New PDF release: Aristophanes and His Tragic Muse: Comedy, Tragedy and the

By Stephanie Nelson

ISBN-10: 9004310908

ISBN-13: 9789004310902

Regardless of the various reviews of Greek comedy and tragedy individually, scholarship has often missed the relation of the 2. And but the genres constructed jointly, have been played jointly, and prompted one another to the level of turning into polar opposites. In Aristophanes and His Tragic Muse, Stephanie Nelson considers this competition via an research of ways the genres constructed, by means of taking a look at the tragic and comedian parts in satyr drama, and via contrasting particular Aristophanes performs with tragedies on related topics, comparable to the person, the polis, and the gods. The research finds that tragedy’s specialize in necessity and a quest for which means enhances a ignored yet severe point in Athenian comedy: its curiosity in freedom, and the ambivalence of its incompatible visions of truth.

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By Stephanie Nelson

ISBN-10: 9004310908

ISBN-13: 9789004310902

Regardless of the various reviews of Greek comedy and tragedy individually, scholarship has often missed the relation of the 2. And but the genres constructed jointly, have been played jointly, and prompted one another to the level of turning into polar opposites. In Aristophanes and His Tragic Muse, Stephanie Nelson considers this competition via an research of ways the genres constructed, by means of taking a look at the tragic and comedian parts in satyr drama, and via contrasting particular Aristophanes performs with tragedies on related topics, comparable to the person, the polis, and the gods. The research finds that tragedy’s specialize in necessity and a quest for which means enhances a ignored yet severe point in Athenian comedy: its curiosity in freedom, and the ambivalence of its incompatible visions of truth.

Show description

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Read e-book online Aristophanes and His Tragic Muse: Comedy, Tragedy and the PDF

Regardless of the numerous stories of Greek comedy and tragedy individually, scholarship has as a rule ignored the relation of the 2. And but the genres built jointly, have been played jointly, and encouraged one another to the level of turning into polar opposites. In Aristophanes and His Tragic Muse, Stephanie Nelson considers this competition via an research of ways the genres constructed, by means of the tragic and comedian components in satyr drama, and by means of contrasting particular Aristophanes performs with tragedies on comparable topics, akin to the person, the polis, and the gods.

Extra info for Aristophanes and His Tragic Muse: Comedy, Tragedy and the Polis in 5th Century Athens

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84–85, pp. 214–215 and Carpenter, 44–46. Steinhart, 212–217 concludes that there is no dramatic scene while IslerKerényi, 81–82 points out that the vase is too idiosyncratic to provide evidence. ” The Iolaos vase (figs. 73–74, pp. R. Green, 99–100), nor is Steinhart’s view (199–202; Steinhart, 2004, 39–40) that the mixing bowl should be in the center of the scene necessary. g. Bieber, 1961, fig. 125 a–b) has no necessary narrative significance. See Olson, 2007, 6–11 and 8–9 for the absence of a chorus, as Rusten, 2011, 59 and contrary, Shaw, 2014, 68–71 citing Wilson’s study (2007, 351–377) of other, independent Sicilian choruses.

Silk, 1988, 19 cites Goffman on humor as characteristically frame-breaking rather than frame-making. ” See Mastronarde, 2010, 24–25 with n. 68. For the importance of plot to the development of tragedy see Depew in Csapo and Miller, 2007, 138–142. Poetics 1455b24, which sees tragedy as defined by a desis or “binding” and a lusis or “loosing,” also shows Aristotle thinking in terms of necessity. ” Silk, 1988, 6 links tragedy and “concentrated action, heightening (often associated with the concentration), and a cumulative logic” so that “comedy is accidentally dramatic, whereas tragedy is essentially dramatic,” and see Zeitlin in Burian, 60 for the implications.

For Epicharmus as burlesquing myth see Cassio in Willi, 51–84; Pickard-Cambridge, 1962, 230–288; Handley in Easterling and Knox, 115–118. Zagagi in Griffin, 1999, 177–218 stresses the similarities to comedy, for example, in Sophocles’ Trackers. The uncertainty of judging from titles, however, makes it difficult to know. 44–48, tells us) was political (as Bowie in Harvey and Wilkins, 324–327; Lowe in Redmond, 1988, 42), nor that the Clouds was primarily a social comedy. 9 Rehm, 1994, 34. On a more basic level, the Tractatus Coislinianus lists the elements of comedy as “plot, character, thought, diction, song, spectacle,” a list identical to the parts of tragedy, Poetics 1450a.

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Aristophanes and His Tragic Muse: Comedy, Tragedy and the Polis in 5th Century Athens by Stephanie Nelson


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