Talking to Slaves in the Plautine Audience

Richlin, Amy

doi:10.1525/ca.2014.33.1.174

Cited by 40 publications

(5 citation statements)

References 22 publications

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“…8 Responding to this second body of scholarship directly, Richlin gently dismisses the split in traditions as illustrative of 'an axiom in intellectual history' that each generation must reject the philosophy of their foremothers; here, the pessimistic epistemology of second-wave feminisms has been inexorably superseded by the optimistic epistemology of third-wave feminisms. 9 Yet for Richlin 'the case of Ovid' has been abandoned without a satisfactory resolution. Radical feminists remain sceptical about the ability to recuperate the subjectivity of women in a male-authored text, while resisting readers continue to reject the radical feminist standpoint as too literal -a naïve and reductive surface reading of Ovid's politically subversive poetry.…”

Section: Holly Rangermentioning

confidence: 99%

Why are We Still Reading Ovid’s Rapes?

Ranger¹

2023

Revisiting Rape in Antiquity

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Section: Holly Rangermentioning

confidence: 99%

Why are We Still Reading Ovid’s Rapes?

Ranger¹

2023

Revisiting Rape in Antiquity

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“…The composition and cultural competence of the Plautine audience continues to be extremely controversial; see my comments in the postscript below. For the discourse, see Cèbe (1960), Chalmers (1965), 39–41, Handley (1975), Fontaine (2010), 149–200, Leigh (2000) and Richlin (2014).…”

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confidence: 99%

“…63.E.g. most recently Richlin (2014). While conceding that the ‘plays themselves deliver something for everyone: some plotlines for the elite (to some degree); scenes, even plotlines for the underclass’ (221), Richlin ultimately concludes that the palliata originated as entertainment of and for the lower classes which, it is implied, did not partake in Greek literary culture.…”

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confidence: 99%

“…67.This point is not lost on Richlin (2014), 216–19, who rightly observes that ‘conventions of class labeling, occupation and cultural identity homogenize too much’, pointing, inter alia , to the many thousands of Greek slaves resident in Plautus’ Rome, captives from the city's campaigning. Nevertheless, on the nature and function of Plautine comedy she sticks to her guns.…”

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MYTH, LETTERS AND THE POETICS OF ANCESTRY IN PLAUTUS'BACCHIDES

Barbiero¹

2018

Ramus

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The Plautine corpus contains five letter-plays, comedies in which epistles are composed, delivered and/or read onstage and figure as a major element of the plot. These embedded missives, both stolen and forged ex nihilo, are variously employed by the personae to enact deception and engender duplicitous maneuvering of epistolary conventions, as well as sophisticated jokes about literacy and the dynamics of the medium. The Bacchides features the most elaborate manifestation of this motif. A servus called Chrysalus schemes to facilitate the love affair between his erus minor, Mnesilochus, and the young man's beloved Bacchis. Bacchis resides at Athens with her sister, another hetaera likewise called Bacchis, whose name and affair with the Bacchides’ second adulescens, Pistoclerus, precipitate a misapprehension that causes the play to reset. Under the mistaken impression that Pistoclerus is in love with his own Bacchis, Mnesilochus returns the money Chrysalus has successfully filched from his father, Nicobulus, informing on the tricky slave and undoing his progress. Once the mistake is clarified, Mnesilochus prevails upon Chrysalus to invent a new ruse for getting the girl. The schemer uses epistles to do it all over again. His second round of tricks consists of a two-pronged stratagem in which he forges and delivers a pair of letters to Nicobulus allegedly from Mnesilochus. The missives serve to pilfer not one but two sums of gold from the old man, permitting Chrysalus and his younger master to both purchase Bacchis’ freedom from her contract with the miles and have some fun.

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“… 2 To mention only a few: Goldberg 2005; Wiseman 2009 (reviewed by H. Flower, JRS 100 (2010), 251–3); Richlin 2014; Wiseman 2015; Feeney 2016. …”

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confidence: 99%

Shored Against Our Ruins

Marincola

2016

J. Rom. Stud.

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These are exciting times for the study of Roman literature. New editions of the fragmentary poets and prose writers either have appeared or are in preparation, while renewed interest in the nature and character of the early Roman audience, and in the development of Roman literature itself, has sought to explain the larger context in which these writings arose and were read. Monographs and commentaries on early writers and genres have appeared in profusion, with four volumes on Ennius' Annals alone published within two years, at least one of which has raised serious questions of what we can and cannot know of the structure, orientation and contents of a poem that was (uniquely) influential on both later poetry and history.

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Talking to Slaves in the Plautine Audience

Cited by 40 publications

References 22 publications

Why are We Still Reading Ovid’s Rapes?

Why are We Still Reading Ovid’s Rapes?

MYTH, LETTERS AND THE POETICS OF ANCESTRY IN PLAUTUS'BACCHIDES

Shored Against Our Ruins

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