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This book presents a comprehensive account of features of Latin that emerge from dialogue: commands and requests, command softeners and strengtheners, statement hedges, interruptions, attention-getters, greetings and closings. In analyzing these features, Peter Barrios-Lech employs a quantitative method and draws on all the data from Roman comedy and the fragments of Latin drama. In the first three parts, on commands and requests, particles, attention-getters and interruptions, the driving questions are firstly - what leads the speaker to choose one form over another? And secondly - how do the playwrights use these features to characterize on the linguistic level? Part IV analyzes dialogues among equals and slave speech, and employs data-driven analyses to show how speakers enact roles and construct relationships with each other through conversation. The book will be important to all scholars of Latin, and especially to scholars of Roman drama.
This book examines Terence's use of language and provides the first linguistic and stylistic commentary on the extant fragments of the fabula palliata, togata and atellana. Terence, except in the case of his Eunuchus, is shown to distance himself in style and language from the practice of other comic authors.
This book examines Terence's use of language and provides the first linguistic and stylistic commentary on the extant fragments of the fabula palliata, togata and atellana. Terence, except in the case of his Eunuchus, is shown to distance himself in style and language from the practice of other comic authors.
Ancient Greek comedy relied primarily on its text and words for the fulfilment of its humorous effects and aesthetic goals. In the wake of a rich tradition of previous scholarship, this volume explores a variety of linguistic materials and stylistic artifices exploited by the Greek comic poets, from vocabulary and figures of speech (metaphors, similes, rhyme) to types of joke, obscenity, and the mechanisms of parody. Most of the chapters focus on Aristophanes and Old Comedy, which offers the richest arsenal of such techniques, but the less ploughed fields of Middle and New Comedy are also explored. Emphasis is placed on practical criticism and textual readings, on the examination of particular artifices of speech and the analysis of individual passages. The main purpose is to highlight the use of language for the achievement of the aesthetic, artistic, and intellectual purposes of ancient comedy, in particular for the generation of humour and comic effect, the delineation of characters, the transmission of ideological messages, and the construction of poetic meaning. The volume will be useful to scholars of ancient drama, linguists, students of humour, and scholars of Classical literature in general.
This contribution by Gesine Manuwald provides an introduction to all varieties of ‘Roman comedy’, including primarily fabula palliata (‘New Comedy’, as represented by Plautus and Terence) as well as fabula togata, fabula Atellana, mimus and pantomimus.
For many years the domain of specialists in early Latin, in complex metres, and in the reconstruction of texts, Roman comedy is now established in the mainstream of Classical literary criticism. Where most books stress the original performance as the primary location for the encountering of the plays, this book finds the locus of meaning and appreciation in the activity of a reader, albeit one whose manner of reading necessarily involves the imaginative reconstruction of performance. The texts are treated, and celebrated, as literary devices, with programmatic beginnings, middles, ends, and intertexts. All the extant plays of Plautus and Terence have at least a bit part in this book, which seeks to expose the authors' fabulous artificiality and artifice, while playing along with their differing but interrelated poses of generic humility.
Explores in depth how bilingualism in the correspondence of elite Romans illuminates their lives, relationships and identities.
Provides a comprehensive critical engagement with Roman comedy and its reception presented by leading international scholars in accessible and up-to-date chapters.
This volume collects papers on pragmatic perspectives on ancient theatre. Scholars working on literature, linguistics, theatre will find interesting insights on verbal and non-verbal uses of language in ancient Greek and Roman Drama. Comedies and tragedies spanning from the 5th century B.C.E. to the 1st century C.E. are investigated in terms of im/politeness, theory of mind, interpersonal pragmatics, body language, to name some of the approaches which afford new interpretations of difficult textual passages or shed new light into nuances of characterisation, or possibilities of performance. Words, silence, gestures, do things, all the more so in dramatic dialogues on stage.