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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... subordinates, in doing so we are in danger of making the mistake of the gullible spectator at a magic show: we are training our gaze where the white-gloved hand directs us, instead of focusing our attention on what the magician is ...
... subordinate; by charting the trials and triumphs of such heroes, their attempts to negotiate the contradictory bases of their heroism, I will describe the joint effect of the literary dialogue between naturalism and farce and the ...
... subordinate who sees the claims of hegemony for what they are: the attempt on the part of the dominant to pretend that their domination is the nature of things, not an. 21 Chiarini (1979: 54, 61, passim), Petrone (1977: 19–20), and ...
... subordinate groups use when they are together. By definition, this public transcript expresses the dominant's view of their own domination; the contribution of subordinates to this transcript is circumscribed by the imperative that the ...
... subordinated and (almost) no one is permanently and universally dominant.30 Thus the audience of a Plautine comedy is not made up of “masters” per se but of spectators, each of whom enjoys and struggles against a contradictory cluster ...
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 |
Works Cited | 215 |
Index of Plautine Passages | 221 |
General Index | 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 |