Performnce, Iconography, Recption - Studies in Honour of 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.

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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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