By Philip Walsh
Brill’s spouse to the Reception of Aristophanes presents a substantial account of the reception of Aristophanes (c. 446-386 BC) from Antiquity to the current. Aristophanes used to be the popular grasp of outdated Attic Comedy, a dramatic style outlined via its topical satire, excessive poetry, frank speech, and obscenity. due to the fact their preliminary construction in classical Athens, his comedies have involved, encouraged, and repelled critics, readers, translators, and performers. The ebook comprises seventeen chapters that discover the ways that the performs of Aristophanes were understood, appropriated, tailored, translated, taught, and staged. cautious awareness has been given to serious moments of reception throughout temporal, linguistic, cultural, and nationwide barriers.
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Extra resources for Brill’s Companion to the Reception of Aristophanes
Croix (1972) 355–71. 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.
Earlier studies that index passages of Aristophanes cited or alluded to by Lucian include Ledergerber (1905) and Householder (1941); Anderson (1976) especially 141–9 is more skeptical. See also now Storey (2015). 52 Sidwell (2009b) 110–1; Storey (2015) 171–2; and earlier, Hirzel (1896) 302–3. 53 Texts of Lucian are from Harmon’s Loeb, translations author. . 56 In Zeus the Tragic Actor the king of gods and men complains to the other gods that Epicurus and his philosophy have caused the cessation of sacrifices from men to the gods.
45 Rosen (2014b) argues that Bakhtin’s focus on carnival liberation causes him to underemphasize the “heroic” figure (as Aristophanic parabases often remind us) of the satirical poet. 46 Bakhtin (1984) 123. 47 They have now been augmented by Moellendorff (1995), who sees carnival as central to all of Bakhtin’s work. 48 Goldhill (1991) 176–87. Χρηστός is a loaded term in comedy, as Neil (1911) pointed out. It is essentially the term used by the upper classes to distinguish themselves from their rivals, the πονηροί (“worthless men”).
Brill’s Companion to the Reception of Aristophanes by Philip Walsh