Aristophanes' Thesmophoriazusae: Philosophizing Theatre and - download pdf or read online

By Ashley Clements

ISBN-10: 1139959999

ISBN-13: 9781139959995

Aristophanes' comedian masterpiece Thesmophoriazusae has lengthy been famous among the performs of outdated Comedy for its deconstruction of tragic theatricality. This ebook finds that this deconstruction is grounded now not easily in Aristophanes' wider engagement with tragic realism. relatively, it demonstrates that from its outset Aristophanes' play attracts upon Parmenides' philosophical revelations touching on truth and phantasm, applying Eleatic strictures and imagery to philosophize the theatrical state of affairs, criticize Aristophanes' poetic rival Euripides as promulgator of destructive deceptions, disclose the damaging complicity of Athenian theatre audiences in tragic phantasm, and articulate political recommendation to an viewers negotiating a interval of political turmoil characterised by means of deception and uncertainty (the months ahead of the oligarchic coup of 411 BC). The ebook thereby restores Thesmophoriazusae to its right prestige as a philosophical comedy and divulges hitherto unrecognized facts of Aristophanes' political use of Eleatic principles throughout the overdue 5th century BC.

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Additional resources for Aristophanes' Thesmophoriazusae: Philosophizing Theatre and the Politics of Perception in Late Fifth-Century Athens (Cambridge Classical Studies)

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12 12 and my discussion pp. 102–13; cf. Collins (2004) 50–3, and my p. 28 n. 1, p. 103 n. 165, p. 108 n. 176, p. 141 n. 259, p. 184 n. 81; cf. Brock (1990) 45–6 and D. Tarrant (1946) and (1958) on Plato’s redeployment of colloquialism and comic wordplay. ’s satirical handling of eristic procedure in our prologue. Indeed, by Plato’s time, Th. had evidently acquired an international audience: see the depiction of its (Telephian) hostage scene (688–764) on an Apulian bell crater from southern Italy c.

For no sooner have they been voiced, than his sophistic interlocutor has seized his opportunity to test the poet’s sophia continuing his attack – Κη. . οὐ φῂς σὺ χρῆναί μ’ οὔτ’ ἀκούειν οὔθ’ ὁρᾶν; Ευ. χωρὶς γὰρ αὐτοῖν ἑκατέρου ᾿στὶν ἡ φύσις. Κη. τοῦ μήτ’ ἀκούειν μήθ’ ὁρᾶν; K. . You’re saying that I shouldn’t either hear or see? E. That the nature of each of the two of them is distinct. K. What, of not-hearing and not-seeing? 10 10 – again exploiting the ambiguities of Euripides’ speech, again splintering his theorizing into its constituent parts, φύσις and χωρίς, so as to reshape and refute it.

122; cf. Chance (1992) 130–6. For the tendentious application of Eleatic logic underlying such eristic tactics, see S. Austin (1986) 116–23; Palmer (1999) 126–39; and my following discussion. For the affinity between Plato’s Euthd. and Aristophanic comedy, see Chance (1992) 191–2: ‘all those grotesqueries which he [sc. Plato] used to characterize the [. ] antithesis to his own dialectic – the misuse of verbal triggers, the devious employment of ambiguous words and syntax, incomprehensible talk, non sequiturs and sophisms, even radically abrupt transitions, insults and slanders of every description, eristical dodges, puns – are precisely the signs that point to the discourse of actors on the comic stage’; and 277–8 n.

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Aristophanes' Thesmophoriazusae: Philosophizing Theatre and the Politics of Perception in Late Fifth-Century Athens (Cambridge Classical Studies) by Ashley Clements


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