Performnce, Iconography, Recption - Studies in Honour of by REVERMANN, M. & WILSON, P. (ed.)

By REVERMANN, M. & WILSON, P. (ed.)

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1992), Alcidamas, Aristophanes and the Beginnings of Greek Stylistic Theory, Hermes, vol. 60, Stuttgart. Porter, J. R. (1999–2000), ‘Euripides and Menander: Epitrepontes, Act IV’, ICS 24–25: 157–76. Pucci, P. (1961), Aristofane ed Euripide: ricerche metriche e stilistiche, Roma. ’, in C. Kraus, S. Goldhill, H. Foley, and J. ), Visualizing Greek Tragedy (Oxford), 105–26. Rau, P. (1967), Paratragodia, Munich. Revermann, M. (2006a), Comic Business: Theatricality, Dramatic Technique, and Performance Contexts of Aristophanic Comedy, Oxford.

2000), ‘From Aristophanes to Menander? Genre Transformation in Greek Comedy’, in M. Depew and D. ), 115–34. –––– (2001), ‘The First Artistic Representations of Theatre: Dramatic Illusion and Dramatic Performance in Attic and South Italian Art’, in Katz, Golini, and Pietropaolo (2001), 17–38. –––– (2002), ‘Kallipides on the Floor Sweepings: The Limits of Realism in Classical Acting and Performance Styles’, in P. Easterling and E. ), Greek and Roman Actors: Aspects of an Ancient Profession, Cambridge.

Here tragedy still serves, as in Acharnians, to enhance comedy’s freedom of speech and inventive dramaturgy, if not its politics,32 and to fall victim to the rival genre. 34 On the one 28 Taplin (1983) suggests that among other uses of trug- terms in Aristophanes to describe comedy, at least three (Ach. 886, Nub. 296, frag. 9 K-A) and possibly three others (Ach. 628, Vesp. 650 and 1537) may allude to tragedy (see also frag. 347 K-A). The use of this term instead of komôidia suggests an effort to create an expanded identity for the comic genre.

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