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TERENCE (Publius Terentius Afer, c. 195-159 B.C.), was a north African of Carthage. He was brought to Rome as a household slave of the Roman Terentius Lucanus, who had him educated and freed. Terence was then admitted to the society of Roman nobles who liked literature; for them chiefly he composed six Latin comedies (based on Greek models), all of which are extant. Gifted with an intimate knowledge of human nature, but preferring the kindly to the cruel, he presents us, in polished poetry, with loving parents and children, gentle masters, and faithful slaves, well suited to the Roman circle for which he was writing. Even where social behavior is not high, there is refinement and subtle humour. At least one of the plays has a very modern look. Indeed none of them is specially related to his own time; all however are meant to reproduce life as presented by playwrights of the 'New Comedy' (especially Menander) at Athens about a century earlier.
The six plays by Terence (d. 159 BC), all extant, imaginatively reformulate Greek New Comedy in realistic scenes and refined Latin. They include Phormio, a comedy of intrigue and trickery; The Brothers, which explores parental education of sons; and The Eunuch, which presents the most sympathetically drawn courtesan in Roman comedy.
When first performed, The Eunuch was a great success. Today, with its larger-than-life characters (particularly the boastful soldier Thraso and the toady Gnatho), its farcical and exaggerated humour and its vigorous action, it strikes the modern reader as the funniest and most Plautine of Terence's six comedies. It is also a play of effective and entertaining contrasts, particularly that between the two brothers Phaedria and Chaerea. Their very different attitudes to love and romance provide one of the play's chief points of interest, while Thais presents yet another picture of love, that of the professional courtesan. The fact that Thais, Thraso and the slave Parmeno are not quite the stereotypes we might expect to find in this type of play adds yet more to an amusing and thought provoking comedy.
A major, defining polarity in Euripidean drama, wisdom and folly, has never so far been the subject of a book-length study. The volume aims at filling this gap. Virtually all Euripidean characters, from gods to slaves, are subject to some aspect of folly and claim at least some measure of wisdom. The playwright’s sophisticated handling of the tradition and the pervasive ambiguity in his work add extra layers of complexity. Wisdom and folly become inextricably intertwined, as gods pursue their agendas and mortal characters struggle to control their destiny, deal with their troubles, confront their past, and chart their future. Their amoral or immoral behavior and various limitations often affect also their families and communities. Leading international scholars discuss wisdom and folly from various thematic angles and theoretical perspectives. A final section deals with the polarity’s reception in vase-painting and literature. The result is a wealth of fresh insights into moral, social and historical issues. The volume is of interest to students and scholars of classical drama and its reception, of philosophy, and of rhetoric
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An essential companion for the student of literature. Works selected include the best-known works of the classical Greek and Roman theatre.
Examines the role that cinema played in imagining Hong Kong and Taiwan's place in the world.
Marking the 50th anniversary of one among this philosopher’s most distinguished pieces, Blumenberg’s Rhetoric proffers a decidedly diversified interaction with the essai polyvalently entitled ‘Anthropological Approach to the Topicality (or Currency, Relevance, even actualitas) of Rhetoric’ ("Anthropologische Annäherung an die Aktualität der Rhetorik"), first published in 1971. Following Blumenberg’s lead, the contributors consider and tackle their topics rhetorically—treating (inter alia) the variegated discourses of Phenomenology and Truthcraft, of Intellectual History and Anthropology, as well as the interplay of methods, from a plurality of viewpoints. The diachronically extensive, disciplinarily diverse essays of this publication—notably in the current lingua franca—will facilitate, and are to conduce to, further scholarship with respect to Blumenberg and the art of rhetoric. With contributions by Sonja Feger, Simon Godart, Joachim Küpper, DS Mayfield, Heinrich Niehues-Pröbsting, Daniel Rudy Hiller, Katrin Trüstedt, Alexander Waszynski, Friedrich Weber-Steinhaus, Nicola Zambon.