Examines the political dimensions of Aristophanes’ comedian poetry.
This unique and wide-ranging assortment of essays deals, for the 1st time, a entire exam of the political dimensions of that madcap comedian poet Aristophanes. Rejecting the declare that Aristophanes is little greater than an insignificant comic, the participants to this interesting quantity show that Aristophanes merits to be put within the ranks of the best Greek political thinkers. As those essays display, all of Aristophanes’ performs deal with problems with primary political significance, from warfare and peace, poverty and wealth, the relation among the sexes, demagoguery and democracy to the function of philosophy and poetry in political society. obtainable to scholars in addition to students, The Political thought of Aristophanes can be used simply within the school room, yet while function a helpful resource for these engaging in extra complex study. no matter if the sphere is political philosophy, classical experiences, heritage, or literary feedback, this paintings will make it essential to reconceptualize how we comprehend this nice Athenian poet and strength us to realize the political ramifications and underpinnings of his uproarious comedies.
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Additional resources for The Political Theory of Aristophanes: Explorations in Poetic Wisdom
This variation has been ready by means of continuous references to the nice Athenian prior, from the slaves’ early connection with Themistocles’ suicide (84) to references to Marathon, Salamis, Cimon, Themistocles, and Miltiades (407, 781, 785, 812–19, 884, 1040, 1312). Aristophanes and the Polis 129 sixteen. See Sommerstein, Knights, 215; Ovid, Metamorphoses, 7. 159–349. 17. a convention that is going again so far as Gilgamesh’s lack of the plant “The-oldman-becomes-a-young-man” (Gilgamesh eleven. 300). See E. Griffiths, Medea (London: Taylor & Francis, 2006), 23–25, 45–46, for the recognition of the subject, fairly on vases. Edmunds, Cleon, Knights, and Aristophanes’ Politics, 43–49, takes the transformation as in simple terms optimistic, implying no longer a brand new adolescence, yet an Ionian domination of Greece; MacDowell, Aristophanes and Athens, 104n41, sees the rejuvenation as no longer literal, even though L. M. Stone, dress in Aristophanic Comedy (New York, 1981), 402–3, 406–7, and J. Rusten, ed. , The start of Comedy: Texts, records, and paintings from Athenian comedian Competitions, 486–280 (Baltimore: Johns Hopkins collage Press, 2011), 424, see Demos as really buying a brand new masks in addition to a brand new dress; see additionally S. Douglas Olson, “The New Demos of Aristophanes’ Knights,” Eranos 88 (1990): 60–67. regardless of Erich Segal, The dying of Comedy (Cambridge: Harvard college Press, 2001), literal rejuvenation isn't really universal in Aristophanes; even Philocleon is “young back” essentially in center. For visible parodies of rejuvenation, see Rusten, The start of Comedy, 442; A. Kossatz-Deissmann, Greek Vases within the J. Paul Getty Museum 6 (2000): 187–204. 18. For Aristophanes’ id with the Sausage-seller specifically, see Ruffell, “A overall Write-off,” a hundred and fifty; for Aristophanes’ traditional id of the hero’s victory along with his personal, as Acharnians 1224ff. , see Sommerstein, Knights, 215; Kenneth J. Reckford, Aristophanes’ Old-and-New Comedy (Chapel Hill: collage of North Carolina Press, 1987), 119–20. within the very subsequent yr, Cratinus used to be to trump Aristophanes with precisely this method via making himself the hero of the triumphant Wineflask, as Bakola, Cratinus and the paintings of Comedy, 16–24. 19. Oliver Taplin, “Tragedy and Trugody,” Classical Quarterly three (1983): 331–33; Helene Foley, “Tragedy and Politics in Aristophanes’ Acharnians,” magazine of Hellenic experiences 108 (1988): 33–47. 20. See R. Parker, Miasma: pollutants and Purification in Early Greek faith (Oxford: Oxford collage Press, 1983), 15: “while in excessive literature the seer is often correct, in comedy he's constantly wrong”; and notice Silk, Aristophanes and the Definition of Comedy, 338–42; P. Rau, Paratragoedia: Untersuchung einer komischen shape des Aristophanes (Munich: CH Beck, 1967), 169–73, for the oracle parodies. Platter, Aristophanes and the Carnival of Genres, 108–42, and 114–23 on Knights particularly, surveys Aristophanes’ undermining of oracular and epic authority. 21. at the identity of the 2 slaves as Nicias and Demosthenes, see Sommerstein, Knights, three; Bowie, Aristophanes: fable, Ritual and Comedy, seventy three; MacDowell, Aristophanes and Athens, 87–88; and for a opposite view, Kenneth Dover, “Aristophanes’ Knights 11–20,” Classical evaluation nine (1959): 196–99; Jeffrey Henderson, Aristophanes: Acharnians, Knights (Cambridge: Loeb Classical Library, Harvard college Press, 1998), 222n2.