Slaves, Masters, and the Art of Authority in Plautine ComedyPrinceton University Press, 10/01/2009 - 248 páginas What pleasures did Plautus' heroic tricksters provide their original audience? How should we understand the compelling mix of rebellion and social conservatism that Plautus offers? Through a close reading of four plays representing the full range of his work (Menaechmi, Casina, Persa, and Captivi), Kathleen McCarthy develops an innovative model of Plautine comedy and its social effects. She concentrates on how the plays are shaped by the interaction of two comic modes: the socially conservative mode of naturalism and the potentially subversive mode of farce. It is precisely this balance of the naturalistic and the farcical that allows everyone in the audience--especially those well placed in the social hierarchy--to identify both with and against the rebel, to feel both the thrill of being a clever underdog and the complacency of being a securely ensconced authority figure. |
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... never really allowed to embrace its logical conclusion, that is, the revelation that the master's authority is merely arbitrary, and so this liberatory potential goes unrealized as well. In these plays neither the humane mode of ...
... never see on stage the father and son together, only the slave and master. Although her reading is filled with well-observed points, it still requires that we privilege Frye's notional template of comedy (i.e., that it is about the ...
... never exactly coextensive with its function as a means of communication.9 Thus, form (language) and content (meaning) in Plautus and other early Roman authors are juxtaposed rather than unified. The familiar description of Plautus as ...
... never just repeat the primary text but in reexpressing the content inevitably introduce new tones and emphases. These secondary texts derive their power from the difference between two kinds of meaning: the meaning that is expressed ...
... never change anything fundamental to the characters' situation: the trick is revealed, but the clever slave remains a slave, looking forward to another round of. 18Wiles (1991: 223–24) on Menander: “The actual words efface themselves ...
Índice
3 | |
The Ties That Bind Menaechmi | 35 |
Loves Labours Lost Casina | 77 |
A Kind of Wild Justice Persa | 122 |
Truth Is the Best Disguise Captivi | 167 |
The Slaves Image in the Masters Mind | 211 |
215 | |
221 | |
227 | |
Outras edições - Ver tudo
Slaves, Masters, and the Art of Authority in Plautine Comedy Kathleen McCarthy Pré-visualização limitada - 2009 |
Slaves, Masters, and the Art of Authority in Plautine Comedy Kathleen McCarthy Pré-visualização indisponível - 2000 |
Slaves, Masters, and the Art of Authority in Plautine Comedy Kathleen McCarthy Pré-visualização indisponível - 2004 |