Tragedy on the Comic Stage

Farmer, Matthew C.

doi:10.1093/acprof:oso/9780190492076.001.0001

Cited by 62 publications

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“…Key articles are by Muecke (1977Muecke ( , 1982aMuecke ( , 1982b; Bobrick (1997); Stehle (2002); and, above all, Zeitlin (1981), which remains the classic treatment. See also Bierl (1999); Bowie (1993) 205-27;Compton-Engle (2015); Farmer (2017); Moulton (1981) 108-43;Taaffe (1993); Whitman (1964) 216-28. Cross-dressing and comedy are most often seen in terms of ritual: see Bowie (1993); Lada-Richards (1998).…”

Section: Isabel Ruffellmentioning

confidence: 99%

Poetics, Perversions, and Passing: Approaching the Transgender Narratives ofThesmophoriazousai

Ruffell

2020

Illinois Classical Studies

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Aristophanes’s Thesmophoriazousai offers a complex engagement with transgender identity and practice. It explores up to seven different transgendered modes through a variety of motivations and audience response. While embracing fictional/dramatic performance, these modes are best understood within the larger social and cultural framework that the play directly and indirectly suggests. Perched, like much Old Comedy, on the horns of social conservatism and conceptual flexibility, but also acknowledging a broad transgender continuum, the play’s creative tension allows for it to be recuperated and re-used by queer audiences and readers.

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Section: Isabel Ruffellmentioning

confidence: 99%

Poetics, Perversions, and Passing: Approaching the Transgender Narratives ofThesmophoriazousai

Ruffell

2020

Illinois Classical Studies

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“…2.Rejuvenation: Whitman (1964), 156–61, Vaio (1971), 343, Sommerstein (1977), 268, Lenz (1980), 38–40, Henderson (1991), 81f., Purves (1997), 18, Silk (2000), 425–9, Boulic (2009), Biles (2016), 136, Payne (2016), 13f., Farmer (2017), 148, Papathanasopoulou (2019), 268 n.47, Morosi (2020), 119f. Dardanis: Ar.…”

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confidence: 99%

THE THIRD LIFECYCLE OF PHILOKLEON IN ARISTOPHANES’ WASPS

Cowan

2022

Ramus

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The mutability of Philokleon's generational identity in Aristophanes’ Wasps is well established. Critics routinely write of his ‘rejuvenation’ in the second half of the play, and it is in the scene with the αὐλητρίϲ (‘aulos-girl’), Dardanis, that the old man most explicitly plays the part of an irresponsible youth waiting for his son (in the role of father) to die. However, inversions and perversions of generational identity pervade the whole play. Even before Philokleon has undergone his liberating transformation at the symposion, the educational roles of father and son are reversed as Bdelykleon schools him in the proper way to behave in polite society. More subtly and extensively, Bowie has shown how the three agones in which Philokleon unsuccessfully engages during the first half of the play correspond to the three stages of an Athenian male citizen's life: ephebeia, maturity in the hoplite phalanx, and old age in the jury. However, critics have not observed that Philokleon goes through another, parallel journey from youth through maturity to old age in the three ‘iambic scenes’ where he is confronted by the victims of his outrageous behaviour on his way home from the symposion. This article will show how Aristophanes constructs this third lifecycle (counting Bowie's agones and his literal maturation before the play's action begins) before considering its implications for the wider characterization of Philokleon and in particular the final scene.

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“…35 (quoting/parodying Euripides) Arnott (2000). notes that Stobaeus, who frequently excerpts passages from fourth-century comedy, does not include gnomic material from old comedy.20 On tragedy and paratragedy in fourth-century comedy, seeGutzwiller (2000),Cusset (2003), Farmer (2017.…”

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confidence: 99%

“…20On tragedy and paratragedy in fourth-century comedy see Gutzwiller (2000); Cusset (2003); Farmer (2017). …”

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confidence: 99%

Wisdom in Inverted Commas: Greek Comedy and the Quotable Maxim

Wright

2021

Camb. class. j.

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Greek comedy is full of quotable maxims. According to a literal reading, the comedians might be seen as custodians of traditional gnomic wisdom, along with their tragic counterparts. Nevertheless, it is argued here that maxims in comedy are different from maxims in other contexts. Comic maxims typically appear ‘within inverted commas’, not just in a literal sense (because of their inherent ‘quotationality’) but in a figurative sense (because of their pervasive irony and self-consciousness). Examples from Menander, Antiphanes, Diphilus and others are used to demonstrate that the comedians can be seen as playing around with the content and form of traditional wisdom. Sometimes they seem to be poking fun at the maxim as a medium of expression, or at tragic maxims, or at the habit of quotation itself.

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Tragedy on the Comic Stage

Cited by 62 publications

References 0 publications

Poetics, Perversions, and Passing: Approaching the Transgender Narratives ofThesmophoriazousai

Poetics, Perversions, and Passing: Approaching the Transgender Narratives ofThesmophoriazousai

THE THIRD LIFECYCLE OF PHILOKLEON IN ARISTOPHANES’ WASPS

Wisdom in Inverted Commas: Greek Comedy and the Quotable Maxim

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