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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.
Texts written in Latin, Greek and other languages provide ancient historians with their primary evidence, but the role of language as a source for understanding the ancient world is often overlooked. Language played a key role in state-formation and the spread of Christianity, the construction of ethnicity, and negotiating positions of social status and group membership. Language could reinforce social norms and shed light on taboos. This book presents an accessible account of ways in which linguistic evidence can illuminate topics such as imperialism, ethnicity, social mobility, religion, gender and sexuality in the ancient world, without assuming the reader has any knowledge of Greek or Latin, or of linguistic jargon. It describes the rise of Greek and Latin at the expense of other languages spoken around the Mediterranean and details the social meanings of different styles, and the attitudes of ancient speakers towards linguistic differences.
This book provides a unique panorama of this challenging area of Greek literature, combining literary perspectives with historical issues and material culture.
As literature written in Latin has almost no female authors, we are dependent on male writers for some understanding of the way women would have spoken. Plautus (3rd to 2nd century BCE) and Terence (2nd century BCE) consistently write particular linguistic features into the lines spoken by their female characters: endearments, soft speech, and incoherent focus on numerous small problems. Dorota M. Dutsch describes the construction of this feminine idiom and asks whether it should be considered as evidence of how Roman women actually spoke.
Provides a comprehensive critical engagement with Roman comedy and its reception presented by leading international scholars in accessible and up-to-date chapters.
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.
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. It examines the major developments in the establishment of these dramatic genres, their main characteristics, the performance contexts for them in Republican Rome, and their reception. The presentation of the key facts is accompanied by a description of the influential turns and recent trends in scholarship on Roman comedy. The essay is designed for scholars, teachers and (graduate) students who have some familiarity with Roman literature and are looking for (further) orientation in the area of Roman comedy.
A distinguished cast of scholars discusses models of gesture and non-verbal communication as they apply to Greek and Roman culture, literature and art. Topics include dress and costume in the Homeric poems; the importance of looking, eye-contact, and face-to-face orientation in Greek society; the construction of facial expression in Greek and Roman epic; the significance of gesture and body language in the visual meaning of ancient sculpture; the evidence for gesture and performance style in the texts of ancient drama; the erotic significance of feet and footprints; and the role of gesture in Roman law. The volume seeks to apply a sense of history as well as of theory in interpreting non-verbal communication. It looks both at the cross-cultural and at the culturally specific in its treatment of this important but long-neglected aspect of Classical Studies.
This volume acknowledges the centrality of comic invective in a range of oratorical institutions (especially forensic and symbouleutic), and aspires to enhance the knowledge and understanding of how this technique is used in such con-texts of both Greek and Roman oratory. Despite the important scholarly work that has been done in discussing the patterns of using invective in Greek and Roman texts and contexts, there are still notable gaps in our knowledge of the issue. The introduction to, and the twelve chapters of, this volume address some understudied multi-genre and interdisciplinary topics: first, the ways in which comic invective in oratory draws on, or has implications for, comedy and other genres, or how these literary genres are influenced by oratorical theory and practice, and by contemporary socio-political circumstances, in articulating comic invective and targeting prominent individuals; second, how comic invective sustains relationships and promotes persuasion through unity and division; third, how it connects with sexuality, the human body and male/female physiology; fourth, what impact generic dichotomies, as, for example, public-private and defence-prosecution, may have upon using comic invective; and fifth, what the limitations in its use are, depending on the codes of honour and decency in ancient Greece and Rome.