Women’, RhM 138: 312–36. Segal, E. (1995), ‘ “The Comic Catastrophe”: An Essay on Euripidean Comedy’, in Griffiths (1995), 46–55. Seidensticker, B. (1978), ‘Comic Elements in Euripides’ Bacchae’, AJPh 99: 303–20. –––– (1982), Palintonos Harmonia. Studien zu komischen Elementen in der griechischen Tragödie, Hypomnemata 72, Göttingen. Sidwell, K. (1994), ‘Aristophanes’ Acharnians and Eupolis’, C&M 45: 71–115.

Frag. ) This last remark, coming from a comic poet, declares a remarkable stylistic warfare, since, generically speaking, comedy was more amenable to the agoraion than tragedy. 13 Above all in his parabases, but in Acharnians and Wasps also through his characters, Aristophanes constructs in his first five extant plays a poetic biography that apparently bears some relation to historical reality. We know which of these plays won and when, and the poet’s references to success and failure are real. 14 Comic competition makes a repeated appearance in the parabases of Aristophanes’ and other old comedies (and sometimes elsewhere in the plays): positive claims to novelty, subtle technique and laborious artistry, and good pacing are balanced against critical remarks about 11 With Kock, Kassel-Austin, and others, I assume a full stop after θεατ .

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