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

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 SHAPE OF EARLY GREEK UTOPIA

The paper offers a new approach to utopia in early and classical Greek texts from Homer to the fifth century. The model is based on four motifs regularly occurring in ‘utopian texts’, that is, descriptions of places that are distant in time and/or space. A comparative analysis of such texts (drawn from Homer, Hesiod, Pindar, Old Comedy and Herodotus) and of how they manipulate the four motifs sheds new light on specific problems (as, for example, the relevance of Herodotus’ Ethiopian episode, or the role of the myth of Perseus in Pindar's Pythian 10) and encourages more nuanced readings of famous texts, such as Homer's account of Scheria.

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

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.

SEMANTIC SATIATION FOR POETIC EFFECT

This article argues that the defamiliarization caused by extensive repetition, termed ‘semantic satiation’ in psychology, was used by ancient poets for specific effects. Five categories of repetition are identified. First, words undergo auditory deformation through syllable and sound repetition, as commonly in ancient etymologies. Second, a tradition of emphatic proper-name repetition is identified, in which the final instance of the name is given special emphasis; this tradition spans Greek and Latin poetry, and ultimately goes back to the Nireus entry in the Catalogue of Ships. Third, repetition is used for wordplay, where the final instance of the repeated term not only is emphasized but also incurs some change to its meaning or shape. Fourth, the incantatory repetition of divine names in hymns and cultic invocations amplifies a sense of divine presence behind and beyond the repetend. Fifth, repetition of half and full lines by different speakers in Old Comedy serves to undercut and parody the original sense of the repeated words. Extensive repetition in ancient literature was never merely ornamental but was used for a range of specific auditory and semantic effects with distinct and identifiable structures.

The Porous Polis: A Critique of Democracy in Old Comedy

It is a sustained concern for Aristophanes studies to assess the political commitments expressed in the comedic poet’s dramatic corpus. Though generally synoptic in describing his critique of democracy, political interpretations of Aristophanes’s plays diverge in justifying that critique as affirmative of democratic principles. This essay argues for considering the Aristophanic critique as external to democratic principles, on account of its assertion of the demos’s basic incapacity for legitimate and effective rule. The essay concludes by identifying where engagement with the Aristophanic critique of democracy may clarify and challenge theories of artful discourse and political community supported by public and counterpublic studies.