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The play in which Aristophanes gives his account of the project of the third living wise man (after Socrates and Aristophanes himself): Euripides the tragic poet. To accompany Leo Strauss, SOCRATES AND ARISTOPHANES.
2012 •
This is a comparison of Agathon’s role in Aristophanes’ Thesmophoriazusae and Plato’s Symposium. Firstly, I examine the Platonic version, and the unique, idiosyncratic part Plato gives Agathon to play, as a host to all, and a hostage to Socrates. Secondly, I discuss his interaction with Inlaw, the ordinary Athenian, in Aristophanes’ play. Such parallel reading allows us not only to refine our outlook on the dramatic construction both of the “talking party” and of the comic performance, but also to capture how really poikilos, for better or worse, that urban love could be. Finally, I analyze the significance of this juxtaposition, as an intertext. Plato, I argue, produces a proper palinode of Agathon, as an erotikos and a mimetic poet. By taking seriously the face-to-face between Agathon and Agathon, two dissonant and yet compatible variations on one man, our picture of Athenian erotic culture emerges sharper, and in greater detail. Key words: Eros, sensuality, praise, blame, softness, manliness, effeminacy, body, language.
The paper proposes a new interpretation of the parodic reference to Euripides’ Hippolytus 345 present in the opening lines of Aristophanes’ Knights. It argues that the comic poet singles out exactly that line with the purpose of reminding the ‘correction’ which Euripides was compelled to make as the first version of his tragedy had ‘scandalized’ the audience, that same audience which then applauded the new version without realizing – to Aristophanes’ eyes – the ‘trick’ of Euripides’ subtle change.
This undergraduate dissertation applies Bakhtin's theory of carnival to Aristophanes' fifth-century comedy, the Thesmophoriazusae, and the prologue to Chaucer's fourteenth-century dream poem, The Legend of Good Women. It seeks to show that both of these texts employ manifestations of carnival to invert the natural order of men over women, but not with the sole aim of providing a commentary on gender politics; rather, in both cases the carnivalesque inversion reveals an anxiety over literary control.
Abstract Aristophanes is the most important comedy writer in Classical Era in Greece in the 5th century BC. Although it is assumed that there were other comedy writers in his time, their works are unkown. Aristotle mentions that Aristophanes found the old comedy as a genre and saved it from being simple and ordinary. We have only 11 of his works although he is known to have 44 works. Theatric plays reflect their times and enlighten differing aspects of the life of people. On this ground Aristophanes played an important role with his satires teasing people of his time. Exceptionally he frequently used woman characters in his comedies, reflected the woman images, and especially created strong woman characters in his plays. In a time where there were no names of “woman” and “woman rights” he handled women valiantly in his plays. While woman were treated as second class under constant custody of men like father, husband, brother, son, uncle in such a society women stand out as a “personage” in most of Aristophanes’ writings. He used mostly women characters in his plays especially like Lysistrata (Army-Disbander), Thesmophoriazusae (Women Celebrating the Festival of the Thesmophoria), Ecclesiazusae (Parliament of Women) and commited the control of stories to them. Aristophanes used satiric criticism throughout his authorship with the street language. He fiercely opposed to the woman image that society imposed and stood up for “effective woman” rather than gender equality and emphasized that this is neglected and necessary to restore. In this study, distinct and incompatible style of Aristophanes’ approach to woman image will be evaluated and analysed in the examples of his comedies.
2009 •
Surprisingly few gods appear in the eleven surviving comedies of Aristophanes. This article examines what roles the gods do play when they are present. It further argues that humans with divine attributes often appear in lieu of the gods themselves. These humans, together with the handful of gods who are present, fall into the broad functional categories of helpers and opponents of the comic protagonist. The gods' absence is to be attributed to an Aristophanic conception of human agency, namely that humans in comedy, especially when compared to tragedy, have extraordinary control of their lives. A god's presence would be too great a threat to comic inventiveness.
2013 •
Overall volume co-authored with C. Collard
Studia archaeologica Brunensia. 2023, vol. 28, iss. 2,
Keltové a Germáni -teze a obrazy Celts and Germans -theses and images2023 •
Ars Artium, vol. 12
Growing up in the Caribbean: A Reading of The Nowherians and Other Stories2024 •
2012 •
International journal of engineering sciences and emerging technologies
High Throughput of Asynchronous Traffic and Maximum Capacity of Synchronous Sources with the New Fddi's Mac Protocol2012 •
2014 •
As crenças na igualdade
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Dynamic coupling between fMRI local connectivity and interictal EEG in focal epilepsy: A wavelet analysis approach2017 •
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