scholarly journals Adesp. 741 K.-A. Some Aspects of Comic Stylistics

2021 ◽  
Vol 31 (1) ◽  
pp. 29-34
Author(s):  
Krystyna Bartol
Keyword(s):  
Old Comedy ◽  
Stylistic Function

This article explores the thematic and stylistic function of the anaphora in the anonymous fragment of Old Comedy (741 K.-A.). It also analyses an interpretation of Plutarch’s comment on these lines.

The Agon of the Old Comedy

2009 ◽  
Author(s):  
Milton Humphreys
Keyword(s):  
Old Comedy

Laughter on the Fringes

2019 ◽  
Author(s):  
Anna Peterson
Keyword(s):  
The Other ◽  
Literary Canon ◽  
Autobiographical Writing ◽  
Treasure Trove ◽  
Old Comedy ◽  
Other Hand ◽  
Aggressive Humor ◽  
The One ◽  
The Individual ◽  
The Impact

This book examines the impact that Athenian Old Comedy had on Greek writers of the Imperial era. It is generally acknowledged that Imperial-era Greeks responded to Athenian Old Comedy in one of two ways: either as a treasure trove of Atticisms, or as a genre defined by and repudiated for its aggressive humor. Worthy of further consideration, however, is how both approaches, and particularly the latter one that relegated Old Comedy to the fringes of the literary canon, led authors to engage with the ironic and self-reflexive humor of Aristophanes, Eupolis, and Cratinus. Authors ranging from serious moralizers (Plutarch and Aelius Aristides) to comic writers in their own right (Lucian, Alciphron), to other figures not often associated with Old Comedy (Libanius) adopted aspects of the genre to negotiate power struggles, facilitate literary and sophistic rivalries, and provide a model for autobiographical writing. To varying degrees, these writers wove recognizable features of the genre (e.g., the parabasis, its agonistic language, the stage biographies of the individual poets) into their writings. The image of Old Comedy that emerges from this time is that of a genre in transition. It was, on the one hand, with the exception of Aristophanes’s extant plays, on the verge of being almost completely lost; on the other hand, its reputation and several of its most characteristic elements were being renegotiated and reinvented.

Archilochus and Lycambes

1986 ◽  
Vol 36 (1) ◽  
pp. 60-67 ◽  
Author(s):  
C. Carey
Keyword(s):  
Present Note ◽  
Old Comedy ◽  
English Speaking ◽  
The Voice

A persistent ancient tradition has it that a man named Lycambes promised his daughter Neoboule in marriage to the poet Archilochus of Paros, that he subsequently refused Archilochus, and that the poet attacked Lycambes and his daughters with such ferocity that they all committed suicide. When we reflect that the iambographer Hipponax drove his enemies Bupalus and Athenis and Old Comedy a man named Poliager to suicide, that the ancestress of iambos, Iambe, killed herself, and that all these suicides, like those of Lycambes and his daughters, took the form of hanging, we will not take too seriously the ending of the story of Archilochus' relations with Lycambes and his family.However, it seems now to be generally accepted, at least among English-speaking scholars, that the whole Lycambes tradition is to be rejected. The present note seeks to demonstrate that this extreme scepticism is misguided. I shall begin with a survey of Archilochus' references to Lycambes and his family to ascertain how far the indirect tradition is consistent with the surviving fragments.Lycambes appears to have played a consistent role in Archilochus, as far as the fragments allow us to see. In fr. 38 he appears as the father of two daughters (οἴην Λυκάμβεω παῖδα τ⋯ν ύπερτέρην), in fr. 33 (where the voice of ‘the daughter of Lycambes’ is mentioned) as the father of at least one daughter. In fr. 71 his role cannot be determined. But in fr. 54, if his name is correctly restored in v. 8, he may again figure as the father of a daughter, for a female is mentioned in the fragment, whether for good or ill. If his patronymic is correctly supplied in fr. 57.7, it may be significant that the letters πατρ occur in the same verse.

A Reply on Aristophanic Costume

1957 ◽  
Vol 7 (3-4) ◽  
pp. 185-185 ◽  
Author(s):  
T. B. L. Webster
Keyword(s):  
Old Comedy ◽  
Theatre Production

In answer to Professor Beare's note, which he has generously shown me, I would make the following points: (1) I think it unlikely that Middle Comedy was more obscene than Old Comedy, and the Attic vases go back to about 420 B.C. (see my Greek Theatre Production, pp. 56 f., particularly 66, and Wiener Studien, lxix (1956), 110 f.).

The Dramatic Satura and the Old Comedy at Rome

1894 ◽  
Vol 15 (1) ◽  
pp. 1 ◽  
Author(s):  
George L. Hendrickson
Keyword(s):  
Old Comedy

scholarly journals The power of the people: the meaning of kratos in dēmokratia

2021 ◽  
Vol 1 ◽  
pp. 56
Author(s):  
John McGuire
Keyword(s):  
Political Discourse ◽  
Political Power ◽  
Constitutional Rights ◽  
Electoral Success ◽  
Old Comedy ◽  
Black Lives Matter ◽  
The People ◽  
Satisfactory Answer

In this paper, I reconstruct the notion of kratos as a unique and distinguishable exercise of political power. Using examples from 5th- and 4th-century Attic tragedy, Old Comedy, and forensic oratory, I show how kratos was used in Athenian cultural and political discourse to convey the irrefutability of a claim, the recognition of someone’s prevailing over another, and the sense of having the last word—all of which makes kratic power dependent upon its own continued demonstrability. I argue that the peculiarly performative character of kratos has little or no role within contemporary democratic thinking because the agency of the dēmos is largely mediated through the mechanisms of electoral success and constitutional rights. Nevertheless—and regardless of whether they are ultimately successful in achieving their stated political aims—the spontaneous, organisationally diffuse protests operating extra-institutionally under the banners of #MeToo and Black Lives Matter reveal how the attempted ‘domestication’ of kratos, and the sublimation of its peculiar power into piecemeal reform, was never a realistic or satisfactory answer for democratic discontent.

scholarly journals Wielojęzyczność w literaturze dokumentu osobistego: funkcje wykładników transkodowych

LingVaria ◽  
2021 ◽  
Vol 16 (2(32)) ◽  
pp. 301-316
Author(s):  
Elżbieta Sękowska
Keyword(s):  
Second Language ◽  
First Language ◽  
Social Reality ◽  
Code Switching ◽  
The Political ◽  
Psychological Experience ◽  
Emigre Literature ◽  
Stylistic Function ◽  
The One

Multilingualism in the Literature of Personal Document: Functions of Transcode Markers The article is dedicated to semantic functions of transcode markers in Polish émigré literature. Two diaries, written respectively by Gustaw Herling-Grudziński and Jan Lechoń, constitute the exemplification material. The diary genre, similarly to letters and memoirs, lends itself to introducing this kind of markers. Their presence reflects the multilingual competence of the author, as well as his mental, social, and psychological experience. The second language enables broadening the referential space of the first language and conveying emotions. The strategy of code switching depends on the motivation and goal of writing a given text. In Herling-Grudziński’s Journal Written by Night, foreign words from different languages abound. They fulfill several functions in the text, namely: metalinguistic, index and stylistic function. Their presence is justified by the content and by the role adopted by the author – the one of an interpreter of the political and social reality. The Diary by Lechoń is different in terms of types of predominant functions which can be distinguished in his text. Besides commenting on the émigré life, the author focuses on his emotions and experiences. Therefore, index and metalinguistic functions turn out to be the most important. Pointing out different strategies of introducing transcode markers in a text by its author is fundamental for the research on bilingualism in émigré writing.

scholarly journals Analytical forms of expressing the category of certainty / uncertainty in modern Slovenian fiction

Litera ◽  
2021 ◽  
pp. 1-7
Author(s):  
Ksenia Igorevna Komarova
Keyword(s):  
Characteristic Feature ◽  
Analytical Approach ◽  
First Person ◽  
Literary Language ◽  
Colloquial Language ◽  
Article Type ◽  
Type Particle ◽  
Stylistic Function

This article examines the analytical approach towards expressing the category of certainty / uncertainty in Slovenian fiction. The analytical forms are comprised by the unchangeable article-type particle “ta”, which is commonly used in the Slovenian colloquial language, but at present is also actively used in the literary language. Special attention is given to the modern Slovenian fiction. The author analyzed ten Slovenian novels published between 2008 and 2018, and revealed all instances of using the article-type particle with both, substantive adjectives and together with adjectives and nouns. The following conclusions were formulated: colloquial elements in fiction perform a stylistic function; therefore one of the key tasks of the article-type particle consists in speech characteristic of the character, including indicating his dialect, since all instanced of using the particle are in the dialogical speech or first-person narrative. However, it is important to note that in most instances, the particle is used with substantive adjectives, which indicates lexicalization of combination of the particle and the adjective, which is used for mentioning a known person/object or indicating a characteristic feature.

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