By Michael Fontaine
In fresh many years literary ways to drama have accelerated: new historic, intertextual, political, performative and metatheatrical, socio-linguistic, gender-driven, transgenre-driven. New info has been collected, occasionally through re-assessment of extant literary texts and fabric artifacts, at different instances from new discoveries from the fields of archaeology, epigraphy, artwork background, and literary reviews. The Oxford instruction manual of Greek and Roman Comedy marks the 1st finished creation to and reference paintings for the unified examine of historic comedy. From the delivery of comedy in Greece to its lead to Rome, from the Hellenistic diffusion of performances after the loss of life of Menander to its inventive, scholarly, and literary receptions within the later Roman Empire, no subject is overlooked. forty-one essays unfold throughout Greek Comedy, Roman Comedy, and the transmission and reception of historical comedy via a global group of specialists provide state of the art publications in the course of the monstrous terrain of the sector, whereas knowledgeable creation surveys the foremost developments and shifts in scholarly learn of comedy from the Sixties to this day. The instruction manual comprises unique appendices that offer worthwhile learn instruments for either students and scholars. the outcome bargains Hellenists an exceptional evaluate of the earliest reception and inventive reuse of Greek New Comedy, Latinists a large standpoint of the evolution of Roman Comedy, and students and scholars of classics a good source and tipping aspect for destiny interdisciplinary research.
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Extra resources for The Oxford Handbook of Greek and Roman Comedy (Oxford Handbooks)
1995. “Theatre Production: 1987–1995. ” Lustrum 37: 7–202. ——. 1997. “Deportment, gown and Naturalism in Comedy. ” Pallas 47: 131–43. ——. 2008. “Theatre Production: 1996–2006. ” Lustrum 50: 7–391. MacDowell, D. M. 1989. “Athenian legislation approximately Choruses. ” In Symposion 1982. Vorträge zur griechischen und hellenistischen Rechtsgeschichte, edited through F. J. Fernandez Nieto, 67–77. Akten der Gesellschaft für griechische und hellenistische Rechtsgeschichte five. Cologne: Böhlau. Marshall, C. W. 2006. The Stagecraft and function of Roman Comedy. Cambridge, united kingdom: Cambridge University Press. Moretti, J. -C. 2001. Théâtre et société dans los angeles Grèce antique: Une archéologie des pratiques théâtrales. Paris: Librairie générale française. Nervegna, S. 2013. Menander in Antiquity: The Contexts of Reception. Cambridge, UK: Cambridge University Press. Pickard-Cambridge, A. 1968. Dramatic fairs of Athens. 2d ed. , edited by way of J. Gould and D. M. Lewis. Oxford: Clarendon Press. Revermann, M. 2006. comedian Business: Theatricality, Dramatic approach, and function Contexts of Aristophanic Comedy. Oxford: Oxford University Press. 01_9780199743544-Part_1_29-92. indd sixty eight 10/22/2013 7:56:58 PM PERFORMING GREEK COMEDY sixty nine Roselli, D. ok. 2011. Theater of the People: Spectators and Society in historical Athens. Austin: collage of Texas Press. Taplin, O. 1993. comedian Angels. Oxford: Clarendon Press. Webster, T. B. L. , and J. R. eco-friendly. 1978. Monuments Illustrating outdated and heart Comedy. BICS Suppl. 39. London: Institute of Classical reports. Webster, T. B. L. , J. R. eco-friendly, and A. Seeberg. 1995. Monuments Illustrating New Comedy. BICS Suppl. 50. London: Institute of Classical reports. Wiles, D. 1991. The mask of Menander: Sign and that means in Greek and Roman functionality. Cambridge: Cambridge University Press. ——. 2000. Greek Theatre Performance: An creation. Cambridge: Cambridge University Press. Wilson, P. 2000. The Athenian establishment of the Khoregia. Cambridge: Cambridge University Press. 01_9780199743544-Part_1_29-92. indd sixty nine 10/22/2013 7:56:58 PM C HA P T E R three D I O N YS IAC F E S T I VA L S I N AT H E N S A N D T H E F I NA N C I N G O F C O M I C PERFORMANCES A N DRON I ok E M A ok R E S The establishment of liturgies in historical Athens was once a procedure wherein wealthy Athenians have been assigned the duty of delivering investment for distinct public wishes. there have been forms of liturgy, army and competition. the foremost army one used to be the trierarchy, for which a wealthy funder (trierarch) outfitted and commanded a trireme (warship) for a 12 months; the most pageant liturgy used to be the choregia (pl. choregiai), for which a wealthy funder (choregos, pl. choregoi) took cost of manufacturing a dithyrambic, tragic, or comedian refrain that played at a public competition. because the performances came about in a aggressive context (the agon), the choregia used to be additionally termed an “agonistic liturgy. ” This bankruptcy specializes in the latter form of liturgy, the choregia. It first bargains a few short feedback at the ideological foundations of this establishment, after which discusses the choregia for comedies played within the dramatic contests on the significant urban fairs, the town (or nice) Dionysia and the Lenaea, either in honor of the god Dionysus.