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Laurence Professor of Ancient Philosophy Francis Macdonald Cornford (1874-1943)investigates the origin of Attic Comedy.
This book provides a unique panorama of this challenging area of Greek literature, combining literary perspectives with historical issues and material culture.
The topic of the origins of theatre is one of the most controversial in theatre studies, with a long history of heated discussions and strongly held positions. In The Roots of Theatre, Eli Rozik enters the debate in a feisty way, offering not just another challenge to those who place theatre’s origins in ritual and religion but also an alternative theory of roots based on the cultural and psychological conditions that made the advent of theatre possible. Rozik grounds his study in a comprehensive review and criticism of each of the leading historical and anthropological theories. He believes that the quest for origins is essentially misleading because it does not provide any significant insight for our understanding of theatre. Instead, he argues that theatre, like music or dance, is a sui generis kind of human creativity—a form of thinking and communication whose roots lie in the spontaneous image-making faculty of the human psyche. Rozik’s broad approach to research lies within the boundaries of structuralism and semiotics, but he also utilizes additional disciplines such as psychoanalysis, neurology, sociology, play and game theory, science of religion, mythology, poetics, philosophy of language, and linguistics. In seeking the roots of theatre, what he ultimately defines is something substantial about the nature of creative thought—a rudimentary system of imagistic thinking and communication that lies in the set of biological, primitive, and infantile phenomena such as daydreaming, imaginative play, children’s drawing, imitation, mockery (caricature, parody), storytelling, and mythmaking.
The pervasive and unrestrained use of obscenity has long been acknowledged as a major feature of fifth-century Attic Comedy; no other Western art form relies so heavily on the sexual and scatological dimensions of language. This acclaimed book, now in a new edition, offers both a comprehensive discussion of the dynamics of Greek obscenity and a detailed commentary on the terminology itself. After contrasting the peculiar characteristics of the Greek notion of obscenity to modern-day ideas, Henderson discusses obscenity's role in the development of Attic Comedy, its historical origins, varieties, and dramatic function. His analysis of obscene terminology sheds new light on Greek culture, and his discussion of Greek homosexuality offers a refreshing corrective to the idealized Platonic view. He also looks in detail at the part obscenity plays in each of Aristophanes' eleven surviving plays. The latter part of the book identifies all the obscene terminology found in the extant examples of Attic Comedy, both complete plays and fragments. Although these terminological entries are arranged in numbered paragraphs resembling a glossary, they can also be read as independent essays on the various aspects of comic obscenity. Terms are explained as they occur in each individual context and in relation to typologically similar terminology. With newly corrected and updated philological material, this second edition of Maculate Muse will serve as an invaluable reference work for the study of Greek drama.
This book places the plays of Aristophanes in their contemporary context, asking what aspects of Greek, and especially Athenian, culture these comedies brought into play for their original audiences. It makes particular use of the structural analysis of Greek rituals and myths to demonstrate how their meanings and functions can be used to interpret the plays. This information is then used to suggest ways in which twentieth-century audiences may read the plays in terms of contemporary literary theories and concerns. This is the first book to apply the techniques of structural anthropology systematically to all the comedies. It does not impose a single interpretative structure on the plays but argues that each play operates with a range of different structures, and that groups of plays use similar structures in different ways. All Greek is translated.
The present volume sets forth the main resources for the advancing student of Ancient Greek Comedy. An international roster of specialists contributes chapters organized into three sections: "Contexts": the intellectual, physical and socio-historical setting of Athenian Comedy; "History": the literary history of the Old, Middle and New periods; and "Elements": the text, language and formal components of the genre (including a comprehensive bibliography). This Companion is designed as a resource for understanding and interpreting the classics of Athenian Comedy from its inception through Menander. It will also be useful for navigating the principal corpora of texts, fragments and scholia that have been revised and augmented in recent years.This unique volume occupies the middle ground between short surveys and highly specialized scholarship. Contributors include: W. Geoffrey Arnott, Angus Bowie, Eric Csapo, Gregory W. Dobrov, J. Richard Green, Stanley Ireland, Heinz-Günther Nesselrath, S. Douglas Olson, Alan H. Sommerstein, Ian Storey, Ralph M. Rosen, Andreas Willi, Bernhard Zimmermann.