Love and Marriage in Greek New Comedy

Brown, Peter

doi:10.1017/s0009838800044268

Cited by 44 publications

(4 citation statements)

References 18 publications

(17 reference statements)

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“…16 It is outside the scope of this study to consider the ideological shift between Old Comedy and New Comedy through which the hetaira became a preeminent character in the representation of the household. For thorough-going examinations of the hetaira or courtesan in Greek Old and (especially) New Comedy, see, in particular, Anderson 1984, Brown 1990, Hauschild 1993, Henry 1985and 1986.147, and Konstan 1987 Lysistrata are not playing the part of wives; nor, it is important to emphasize, are they playing the part of two-bit hookers. 17 Within the ideological scope of the "non-wife," the category of hetaira existed at the elite end of a sexual and economic continuum that extended down through the categories aulêtris and orchêstris and bottomed out, in terms of a linguistic mapping of social and economic availability, with the pornê.…”

Section: Introductionmentioning

confidence: 99%

Designing Women: Aristophanes' Lysistrata and the "Hetairization" of the Greek Wife

Stroup¹

2004

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In this paper I argue that the sexually active wives of Aristophanes' Lysistrata are progressively "hetairized"—transformed into comic hetairai—by means of distinctly sympotic visual imagery and linguistic innuendo. After a brief discussion of the late fifth-century dramatic "problem" inherent in the sex-trading wife, I turn to the pan-Hellenic oath (193-237). The language of this oath, evocative of the imagery of red-figure sympotic vessels, initiates the women into the sphere of sympotic and hetairic activity. Next, I review the transaction scene between Myrrhine and her husband, Kinesias (847-64, 929-34). I argue that this scene, long recognized as "reminiscent" of brothel negotiations, picks up on the innuendo of the oath and puts it to the test with the bawdy language that likely marked a more typical representation of the comic hetaira. Finally, I suggest that both the "hetairization" and the theme of extra-domestic female activity are brought to an end with the coarse physical division of the silent (and "non-wifely") Diallage (1108-21). In a manipulation of the slippage between wife and non-wife—between sex and politics—the sharable Diallage incites her "customers" to transfer their sexual appetites toward a civic goal.

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Section: Introductionmentioning

confidence: 99%

Designing Women: Aristophanes' Lysistrata and the "Hetairization" of the Greek Wife

Stroup¹

2004

are

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“…6 See Kocka 2003, 29-44. 7 See Brown 1993, 192. 8 Burt 1980 The previous passages indicate why rape culture provides an interesting interpretative framework for delineating and decoding the various approaches to rape in Classical Athens.…”

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confidence: 99%

Rape culture in Classical Athens?

Koutsopetrou-Møller

2021

Classical Art and Archaeology

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Classical Athens had a culture of widespread sexual violence, where different forms of sexual misconduct were embedded in the normative framework. Numerous products of the city’s ‘popular culture’, such as mythology, literature and art, propagated the normalcy of rape. A large body of modern scholarship has correlated this frequency with the particular Athenian historical context during the Cassical period, underlining that ancient Athenians followed different standards and guidelines than we do for the evaluation of sexual behaviour. This article demonstrates that in Classical Athens the repeated representations of rape in literature and art were means to preserve the fundamental principles of the established male order. The power structure of the Classical Athenian polis fostered attitudes that remind us of the modern concept of ‘rape culture’. This concept, developed by feminist scholars to describe modern realities, reveals how societies can use culture to downgrade the moral wrongness of rape. ‘Rape culture’ will be used in this article as a model, or analytical tool, to reinterpret the Classical literary evidence on Athenian attitudes towards sexual assault. I will argue that this model makes better sense of the evidence than the now prevalent relativistic interpretation.

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“…Πρβλ. Walcott (1987:23-24) Σε ένα κλίμα όπου και ο έρωτας και ο γάμος ερμηνεύονται ενίοτε ως παιδεία, ενίοτε ως κοινωνικοποίηση, ενίοτε ως δημόσιο όφελος, ενίοτε ως φιλία και 182 Το ερώτημα αν οι αρχαίοι γνώριζαν τον ρομαντικό έρωτα εξετάστηκε από τους den Boer (1979) και Rudd (1981), που απαντάνε «ναι», τον Walcot (1987), «όχι», τους Brown (1993) και Cyrino (1995), «ναι», και τον Thornton (1997), ο οποίος αμφισβητεί την ύπαρξή του και σήμερα. Πρόκειται για ένα ζήτημα που θα παραμείνει άκρως υποκειμενικό μέχρι να οριστούν παράμετροι που θα ίσχυαν και για τον μελετητή και για τους άλλους, και που θα διέκρινε το ρομαντικό ερωτισμό, όπως νοείται σήμερα, μέσα από τους εκφραστικούς τρόπους που χρησιμοποίησε η αρχαιότητα.…”

Section: ο ερωτικός γάμος: μια σύνδεση του πάθους και της κοινωνικοποίησηςunclassified

Ο Μένανδρος Και Η Διαπαιδαγώγηση Του Θεατή

Ντανν¹

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Στο πνευματικό περιβάλλον του Μενάνδρου η λογοτεχνία εθεωρείτο αυτομάτως διδακτική. Η μενάνδρεια κωμωδία εφαρμόζει ένα είδος μαιευτικής μεθόδου που ασκεί υποσυνείδητα και συναισθηματικά τον θεατή ώστε να του αφαιρεί τις προκαταλήψεις και να του δίνει την ελευθερία να σχηματίσει μόνος του, με ευελιξία της σκέψης, μια ανανεωμένη αντίληψη της «φιλανθρωπίας».

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Love and Marriage in Greek New Comedy

Cited by 44 publications

References 18 publications

Designing Women: Aristophanes' Lysistrata and the "Hetairization" of the Greek Wife

Designing Women: Aristophanes' Lysistrata and the "Hetairization" of the Greek Wife

Rape culture in Classical Athens?

Ο Μένανδρος Και Η Διαπαιδαγώγηση Του Θεατή

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