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This dissertation analyzes Old Comedy’s generic interaction with its primary performative rivals of the fifth century, tragedy and satyr play. While previous scholarship on this subject is concerned almost exclusively with paratragedy, I examine issues such as Old Comedy’s engagement with satyr play and the frequently unacknowledged evidence for generic interaction in the comic iconography of Attic and South Italian vase-painting. Chapter One analyzes the earliest known intergeneric, comic experiment for which any considerable evidence survives, Cratinus’ fragmentary (and parasatyric) Dionysalexandros. Chapter Two departs briefly from textual evidence and examines the visual record for strategies of intergeneric engagement in the comic iconography of Attic and South Italian vase-painting. Chapter Three signals the beginning of the study’s play-based core and examines the best surviving evidence for cross-generic play in three productions of the Aristophanic corpus. This chapter’s study of Peace (421 BCE) is followed by chapters on Thesmophoriazusae (411 BCE) and Frogs (405 BCE), respectively. My approach, which considers both verbal and visual evidence for comic appropriation, allows for a more comprehensive understanding of the parody of tragedy and satyr play by comic playwrights, whose aggressive adaptation of performative rivals can be seen as central to an ongoing project of defining comedy as an essential polis institution in the latter half of the fifth century.

This dissertation analyzes Old Comedy’s generic interaction with its primary performative rivals of the fifth century, tragedy and satyr play. While previous scholarship on this subject is concerned almost exclusively with paratragedy, I examine issues such as Old Comedy’s engagement with satyr play and the frequently unacknowledged evidence for generic interaction in the comic iconography of Attic and South Italian vase-painting. Chapter One analyzes the earliest known intergeneric, comic experiment for which any considerable evidence survives, Cratinus’ fragmentary (and parasatyric) Dionysalexandros. Chapter Two departs briefly from textual evidence and examines the visual record for strategies of intergeneric engagement in the comic iconography of Attic and South Italian vase-painting. Chapter Three signals the beginning of the study’s play-based core and examines the best surviving evidence for cross-generic play in three productions of the Aristophanic corpus. This chapter’s study of Peace (421 BCE) is followed by chapters on Thesmophoriazusae (411 BCE) and Frogs (405 BCE), respectively. My approach, which considers both verbal and visual evidence for comic appropriation, allows for a more comprehensive understanding of the parody of tragedy and satyr play by comic playwrights, whose aggressive adaptation of performative rivals can be seen as central to an ongoing project of defining comedy as an essential polis institution in the latter half of the fifth century.

MOURA FILHO, Lauro Inácio de. Transtextualidade e hermenêutica na comédia de Aristófanes: o poeta como mestre da cidade. 2012. 166f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-19T16:16:32Z No. of bitstreams: 1 2012_dis_limfilho.pdf: 1958079 bytes, checksum: d7f4ad74f6b6580a7c8b8bbff38a04b6 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-05-19T17:28:23Z (GMT) No. of bitstreams: 1 2012_dis_limfilho.pdf: 1958079 bytes, checksum: d7f4ad74f6b6580a7c8b8bbff38a04b6 (MD5) / Made available in DSpace on 2014-05-19T17:28:24Z (GMT). No. of bitstreams: 1 2012_dis_limfilho.pdf: 1958079 bytes, checksum: d7f4ad74f6b6580a7c8b8bbff38a04b6 (MD5) Previous issue date: 2012 / Aristófanes é o principal representante da comédia grega antiga. Algumas de suas obras foram as únicas a sobreviver até os nossos dias com textos integrais. Suas peças, seguindo a tradição oral do poeta sábio desde Homero, demonstram possuir uma ampla cultura a respeito de várias esferas do mundo de então: política, música, história, literatura etc. No entanto, de todo esse conhecimento presente na comédia de Aristófanes, a cultura literária se destaca de uma forma especial. Vários poetas são aludidos, citados, parodiados etc. no texto de Aristófanes. Dentre eles, porém, Eurípides ocupa um lugar de destaque. Esse tragediógrafo é eleito pelo poeta cômico como “saco de pancadas” literário. Todo esse conhecimento revelado na comédia aristofânica, especialmente o literário, pode simplificar ou dificultar o entendimento do leitor ulterior. Diante disso, apresentamos dois aportes teóricos que ajudarão o leitor hodierno a entender com menos dificuldade o teatro de Aristófanes. O primeiro deles é a proposta exegética de Schleiermacher, presente em sua "Hermenêutica: arte e técnica da interpretação". A hermenêutica schleiermacheriana servirá de princípio norteador para a compreensão da comédia aristofânica de modo geral. O segundo é a proposta da transtextualidade de Gérard Genette, tratada no livro "Palimpsestos: a literatura de segunda mão". A transtextualidade de Genette servirá de fundamento para o entendimento, especificamente, da cultura literária que encontramos na obra de Aristófanes. Essas duas propostas teóricas têm se revelado como importantes ferramentas de interpretação para a comédia de Aristófanes. Sem elas, o leitor ulterior encontrará dificuldades para entender, de forma satisfatória, o sentido textual proposto por aquele comediógrafo.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / AristÃfanes à o principal representante da comÃdia grega antiga. Algumas de suas obras foram as Ãnicas a sobreviver atà os nossos dias com textos integrais. Suas peÃas, seguindo a tradiÃÃo oral do poeta sÃbio desde Homero, demonstram possuir uma ampla cultura a respeito de vÃrias esferas do mundo de entÃo: polÃtica, mÃsica, histÃria, literatura etc. No entanto, de todo esse conhecimento presente na comÃdia de AristÃfanes, a cultura literÃria se destaca de uma forma especial. VÃrios poetas sÃo aludidos, citados, parodiados etc. no texto de AristÃfanes. Dentre eles, porÃm, EurÃpides ocupa um lugar de destaque. Esse tragediÃgrafo à eleito pelo poeta cÃmico como âsaco de pancadasâ literÃrio. Todo esse conhecimento revelado na comÃdia aristofÃnica, especialmente o literÃrio, pode simplificar ou dificultar o entendimento do leitor ulterior. Diante disso, apresentamos dois aportes teÃricos que ajudarÃo o leitor hodierno a entender com menos dificuldade o teatro de AristÃfanes. O primeiro deles à a proposta exegÃtica de Schleiermacher, presente em sua "HermenÃutica: arte e tÃcnica da interpretaÃÃo". A hermenÃutica schleiermacheriana servirà de princÃpio norteador para a compreensÃo da comÃdia aristofÃnica de modo geral. O segundo à a proposta da transtextualidade de GÃrard Genette, tratada no livro "Palimpsestos: a literatura de segunda mÃo". A transtextualidade de Genette servirà de fundamento para o entendimento, especificamente, da cultura literÃria que encontramos na obra de AristÃfanes. Essas duas propostas teÃricas tÃm se revelado como importantes ferramentas de interpretaÃÃo para a comÃdia de AristÃfanes. Sem elas, o leitor ulterior encontrarà dificuldades para entender, de forma satisfatÃria, o sentido textual proposto por aquele comediÃgrafo. / Aristophanes is the main representative of ancient Greek comedy. Some of his works were the only ones to survive to the present day with full texts. His pieces, following the oral tradition of the wise poet from Homer, shown to possess a wide culture about various world ball then: politics, music, history, literature etc. However, all this knowledge in this comedy of Aristophanes, the literary culture stands out in a special way. Several poets are alluded to, quoted and parodied etc. in the text of Aristophanes. Among them, however, Euripides occupies a prominent place. This tragedian is elected by the comic poet as "punching bag" literary. All this knowledge revealed in Aristophanic comedy, especially the literary, can simplify or complicate the understanding of the subsequent player. Therefore, we present two theoretical contributions that will help the reader today's understand more easily the theater of Aristophanes. The first is the exegetical proposal for Schleiermacher, present in his "Hermeneutics: art and interpretation technique." The schleiermacheriana hermeneutics serve as the guiding principle for understanding the Aristophanic comedy in general. The second is the proposal of transtextuality of GÃrard Genette, treated in the book "Palimpsestos: literature secondhand." The transtextuality of Genette will serve as a foundation for understanding specifically of literary culture that we find in the work of Aristophanes. These two theoretical proposals have been shown to be important tools of interpretation for the comedy by Aristophanes. Without them, the further reader will find difficult to understand, in a satisfactory manner, the textual sense proposed by that comedy writer.

An appreciation for the satire inherent in Aristophanes' Greek comedies Lysistrata, Women in Parliament and Women Celebrating the Thesmophoria is integral to understanding its ironic impact on modem day feminist movements. Using political events in the 21 st century, we can see how Aristophanes' mockery of the agency of women outside of the oikos, or the domestic space, has been challenged and defeated. I will support my ideas using the plethora of scholarly research I have consulted during my exploration of the works of Aristophanes. This research includes articles and books from authors such as David Cohen, Martine De Marre, Helene Foley, David Halperin, Froma I. Zeitlin and Gonda Van Steen. Furthermore, I will identify instances in Aristophanes' plays where his ridicule is most evident.

The study of old age in the humanities has developed significantly in the last few decades, but there is still much scope for progress. This thesis, therefore, seeks to contribute to the growing academic discourse in this area by considering ageing as it is represented in ancient Greek theatre. At the same time, it seeks to take its place within Classical Studies by developing new readings of the plays. To develop a context for its analysis, this study begins with consideration of the contemporary demographics, social position, and stage portrayal of old age, and following this dedicates a chapter to each of the four surviving fifth century dramatists. In Aiskhylos’ Agamemnon, old age emerges as a crucial element in choral self-identity, and an important component of the authority that they display. Following this, the thesis considers the chorus of Euripides’ Herakles, in particular its use of metadramatic language, and the impact this has on plot-development and the representation of their age. The next chapter, on Oidipous Koloneus, shifts to consideration of the protagonist. The old age of Oidipous emerges as a powerful driver of his mental and spiritual power, and forms a striking background to the exploration of his character. The final chapter of the thesis examines how mechanisms of renewal that old men undergo in Aristophanes’ comedies (Knights, Akharnians, Peace, Wasps, Birds) differ across the dramas, and the impact this difference has on their interpretations. Such reassessments of ancient dramatic texts through the lens of old age can provide significant insight into the complexity of old men’s characterisations and of their involvement in the dramas. At the same time (from a gerontological perspective), this thesis’ analysis contributes to the developing discussion of the history of ageing, and highlights the differences between the ancient and modern worlds in this respect.

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This thesis takes as its starting point current views on the relationship between man and god in Archaic and Classical Greek literature, according to which mortality and immortality are primarily temporal concepts and, therefore, mutually exclusive. This thesis aims to show that this mutual exclusivity between mortality and immortality is emphasised only in certain poetic genres, while others, namely those centred on extraordinary achievements or exceptional moments in the life of a mortal, can reduce the temporal notion of immortality and emphasise instead the happiness, success, and undisturbed existence that characterise divine life. Here, the paradox of momentary immortality emerges as something attainable to mortals in the poetic representation of certain occasions. The chapters of this thesis pursue such notions of momentary immortality in the wedding ceremony, as presented through wedding songs, in celebrations for athletic victory, as presented through the epinician, and at certain stages of the tragic plot. In the chapter on the wedding song, the discussion focuses on explicit comparisons between the beauty of bride and bridegroom and that of heroes or gods, and between their happiness and divine bliss. The chapter on the epinician analyses the parallelism between the achievement of victory and the exploits of mythical heroes, and argues for a parallelism between the victory celebration and immortalisation. Finally, the chapter on tragedy examines how characters are perceived as godlike because of their beauty, success, or power, and discusses how these perceptions are exploited by the tragedians for certain effects. By examining features of a rhetoric of praise, this thesis is not concerned with the beliefs or expectations of the author, the recipient of praise, or the surrounding milieu. It rather intends to elucidate how moments conceived of as extraordinary are communicated in poetry.