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Η παρούσα μελέτη ασχολείται με τα σκηνικά προβλήματα που προκύπτουν από την έναρξη των Βατράχων ως και την σκηνή της Έμπουσας (στ.1-305). Εξετάζονται διεξοδικά οι σκηνές με τον γάιδαρο του Ξανθία, την βάρκα του Χάρωνος, το χορό των βατράχων και το φάντασμα της Έμπουσας, όπως πιθανόν να παραστάθηκαν στα Λήναια το 405 π.Χ., χωρίς να παραλείπονται προτάσεις σε επιμέρους σκηνικά προβλήματα που ενυπάρχουν στις παραπάνω σκηνές, όπως η σκηνή με το Πτώμα. / The thesis is concerned with problematic areas considering the stagecraft of Aristophanes’ Frogs, from the beginning of the play until the Empusa scene (vv. 1-305). It examines the scenes that involve Xanthias’ donkey, Charon’s boat, the chorus of the frogs and the ghost of Empusa, as they were possibly produced at Lenaia in 405 BC, making, in addition, suggestions on subsidiary staging problems that occur within v. 1-305, such as the scene with the Corpse.

Thesis (Ph. D.)--Tufts University, 2001. / Submitted to the Dept. of Drama. Includes bibliographical references (leaves 249-255). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (Ph. D.)--Johns Hopkins University, 1902. / Life.

A Presença de Aristófanes em Literaturas de Expressão Inglesa apresenta um estudo realizado por meio de leituras e análises de recriações, que datam do fim do século XX e início do XXI, da comédia As Aves (414 a. C.) de Aristófanes. A princípio, o problema de pesquisa se manifestou a partir da observação da tendência do teatro irlandês contemporâneo por revisitar um grande número de tragédias gregas clássicas e apenas uma comédia: The Birds (1999) de Paul Muldoon. Ao ampliar a procura por outras versões desta comédia, foram encontradas The Birds (2002) de Sean O Brien e The Birds (1993) de Gwndlolyn MacEwen. A pergunta norteadora desta investigação é: como esta comédia antiga grega ainda mantém sua beleza e atualidade nos período mencionado? A hipótese é de que o texto clássico nunca terminou de dizer aquilo que tinha para dizer (CALVINO,1993, p. 11), desse modo a natureza do clássico permite que suas palavras ecoem novos sentidos para o leitor contemporâneo. O estudo tem base nas teorias de intertextualidade de Júlia Kristeva (1974), Julie Sanders, Linda Hutcheon (2011) e Lorna Hardwick (2003). O objetivo da pesquisa é propiciar uma reflexão sobre o processo de criação literária e sobre o diálogo entre o texto clássico e o contemporâneo. / The Presence of Aristophanes in English Literature analyses three transpositions of the aristophanic play The Birds (414 aC) to the contemporary theatre. At first, the research problem has arised from observing that various Irish playwrights have revisited classic Greek tragedies and only one has rewritten a comedy: The Birds (1999) by Paul Muldoon. As the research developed, the plays The Birds (2002) by Sean O Brien and The Birds (1993) by Gwndlolyn MacEwen had contributed for the comparative analysis of this work. The central question of this research is how this ancient Greek comedy still retains its beauty and relevance currently? The hypothesis is that the classic text \" (..) has not finished yet saying what it had to say\" (CALVINO, 1993, p. 11), therefore, the nature of the classic work enables its words to resonate new meanings for the contemporary reader. The research is based on the theories of intertextuality from the works of Júlia Kristeva (1974), Julie Sanders and Linda Hutcheon (2011), and the reception studies, represented by the work of Lorna Hardwick (2003). This dissertation aims to provide a reflection on the process of literary creation and on the dialogue between the classic and the contemporary text.

A Presença de Aristófanes em Literaturas de Expressão Inglesa apresenta um estudo realizado por meio de leituras e análises de recriações, que datam do fim do século XX e início do XXI, da comédia As Aves (414 a. C.) de Aristófanes. A princípio, o problema de pesquisa se manifestou a partir da observação da tendência do teatro irlandês contemporâneo por revisitar um grande número de tragédias gregas clássicas e apenas uma comédia: The Birds (1999) de Paul Muldoon. Ao ampliar a procura por outras versões desta comédia, foram encontradas The Birds (2002) de Sean O Brien e The Birds (1993) de Gwndlolyn MacEwen. A pergunta norteadora desta investigação é: como esta comédia antiga grega ainda mantém sua beleza e atualidade nos período mencionado? A hipótese é de que o texto clássico nunca terminou de dizer aquilo que tinha para dizer (CALVINO,1993, p. 11), desse modo a natureza do clássico permite que suas palavras ecoem novos sentidos para o leitor contemporâneo. O estudo tem base nas teorias de intertextualidade de Júlia Kristeva (1974), Julie Sanders, Linda Hutcheon (2011) e Lorna Hardwick (2003). O objetivo da pesquisa é propiciar uma reflexão sobre o processo de criação literária e sobre o diálogo entre o texto clássico e o contemporâneo. / The Presence of Aristophanes in English Literature analyses three transpositions of the aristophanic play The Birds (414 aC) to the contemporary theatre. At first, the research problem has arised from observing that various Irish playwrights have revisited classic Greek tragedies and only one has rewritten a comedy: The Birds (1999) by Paul Muldoon. As the research developed, the plays The Birds (2002) by Sean O Brien and The Birds (1993) by Gwndlolyn MacEwen had contributed for the comparative analysis of this work. The central question of this research is how this ancient Greek comedy still retains its beauty and relevance currently? The hypothesis is that the classic text \" (..) has not finished yet saying what it had to say\" (CALVINO, 1993, p. 11), therefore, the nature of the classic work enables its words to resonate new meanings for the contemporary reader. The research is based on the theories of intertextuality from the works of Júlia Kristeva (1974), Julie Sanders and Linda Hutcheon (2011), and the reception studies, represented by the work of Lorna Hardwick (2003). This dissertation aims to provide a reflection on the process of literary creation and on the dialogue between the classic and the contemporary text.

Rééd. de: Diss.--Kiel, 1953. / Bibliogr. p.X-XIV. Notes bibliogr. Index.

In this thesis, I examine three specific characters from the extant plays of Aristophanes: the Scythian archer from Thesmophoriazusae, the Thracian god from Birds, and the Persian King's Eye from Acharnians. Through a close analysis of these three characters, I show that Aristophanes portrayed each one in a different manner and with varying degrees of hostility. Aristophanes' portrayals of these foreigners were likely informed by his fellow Athenians' attitudes toward non-Athenians. As I demonstrate, the interactions of foreigners with Greek characters in Aristophanes' plays reveal subtle gradations of Greek xenophobia. The playwright composed his comedies in a period of great cultural change and increasingly diverse perceptions of non-Greeks, and as a result, these xenophobic nuances emerged. Views of barbarians were evolving in the last quarter of the fifth century BCE, and Greek xenophobia was not a monolithic social phenomenon.

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