411 BC during the festival in Lenaia in Athens, in the end stages of the Peloponnesian war, Aristophanes’ comedy Lysistrate was played on stage for the first time. Despite the fact that the Athenian woman didn’t have a voice in the public sphere, she not only dominates the story in the play, but also became the focus of the audience through the staging of the play.        My purpose with this study has been to examine through a close reading of the play how Aristophanes portrays the women in the text, and what might have been his purpose with the portrayal.        Aristophanes’ depiction of the women in Lysistrate is not only based on the conventions of his contemporary society, but also on more complex structures that form the aspects of how the women are shaped in the text.        In accordance with these structures the women are portrayed in a ridiculing and exaggerated way, especially when it comes to sexuality and all kinds of mischief. This results in a comical portrayal of the women. But they are also portrayed in a more sensible and serious way in their political statements, where they voice criticism and question the war and how it is handled. The women advocate their own right to take part in and give advice on political affairs in war as well as in peace.        The comical and the political portrayal of the women interact with each other and form a whole that might constitute Aristophanes’ purpose with his writing of the women. The political message, that Aristophanes’ wishes for an end to the war and that the women should be allowed to give advice, is clear, while the comical portrayal ensures that it comes across more as a wish, than as a political urging.

[pt] Platão, Leitor de Aristófanes (Elementos para uma leitura intertextual e proléptica da Apologia de Sócrates) mostra a dívida platônica e suas consequências literário-político-filosóficas com a herança cultural e literária de seu tempo, sobretudo a proveniente da Comédia Antiga, ressaltando, muito especialmente, a contribuição de Aristófanes na configuração dramático-filosófica da obra inicial de Platão. Dá ênfase à dimensão de intertextualidade inerente ao corpus platonicum. Examina criticamente a tese hermenêutica de Charles Kahn, fundada em seu conceito de prolepse, tentando ampliar sua aplicação a um número maior de diálogos platônicos e incorporando a essa noção elementos literário-políticos. Finalmente, dá atenção especial à interpretação de três temas concebidos como cruciais para uma compreensão intertextual e proléptica da obra considerada como inaugural na carreira platônica de escritor e filósofo, a Apologia de Sócrates: o episódio do oráculo de Delfos, o significado do elenco socrático e de sua aplicação e a diferenciação entre a chamada ironia socrática e uma possível ironia platônica. / [en] Plato, Reader of Aristophanes (Elements for an intertextual and proleptic reading of The Apology of Socrates) shows the platonic debt to the cultural and literary heritage of his time, mostly to Ancient Comedy, highlighting Aristophanes contribution to the dramatic and philosophical configuration of Plato s initial work. It stresses the intertextual dimension inherent to the platonicum corpus. Another goal is a critical inquiry into the hermeneutic thesis by Kahn, founded on his concept of prolepsis, with the intention of broadening its appliccation to a larger number of platonic dialogues through incorporating literary and political elements to this notion. Finally, special attention is given to the interpretation of three crucial themes to an intertextual and proleptic comprehension of what is considered the first dialogue of the platonic career as writer and philosopher, the Apology of Socrates: the Delphi oracle episode, the socratic elenchus’ significance and application and the distinction between the so-called socratic irony and a possible platonic irony.