Greek New Comic Fragments

Classics ◽  
2020 ◽  
Author(s):  
Sebastiana Nervegna
Keyword(s):  
20Th Century ◽  
Fictional Characters ◽  
Common Elements ◽  
Love Stories ◽  
Greek Comedy ◽  
Imperial Period ◽  
Standard Collection ◽  
Specific Phase ◽  
New Comedy

The expression “Greek New Comedy” traditionally indicates a specific phase of Attic Comedy dated to the late 4th and 3rd centuries bce, although New Comedies continued to be written well into the Imperial period. New Comedies bring onto the stage fictional characters, domestic situations, and love-stories, and their plots tend to repeat common elements. Ancient sources identify over sixty New Comedy poets and consistently name three dramatists as the main representatives of this genre: Menander, Diphilus, and Philemon. Menander was born in 342/1 and died around 290 bce; the biographies of his two rivals are largely obscure but Philemon was reportedly older than Menander while Diphilus was one of Menander’s contemporaries. Unlike Menander, they were both born outside Athens. Two or three more authors were added to the list of the best New Comedy poets: Philippides, Apollodorus of Carystus, and Posidippus. New Comedy poets were generally more prolific than their 5th-century colleagues, but their plays are largely lost. Menander is the only author whose comedies survive thanks to a series of lucky papyrus findings in the 20th century: we have one complete comedy, Dyskolos, and substantial portions of several more. The dramas written by other New Comedy poets survive only in short fragments preserved by a few papyri and, most often, by ancient authors largely interested in linguistic peculiarities or moralizing excerpts. The standard collection of the fragments (F) of Greek Comedy and the testimonia (T) for Greek comic poets is Kassel and Austin 1983–2001 (Poetae Comici Graeci, cited under Editions and Translations), which is generally abbreviated as “K-A.” While surviving fragments are typically not very informative, an important source for our knowledge of Greek New Comedies is Roman Comedy. Roman poets adapted select plays into Latin, often disclosing the titles, the authors, and other details of their Greek models. Roman comedies give us indirect access to their now lost Greek originals.

scholarly journals DESPITE IMPERIAL POLICY: THE UKRAINIAN STUDIES IN THE MUSEUMS OF DNIPER UKRAINE IN THE SECOND HALF OF THE 19th – IN EARLY 20th CENTURY

2019 ◽  
pp. 57-61
Author(s):  
Ihor Dvorkin
Keyword(s):  
20Th Century ◽  
Government Support ◽  
The Other ◽  
Educational Institutions ◽  
Early 20Th Century ◽  
National Movement ◽  
Imperial Period ◽  
Scientific Institutions ◽  
Relevant Field

The article deals with the development of Ukrainian studies in museums of Naddnipprianska Ukraine during the imperial period. At the time, a rather wide museum network worked here. Museums were created and operated at various organizations - universities and other educational institutions; scientific institutions; self-government bodies, etc. The lack of the central imperial power’s museum policy was typical. This led to the fact, that museum institutions were often operated under conditions of insufficient funding and enough government support. Russia's imperial policy towards the Ukrainian national movement in the second half of the nineteenth and early twentieth centuries was aimed at its restriction and prohibition. Any manifestation of official Ukrainophile activity should be controlled and restricted. At the same time, intelligentsia, the Ukrainian national movement activists, took an active part in the creation and follow-up of museum institutions. On the other hand, the Ukrainian national movement activists found an opportunity to actively use their work in cultural and educational institutions, including museums, as well as to cooperate with them for the purpose of research in the field of Ukrainian studies. In addition, collections of museum facilities could be used in research in the relevant field. Accumulation of Ukrainian studies was an important factor in national processes, the implementation of the "Ukrainian project". The article highlights Ukrainian studies conducted in some museums in Kyiv, Kharkiv and Chernihiv. These museums contained collections, dedicated to Ukrainian ethnography, archeology and history. These museums, thanks to the position of their employees, collected and systematized collections on the history and culture of Ukraine, published scientific products on the basis of their collections.

scholarly journals Motives and Images of Folk Laughter Cultures as the Commonplaces of the Soviet Carnival of 1920–1930

2021 ◽  
pp. 223-248
Author(s):  
Sergey Alpatov ◽  
Keyword(s):  
Urban Environment ◽  
20Th Century ◽  
The Political ◽  
Common Elements ◽  
Political Situation ◽  
Traditional Calendar ◽  
Social Stereotypes ◽  
May Day ◽  
Round Dance

The article is devoted to the study of the problem of continuity between images, motives, poetic clichés of Russian as well as Jewish folk cultures and components of the laughter discourse of the Soviet era. Genre patterns (procession, round dance, game, street song, everyday wit), chronotope (Pesach / Easter / May day), archetype (a dying and resurrecting hero), ethnical and social stereotypes (“aliens”), ritual objects (carnival carriage; matzo vs Easter baking), grotesque rhymes (“matzo – lamza-dritsa”) are analyzed on the basis of the popular city song “Tram No. 9”, ditties, memoirs, satirical wall newspapers. Those elements of the traditional laughter culture of the Slavs and Jews had been actively interacted in the urban environment at the turn of the 19th–20th centuries, was exploited by the Soviet carnivals of the 1920s–1930s, and remained in Russian folklore of the second half of the 20th century. The study demonstrates that the scriptwriters and actors of the Soviet carnivals borrowed some of the brightest and at the same time common elements of folk laughter culture, which formed extremely labile semantic ties outside the traditional calendar and everyday contexts changing their content in agreement with the political situation. At the same time, the basic techniques and bottom semantics of the folk comic remain unchanged.

Studying the History of the State Control in the Russian Empire During the Period of the Duma Monarchy

2020 ◽  
pp. 29-38
Author(s):  
Ziqiu Chen ◽  
Keyword(s):  
20Th Century ◽  
Russian Empire ◽  
The State ◽  
State Control ◽  
State Institutions ◽  
Imperial Period ◽  
Russian State ◽  
History Of ◽  
The Russian Empire ◽  
Council Of Ministers

After the establishment of constitutional monarchy in Russia as a result of the 1905–1906 reforms, the position of the Russian State Control (imperial audit service) changed. Formerly relatively independent, the State Control, whose head was directly accountable to the Emperor, now found itself in the united government, i.e. the Council of Ministers. The undermined independence of the State Control provoked a wide public discussion, which involved Duma deputies, employees of the State Control as well as competent Russian economists and financial experts, who made relevant recommendations calling for reducing the number of state institutions that were unaccountable to the audit service and giving the latter more independence. This paper analyses the key works of pre-revolutionary authors published in the early 20th century and devoted to the history of the State Control of the Russian Empire. Both in the imperial period and today, the Russian audit institution, in contrast with political, historical and military topics, has been of primary interest not to historians, but to economists, financiers and lawyers, since it requires special knowledge of the State Control’s technical mechanisms. Based on this, the author selected the following works that require thorough examination: How People’s Money Is Spent in Russia by I.Kh. Ozerov, On the Transformation of the State Control by Yu.V. Tansky, an official anniversary edition State Control. 1811–1911, and Essays on the Russian Budget Law. Part 1 by L.N. Yasnopolsky. The author of this article considers these works to be the highest quality studies on the Russian State Control at the beginning of the 20th century and their analysis to be of unquestionable importance for contemporary research into the history of the Russian audit institution.

Performing Ancient Drama in Mask: the Case of Greek New Comedy

2004 ◽  
Vol 20 (3) ◽  
pp. 245-264
Author(s):  
Chris Vervain
Keyword(s):  
Greek Tragedy ◽  
Ancient Greek ◽  
Greek Comedy ◽  
Ancient Drama ◽  
Point Of Departure ◽  
New Comedy

Chris Vervain is a mask maker who has for a number of years trained and directed in performing masked drama. On the basis of research she has undertaken, using her own masks, on how to perform the ancient Greek plays, in this article she questions some of the modern orthodoxies of masked theatre, drawing specifically on her experience with Menander's New Comedy. With David Wiles, she contributed ‘The Masks of Greek Tragedy as Point of Departure for Modern Performance’ to NTQ 67 (August 2001) and, with Richard Williams, ‘Masks for Menander: Imaging and Imagining Greek Comedy’ to Digital Creativity, X, No. 3 (1999). Some of her masks can be seen at www.chrisvervain.btinternet.com. She is currently working towards a doctorate on masks in Greek tragedy at Royal Holloway, University of London.

The Slaves of Plautus

1968 ◽  
Vol 15 (1) ◽  
pp. 64-77 ◽  
Author(s):  
C. Stace
Keyword(s):  
Final Stage ◽  
Greek Comedy ◽  
New Comedy

Before drama ever appeared in Rome, comedy in Greece had passed to its final stage of evolution; and it was this form of comedy—New Comedy—which was to provide the stimulus for Roman Comedy. It is necessary, therefore, very briefly to describe the various stages of Greek Comedy, especially New Comedy, before passing on to Plautus. This will raise at least two important issues: (i) the reason for Plautus' choice of New Comedy for his models, and (ii) his treatment of the originals.

scholarly journals Sources for Studying of the Local Government in Siberia in the 18th - Early 20th Century: Historical and Source Studies Themes

2020 ◽  
pp. 355-367
Author(s):  
Igor A. Konovalov ◽  
Keyword(s):  
Local Government ◽  
20Th Century ◽  
Early 20Th Century ◽  
Record Keeping ◽  
Imperial Period ◽  
Regional Specificity ◽  
Source Studies ◽  
History Of ◽  
The Subject ◽  
Historical Methods

Increased interest in the local government history is associated not just with the necessity to peer into the past, but also with purely practical needs. While returning to forgotten traditions, it is important to take into account the heritage of centuries. Today, we need to take a fresh look at well-known facts, to cast away old delusions and myths, and to prevent the emergence of new ones. Theoretical basis of the paper is such methods as historicism, objectivity, alternativeness; they allow an unbiased approach to the analysis of the problems and a critical attitude towards the sources. The methodology includes the use of means and methods of local, systemic, problem-chronological, and comparative historical methods, as well as the development of a “new imperial history.” The paper systematizes sources on formation and development of the local government in Siberia in the Imperial period. The following groups of sources are highlighted: regulatory and legal acts; documents of management and record keeping; statistical materials; periodicals; sources of personal provenance. There is regional specificity in the content and structure of sources. The sources characterize the history of local government in Siberia in the 18th - early 20th century, wherein personal, socio-political, and departmental conflicts played an important role. The article attempts to show the role and place of the general police in the local government of pre-revolutionary Siberia and to analyze the main sources on the subject. It focuses on structure, nature, organizational and legal problem of the local government in Siberia in the 18th - early 20th century.

scholarly journals Local Government in Siberia in the 18th-Early 20th Century

2001 ◽  
Vol 14 (8) ◽  
pp. 1231-1238
Author(s):  
Igor A. Konovalov ◽  
Keyword(s):  
Local Government ◽  
20Th Century ◽  
Public Order ◽  
Early 20Th Century ◽  
Historical Science ◽  
Siberian Region ◽  
Regional Administration ◽  
Imperial Period

The relevance of the chosen topic is determined by its insufficient study in the national historical science. Based on pre-revolutionary legislation, archival materials, and pre-revolutionary periodicals, the article examines the peculiarities of local government in Siberia during the imperial period. The research is grounded on the principles of historicism and objectivity and reveals the peculiarities of local government in Siberia in the 18th – early 20th centuries. The author comes to the conclusion that administration in Siberia was characterized by an almost complete absence of self-governing principles. Therefore, the powers of administrative and police bodies on the Siberian outskirts of the country had their own specifics and were broader than in the European provinces of Russia, along the almost absolute subordination of local self-government bodies to the police institutions of the regions, which was also specific for Siberia during the imperial period. Unable to resist additional challenges, the system of regional administration, which ensured public order in the Siberian region in the 18th – 19th centuries, was rapidly destroyed during the revolutionary events of February 1917

scholarly journals VIOLÊNCIA, FILOSOFIA E CINEMA

2020 ◽  
Author(s):  
Wagner Alves Reis
Keyword(s):  
20Th Century ◽  
Emmanuel Levinas ◽  
The Other ◽  
Common Elements ◽  
Philosophical Thinking ◽  
Face To Face ◽  
Basic Concepts

Violence from the perspective of Emmanuel Lévinas' philosophical thinking and Ingmar Bergman's film perspective. Analyze violence through the dialogue between philosophical and cinematographic perspectives. Bibliographic research of some works by Lévinas and other commentators in order to summarize basic concepts of this philosopher and documentary research of three films by Bergman, identifying common elements among the productions of the famous 20th century interpreters. Violence as a reflection of the absence of Alterity and of a face-to-face encounter with the Other. Cinema and philosophy helping each other to understand and infer about the human phenomenon.

POETS AND POETRY IN LATER GREEK COMEDY

2013 ◽  
Vol 63 (2) ◽  
pp. 603-622 ◽  
Author(s):  
Matthew Wright
Keyword(s):  
Literary Criticism ◽  
Fourth Century ◽  
Fifth Century ◽  
Critical Discourse ◽  
Greek Comedy ◽  
And Function ◽  
The Relationship ◽  
New Comedy

The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy.

Changing Fashions in Ancient Drama–II

1960 ◽  
Vol 7 (2) ◽  
pp. 143-154
Author(s):  
Edna M. Hooker
Keyword(s):  
Fifth Century ◽  
Greek Literature ◽  
Popular Entertainment ◽  
Native Form ◽  
Greek Poetry ◽  
The Third ◽  
Greek Comedy ◽  
Didactic Poetry ◽  
Variety Show ◽  
New Comedy

This, then, was the state of the theatre when the Romans first came into direct contact with the Greeks in the middle of the third century: revivals of fifth-century melodramas and romantic tragedies, especially those of Euripides, and revivals of the New Comedy of the late fourth and early third centuries, especially the plays of Menander, held the stage. The Romans themselves had nothing quite like this in their own popular entertainment. They had stage-shows of a sort, of course. Their own native form of entertainment was the satura, which seems to have been some sort of variety show; and they had imported Etruscan ludi, consisting mainly of music and dancing, and the Campanian Atellane farce, which was something rather similar to a harlequinade. The Greek theatre, which at this period was outwardly more splendid than ever before, was to the Romans an impressive and fascinating novelty; and, when Livius Andronicus in 240 B.c. translated a Greek tragedy and a Greek comedy for the Roman stage, he achieved an immediate success and started a vogue for drama in the Greek style at Rome which ousted the old satura from the stage. It is sometimes regarded as a reflection on Roman taste that the Roman theatre in the third and second centuries B.c. should have concentrated on Euripidean melodrama and Menandrean New Comedy to the exclusion of the greater works of the fifth-century Greek dramatists. But this is an unjustified conclusion. The choice of models represents not the taste of the Romans—for in fact Greek-style drama failed to achieve lasting popularity at Rome—but that of the contemporary Greek theatre, which was the only guide that the Romans had at that date. At this period Rome imitated the literature which was currently fashionable in the Greek world. It was not until the time of Catullus and the ‘learned’ poets that the Romans, following the lead of the Alexandrine scholars, made a systematic study of Greek literature. It was only then that the Romans made the acquaintance of those works which had become the province of the scholar, and so were able to draw upon the whole range of Greek literature for their models. The inspiration derived from studying Greek poetry of the finest periods was to lead to great developments in lyric and elegy and in pastoral and didactic poetry, but it came too late for drama, which was by that time fast disappearing from the Roman theatre.

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