By Philip Walsh
Brill’s spouse to the Reception of Aristophanes presents a great account of the reception of Aristophanes (c. 446-386 BC) from Antiquity to the current. Aristophanes was once the well known grasp of outdated Attic Comedy, a dramatic style outlined through its topical satire, excessive poetry, frank speech, and obscenity. on account that their preliminary construction in classical Athens, his comedies have interested, encouraged, and repelled critics, readers, translators, and performers. The e-book comprises seventeen chapters that discover the ways that the performs of Aristophanes were understood, appropriated, tailored, translated, taught, and staged. cautious consciousness has been given to severe moments of reception throughout temporal, linguistic, cultural, and nationwide obstacles.
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Extra resources for Brill’s Companion to the Reception of Aristophanes
Morgan (2009) 135–6 and n. κωμῳδίας παλαιᾶς seems much likelier to refer to the comic tradition rather than “story” in general. ”65 Themes such as those of travel and paradoxography aside, we find but one explicit allusion to Aristophanes in those later sophistic novelists: in Achilles Tatius’ Leucippe and Clitophon. At the end of this complicated plot, the hero Clitophon is being prosecuted for adultery by Thersander, the presumed dead but now returned husband of Melite, whom Clitophon married while believing his beloved Leucippe to be dead.
40 Viewed in these terms, complaints like those expressed in the parabasis of Clouds, a reworking of the original play, begin to look different. The voice of the parabasis complains about the bad judging that allowed the original play, his “cleverest comedy,” to be ranked third in a field of three, and about vulgar men who had the bad taste to bring on stage low-life objects of ridicule, from comic phalluses to drunken old women. Scholars have tended to understand such passages as either the authentic voice of the historical poet complaining about his treatment or as ironic exaggeration, and, indeed, nothing in Wright’s argument necessarily excludes such conclusions.
24 Heath (1987) 40, 29–38. See also Heath (1997). 25 Heath (1987) 42. 26 See, for example, Henderson (1990) and Sidwell (2009a). 27 Gomme (1938). ”28 I now turn to several interrelated theoretical models for understanding the ideology of Aristophanic comedy. , fascist ideology, communist ideology) but as the full range of material and imaginary relations a subject has at her disposal. Ideological analysis in this sense takes on the larger goal of attempting to account for complex webs of forces that create persuasive self-images to individual subjects and so function as a drag on social change.
Brill’s Companion to the Reception of Aristophanes by Philip Walsh