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This text presents the work of 56 poets, including Cratinus and Eupolis, the other members (along with Aristophanes) of the canonical Old Comic triad. For each poet and play their is an introduction, brief notes and select bibliography.
The era of Old Comedy (ca. 485–ca. 380 BC), when theatrical comedy was created and established, is best known through the extant plays of Aristophanes. But the work of many other poets, including Cratinus and Eupolis, the other members, with Aristophanes, of the canonical Old Comic Triad, survives in fragments.
The work of the 'other' comic poets of classical Athens, those who competed with, and in some cases defeated, their (eventually) better-known fellow comedian, Aristophanes, has almost eluded the historical record. The poetry of Cratinus, Phrynichos, Eupolis and the rest has survived only in tantalising, often tiny, fragments and citations. Modern studies in this field have themselves often been difficult of access. Here an exceptional cast of scholars, including most of the leading international authorities, provides a set of 28 interpretative essays to cover every one of these 'other' poets of Athenian Old Comedy for whom significant evidence survives. The work includes a comprehensive bibliography, and is a landmark in the study of Old Comedy.
A collection of over 200 of the most interesting and important fragments of Greek comedy, accompanied by a commentary; an extensive introduction discussing the history of comic genre; a series of appendixes on the individual poets, the inscriptional evidence, and the like; and a complete translation of the fragments. Individual sections illustrate the earliest Greek comedy from Syracuse; the characteristic features of Athenian `Old', `Middle', and `New Comedy'; the comic presentation of politicians, philosophers, and women; the comic reception of other poetry; and many aspects of daily life, including dining and symposia.
This book offers a comprehensive review and reassessment of the classical sources describing the cryptographic Spartan device known as the scytale. Challenging the view promoted by modern historians of cryptography which look at the scytale as a simple and impractical 'stick', Diepenbroek argues for the scytale's deserved status as a vehicle for secret communication in the ancient world. By way of comparison, Diepenbroek demonstrates that the cryptographic principles employed in the Spartan scytale show an encryption and coding system that is no less complex than some 20th-century transposition ciphers. The result is that, contrary to the accepted point of view, scytale encryption is as complex and secure as other known ancient ciphers. Drawing on salient comparisons with a selection of modern transposition ciphers (and their historical predecessors), the reader is provided with a detailed overview and analysis of the surviving classical sources that similarly reveal the potential of the scytale as an actual cryptographic and steganographic tool in ancient Sparta in order to illustrate the relative sophistication of the Spartan scytale as a practical device for secret communication. This helps to establish the conceptual basis that the scytale would, in theory, have offered its ancient users a secure method for secret communication over long distances.
This book offers an interpretation of the handling of costume in the plays of the fifth-century comic poet Aristophanes. Drawing on both textual and material evidence from the fourth- and fifth-century Greek world, it examines three layers of costume: the bodysuit worn by the actors, the characters' clothes, and the additional layering of disguise. A chapter is also devoted to the inventive costumes of the comic chorus. Going beyond describing what costumes looked like, the book focuses instead on the dynamics of costume as it is manipulated by characters in the performance of plays. The book argues that costume is used competitively, as characters handle each other's costumes and poets vie for status using costume. This argument is informed by performance studies and by analyses of gender and the body.
Theopompos was one of the leading comic playwrights of late fifth- and early fourth-century Athens, competing actively with the great Aristophanes and winning several victories. This volume presents the first complete translation and commentary on his surviving fragments. He participated in important trends during the transition from Old to Middle Comedy, including tragic and epic parody and an interest in the figure of the hetaira; among other gems, his fragments include the oldest extant reference to the philosopher Plato.
This volume examines whether dramatic fragments should be approached as parts of a greater whole or as self-contained entities. It comprises contributions by a broad spectrum of international scholars: by young researchers working on fragmentary drama as well as by well-known experts in this field. The volume explores another kind of fragmentation that seems already to have been embraced by the ancient dramatists: quotations extracted from their context and immersed in a new whole, in which they work both as cohesive unities and detachable entities. Sections of poetic works circulated in antiquity not only as parts of a whole, but also independently, i.e. as component fractions, rather like quotations on facebook today. Fragmentation can thus be seen operating on the level of dissociation, but also on the level of cohesion. The volume investigates interpretive possibilities, quotation contexts, production and reception stages of fragmentary texts, looking into the ways dramatic fragments can either increase the depth of fragmentation or strengthen the intensity of cohesion.
The Oxford Handbook of Greek and Roman Comedy marks the first comprehensive introduction to and reference work for the unified study of ancient comedy. From its birth in Greece to its end in Rome, from its Hellenistic to its Imperial receptions, no topic is neglected. The 41 essays offer cutting-edge guides through comedy's immense terrain.
A recently-published second-century papyrus, P.Oxy. 5283, contains prose summaries (hypotheses) of six plays by the Greek dramatist Euripides, including two lost plays depicting the hero Perseus, Dictys and Danaë. This book demonstrates the significance of this discovery for our understanding of Greek tragedy. After setting out the mythological and dramatic context, and offering a new text and translation based on autopsy, the book analyses the light which the papyrus sheds on these plays, whose narratives, centred on female resistance to abusive male tyrants, speak as powerfully to us today as they did to their original audiences. It then investigates Euripides’ tragic trilogy of 431 BC, which ended with Dictys and began with Medea, whose dramatic power now stands in sharper focus given our improved understanding of the production in which it originally appeared. Finally, it ponders the purpose which these hypotheses served, and why readers in the second century AD should have wanted a summary of plays written more than half a millennium before. All Greek (and Latin) is translated, making the book accessible not just to classicists, but to theatre historians and to anyone interested in Greek literature, drama, and mythology.