Thesis (Ph. D.)--University of Chicago, Dept. of Classical Languages and Literatures, June 1999. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--Johns Hopkins University, 1934. / Vita. Published also without thesis note. Bibliography: p. 213-216.

Στόχος της εργασίας αυτής είναι η εξέταση της σχέσης του σκώμματος με την κωμωδία και η παρατήρηση της τεχνικής αυτής στον σημαντικότερο κωμικό ποιητή, τον Αριστοφάνη. Συγκεκριμένα, στις έντεκα σωζόμενες κωμωδίες του Αριστοφάνη τα πρόσωπα που γίνονται στόχος, τα χαρακτηριστικά και τους λόγους για τους οποίους σκώπτονται, αν τα σκώμματα είχαν έρεισμα στην πραγματικότητα και την επίδραση που είχαν στη ζωή των διακωμωδουμένων και των θεατών. / -

Thesis advisor: Robert C. Bartlett / This dissertation seeks to understand Aristophanes’ critique of philosophic wisdom in three of his comedies: Clouds (423 BC), Women at the Thesmophoria (411 BC) and Frogs (405 BC). Written over the politically turbulent period of the Peloponnesian war (434-404 BC), these comedies navigate a generational conflict between conservative defenders of Athens’s customs, laws and gods and the younger generation influenced by the atheistic teachings of the sophists. This dissertation seeks to contribute to our understanding of Aristophanes’ critique by comparing his presentation of Socrates with that of Euripides, a tragedian who ingenuously fuses poetry with the new sophistic teaching. The first chapter considers Aristophanes’ representation of Socrates in Clouds as the sophist par excellence who replaces the gods of the city with natural causes, and respect for the city’s laws with rhetoric. Although the comedy looks like a conservative defense of traditional morality against the corrupting effects of philosophic novelty, the grounds of Aristophanes’ attack on Socrates are anything but clear. As Aristophanes’ depiction of the Clouds (strange airy deities worshipped by poets and sophists alike) shows, Socrates’ destruction at the end of the play occurs not because what Socrates teaches is false, but because his political isolation blinds him to the city’s demands and makes him vulnerable to persecution. Socrates’ failure in Clouds establishes the basis for considering Euripides’ (partially) successful confrontation with the city in Women at the Thesmophoria. The second chapter assesses the extent to which this hybrid of tragedian and sophist can be harmonized with the needs of the city without compromising his own integrity as a poet whose power lies in his psychologically accurate depictions of human nature. Aristophanes thus points to the superiority of Euripides the poet over Socrates the philosopher, at the same time as he exposes Euripides’ limitations. In Frogs, Aristophanes raises the stakes by pitting Euripides against another giant of tragedy, Aeschylus, in the Thunderdome of Hades with the god of the theatre, Dionysus, as judge. The comedy thus compares the two greatest poetic representatives of the generational conflict between conservative and sophist, old and new, common good and individual good, deciding at the last second in favor of Aeschylus. The chapter argues that Euripides fails because he cannot provide a sufficient political defense of his tragedy at the moment in which Athens faces imminent destruction at the hands of the Spartans. The conclusion reflects on Aristophanes’ implicit claim to teach justice and the good through comedy’s capacity to mediate between the demands of the city, on the one hand, and the insights on human nature afforded by philosophy, on the other. / Thesis (PhD) — Boston College, 2022. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Political Science.

Adorno discerned a modern quality in the classical tradition, and by incorporating this tradition into his writings he implied that there is still contemporary relevance in the classical works of the past. Classical philosophy and literature not only provided source material for his theories, but it will be shown that there is more to learn about the multiple functions of Adorno's writings and his process of writing them. This study seeks to examine and interpret some of Adorno's major writings that incorporated classical ideas and figures in order to locate how this ancient tradition contributed to his formulation of critical social and political theory. There are interesting and relevant implications for politics and political philosophy to be drawn from the entwinement of Adorno's work with classical thought, and it is the goal of this study to illuminate some of these implications. By looking at how classical thought influenced Adorno's deliberative writing process, the purpose of his writings becomes clearer. Ultimately, this study finds that his frequent use of classical literature and philosophy forms a political gesture against the standardization and domination of thought in modernity. / Master of Arts

Esta tese apresenta uma tradução dos fragmentos de Aristófanes e três estudos relativos a eles. O capítulo I, mais geral, é dedicado às fontes. Trata do contexto em que esses fragmentos surgiram, no período helenístico, e da sua transmissão, sobretudo através de escoliastas e lexicógrafos. O segundo e terceiro capítulos tratam de duas comédias em particular, Geritades (Geritads) e Convivas (Daitals). Nesses dois capítulos, a análise dos fragmentos está conjugada a um paralelo com comédias preservadas: no caso de Geritades, que tem por tema a crítica literária, Rãs; e Nuvens, no caso de Convivas, cujo assunto é o embate entre a nova e a velha educação. A segunda parte da tese contém uma tradução acadêmica dos 589 fragmentos de Aristófanes, a partir do original grego para o português. Esse corpus corresponde a todos os fragmentos do comediógrafo, com exceção daqueles que não são atribuídos a uma comédia específica, as chamadas incertae fabulae. / This thesis presents a translation of Aristophanes fragments and three studies about them. The initial chapter, of a more general nature, deals with the sources where the fragments are to be found, the context in wich they were created and their transmission, mainly through scholiasts and lexicographers. The other two chapters focus on two specific comedies: Geritades (Geritads) and Banqueters (Daitals), and parallels are drawn with extant comedies. Geritades is the object of comparative analysis with Frogs, since both plays are concerned with literary criticism. As to Banqueters, the thesis looks into points of contact with Clouds: the contrast between the old education and the new education is a central theme in both comedies. The second part of the thesis consists of an academic translation of the five hundred eightynine fragments, from the Greek original into Portuguese. This corpus corresponds to the totality of the comedians fragments, with the exception of those fragments that are not attributed to any specific comedy, the so called incertae fabulae.

O objetivo deste trabalho é analisar como se dá a ligação entre poesia e política nAs Rãs, de Aristófanes. O poeta estrutura a peça de modo que esses dois temas estão presentes o tempo todo, pois, desde o início, Dioniso está em busca de um bom poeta, para que ele salve a cidade. Assim, ao longo da peça, Aristófanes associa Eurípides à nova geração de políticos, demagogos cuja cidadania é muitas das vezes contestada e que são retratados como bajuladores e corruptores do povo. Esses, por sua vez, são contrapostos a Alcibíades, único dentre os políticos da nova geração citados na peça que tem origem aristocrata e é justamente o escolhido por Ésquilo para governar a cidade, tragediógrafo que ganha a competição no Hades e recebe o prêmio de voltar à vida e a missão de salvar Atenas. / This work aims to analyse the connection between poetry and politics in Aristophanes Frogs. In The Frogs, the poet structures the play in such a way that both themes are present at all times. An example of this is found in the beginning of the play when Dionysus, looking for a good poet that can save the city, journeys to Hades to bring Euripides back from the dead. Throughout the play, Aristophanes associates Euripides with a new generation of politicians, demagogues who have their citizenship questioned many times and are portrayed as flatterers and corrupters of people. These politicians are set against Alcibiades, a politician of a new generation that comes from an aristocratic background and is the one chosen by Aeschylus to lead the city. Aeschylus, on his turn, is the tragedian who wins the competition in Hades and is granted the prize to go back to life and receives the mission to save Athens.

Esta tese apresenta uma tradução dos fragmentos de Aristófanes e três estudos relativos a eles. O capítulo I, mais geral, é dedicado às fontes. Trata do contexto em que esses fragmentos surgiram, no período helenístico, e da sua transmissão, sobretudo através de escoliastas e lexicógrafos. O segundo e terceiro capítulos tratam de duas comédias em particular, Geritades (Geritads) e Convivas (Daitals). Nesses dois capítulos, a análise dos fragmentos está conjugada a um paralelo com comédias preservadas: no caso de Geritades, que tem por tema a crítica literária, Rãs; e Nuvens, no caso de Convivas, cujo assunto é o embate entre a nova e a velha educação. A segunda parte da tese contém uma tradução acadêmica dos 589 fragmentos de Aristófanes, a partir do original grego para o português. Esse corpus corresponde a todos os fragmentos do comediógrafo, com exceção daqueles que não são atribuídos a uma comédia específica, as chamadas incertae fabulae. / This thesis presents a translation of Aristophanes fragments and three studies about them. The initial chapter, of a more general nature, deals with the sources where the fragments are to be found, the context in wich they were created and their transmission, mainly through scholiasts and lexicographers. The other two chapters focus on two specific comedies: Geritades (Geritads) and Banqueters (Daitals), and parallels are drawn with extant comedies. Geritades is the object of comparative analysis with Frogs, since both plays are concerned with literary criticism. As to Banqueters, the thesis looks into points of contact with Clouds: the contrast between the old education and the new education is a central theme in both comedies. The second part of the thesis consists of an academic translation of the five hundred eightynine fragments, from the Greek original into Portuguese. This corpus corresponds to the totality of the comedians fragments, with the exception of those fragments that are not attributed to any specific comedy, the so called incertae fabulae.

Esta tese de doutorado contempla a investigação da impostura ou alazoneia no drama aristofânico. Trata-se de uma proposta de teorização acerca da pertinência do impostor ou alazôn para o enredo das comédias de Aristófanes, na tentativa de superar abordagens que se limitam a apontar a comicidade da figura do alazôn. Analisou-se, primeiramente, a ocorrência do vocábulo alazôn e seus derivados nas peças supérstites de Aristófanes bem como nos escólios e antigos comentários das referidas peças. Analisaram-se, secundariamente, as cenas típicas de alazoneia em que o vocábulo não é usado. A partir dessas análises, estudou-se o impostor na obra de Aristófanes como um todo, levando em consideração o que a literatura antiga e contemporânea postulou sobre esse tipo de personagem. Depois disso, sistematizouse o uso que Aristófanes faz da alazoneia e conclui-se que a impostura é mais importante para sua obra do que se considera geralmente. Finalmente, constatou-se que o alazôn constitui mais do que apenas um personagem típico, sendo, em vez disso, uma função cômica de muitos recursos. / This dissertation looks into dramatic imposture (alazoneia) in Aristophanes plays, trying to theorize how the impostor or alazôn fits the plots of Aristophanes comedies, and to go beyond approaches that just point to that figures comic function. First, it analyzes the use of the word alazôn and its related forms in Aristophanes extant plays as well as in ancient scholia and commentaries about the plays. Secondly, it examines scenes where alazoneia can be found although the word is not actually used. From such analyses, it studies the impostor in Aristophanes plays as a whole, taking into consideration what ancient and modern literature postulated about this stock character. After that, it tries to systematize Aristophanes usage of alazoneia, pointing to the fact that imposture is more important to his work than it has been acknowledged hitherto. Finally, it proposes that the alazôn is much more than a stock character; instead, it is a comic function that our playwright deftly uses in almost all of his plays.

Thesis (M.A.)--University of Alberta, 2010. / Title from pdf file main screen (viewed March 9, 2010) "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts, Dept. of Drama." Includes bibliographical references.