Costume in the Comedies of Aristophanes

Compton-Engle, Gwendolyn

doi:10.1017/cbo9781316018217

Cited by 58 publications

(14 citation statements)

References 147 publications

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“…This scene has been successfully interpreted through the lenses of: the play's themes, Aristophanes' self-definition and social mobility. 36 A rereading of it through the Oresteia intertext, however, produces a fresh interpretation of its range of meanings, contributing to our understanding of the political positioning of Wasps and this comedy's attitude towards Aeschylus.…”

Section: IImentioning

confidence: 99%

THE AESCHYLEAN STING INWASPS’ TALE: ARISTOPHANES’ ENGAGEMENT WITH THEORESTEIA

Wyles

2020

The Class. Q.

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The sting to Aristophanes’ ‘little tale’ in Wasps (λογίδιον, Vesp. 64) materializes from the comedy's interplay with the Oresteia. This article argues that Aristophanes alludes to both Agamemnon and Eumenides in the scenes running up to (and including) the trial scene, and that he exploits this intertext in the cloak scene (Vesp. 1122–264). While isolated allusions to the Oresteia have been identified in Wasps, a systematic consideration of these references has not been undertaken: a surprising absence in discussions of the ongoing competition between the comic and the tragic genres permeating Wasps’ dramatic action. Moreover, Aristophanes’ engagement with the Oresteia offers a special type of tragic intertext, in which the first and the last plays of a connected trilogy are referenced simultaneously, provocatively destabilizing the original. Furthermore, this allusion has implications for our understanding of a scene which recent scholarship has established as pivotal within the comedy, namely the cloak scene. The first part of this article, therefore, establishes the extent of Wasps’ engagement with the Oresteia and considers the significance of the ‘pastiche’ formed through the combined intertextual references to Agamemnon and to Eumenides. The second part explores the impact of this intertext on the interpretation of the cloak scene, revealing that its use of costume can be understood as a criticism of Aeschylus’ dramaturgy, inviting a negative reading of Bdelycleon's ideological stance and reinforcing the play's pessimistic view of the Athenian law courts.

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Section: IImentioning

confidence: 99%

THE AESCHYLEAN STING INWASPS’ TALE: ARISTOPHANES’ ENGAGEMENT WITH THEORESTEIA

Wyles

2020

The Class. Q.

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“…Imperio 1998;Carey 2000. 47 Casi todos coinciden en suponer que el regreso de Pluto desde el Asclepieion devolvería a los espectadores una imagen renovada del personaje (Russo 199;Stone 1981;Sommerstein 2001;Revermann 2006;Compton-Engle 2015); hasta podría verse rejuvenecido (Heberlein 1981). Un completo resumen del tema en Totaro 2016.…”

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Rhetoric of Corporality: Representation and Apprehension of Bodies in Aristophanes' Plutus

Fernández

2021

Humanitas

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En Pluto, la última comedia conservada de Aristófanes, los cuerpos ocupan el primer plano: están sustancialmente integrados al desenvolvimiento de la trama. El cuerpo ciego del dios de la riqueza, por ejemplo, es la causa de los males que aquejan a Atenas (los únicos ricos son los perversos) y también la solución del problema (a través de la curación de ese cuerpo enfermo). Este trabajo se propone ahondar en los modos, usos y regulaciones de la representación y aprehensión de los cuerpos en esta comedia, esencialmente en lo que respecta a la amenaza que significan la enfermedad y la vejez en ellos, así como explorar las experiencias sensoriales y afectivas que transitan en la relación con el mundo que los rodea.

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“…Rather, 'the sexual humour surrounding them is gentle and bound thematically to noble motifs'. 190 While Compton-Engle writes that for an 'idealised' figure, such as Peace, there is 'greater reverence and less physical contact' 191. In contrast, Theoria is the object of various aggressive and obscene jokes, and she receives the brunt of the erotic humour that so commonly concludes Aristophanes' plays.…”

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confidence: 99%

“…In contrast, the audience would have been more used to artistic depictions of Wealth as a baby or boy, rather than the wizened beggar present on the stage. 285 As Compton-Engle observes, the initial appearance of Wealth communicates to the audience that 'everything having to do with Wealth is awry' 286. It is only after he is healed that he appears rejuvenated, possibly younger, likely with a new mask to reflect his newly gained vision, and wearing the white robes characteristic of a pilgrim to Asclepius' temple.287 The costumes of the human characters also probably reflected Wealth's rejuvenation, with finer clothes replacing their previous rags.…”

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confidence: 99%

Gods on the comic stage

Dowe¹

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Other publications during candidature No other publications Contributions by others to the thesis No contributions by others Statement of parts of the thesis submitted to qualify for the award of another degree None Research involving human or animal subjects No animal or human subjects were involved in this research v ACKNOWLEDGEMENTS I would like to take this opportunity to express my sincere thanks and gratitude to my supervisor, Dr. David Pritchard, for his tireless support and invaluable advice over the last few years. I am profoundly grateful for your unfailing patience and continuous encouragement throughout the process of writing this thesis. I would also like to extend my gratitude to my secondary supervisor, Dr. Amelia Brown, who was always willing to provide feedback when I needed it, and always knew the answers to any vague questions I had on Greek religion. I would also like to acknowledge the invaluable advice and assistance of Judy King, who endured my constant queries and requests over the years. I am sincerely grateful for the amount of paperwork you filled out for me during my candidature. I would also like to acknowledge the feedback and suggestions from everyone on my research throughout the years. Finally, I must express my very profound gratitude to my parents, friends and fellow RHD students, for their continuous support throughout my study, and for acting as a sounding board whenever I needed to vent. Without all of the support given to me during this time, this thesis would not have been possible. vi

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Costume in the Comedies of Aristophanes

Cited by 58 publications

References 147 publications

THE AESCHYLEAN STING INWASPS’ TALE: ARISTOPHANES’ ENGAGEMENT WITH THEORESTEIA

THE AESCHYLEAN STING INWASPS’ TALE: ARISTOPHANES’ ENGAGEMENT WITH THEORESTEIA

Rhetoric of Corporality: Representation and Apprehension of Bodies in Aristophanes' Plutus

Gods on the comic stage

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