Στην εργασία αυτή εξετάζεται η λειτουργία της αισχρολογίας στους Αχαρνής και την Ειρήνη του Αριστοφάνη. Οι δύο κωμωδίες επιλέχτηκαν επειδή έχουν κοινό θέμα, την αναζήτηση της ειρήνης από έναν Αθηναίο αγρότη και διακρίνονται σαφώς σε δύο μέρη: αυτό του πολέμου και αυτό της ειρήνης. Μέσα από την σύγκριση των παρόμοιων σκηνών αποδεικνύεται ότι η χρήση της αισχρολογίας είναι διαφορετική στα δύο έργα: στους Αχαρνής εξαρτάται περισσότερο από τον χαρακτήρα του Δικαιόπολη και είναι ευθεία και επιθετική, ενώ στην Ειρήνη είναι πιο εκλεπτυσμένη και σχεδόν καθόλου επιθετική. Αυτό οφείλεται στο ότι η Ειρήνη διδάχτηκε όταν οι αντίπαλες παρατάξεις του Πελοποννησιακού πολέμου ήσαν έτοιμες να συνάψουν ειρήνη, ενώ το 425 π.Χ., που διδάχτηκαν οι Αχαρνής, η ειρήνη φαινόταν πολύ μακρινή. Το συμπέρασμα είναι ότι ο Αριστοφάνης σε κάθε κωμωδία χειρίζεται με διαφορετικό τρόπο την αισχρολογία, η οποία αναδεικνύεται σε στοιχείο της τέχνης του στενά δεμένο με την πλοκή και αποκαλυπτικό του χαρακτήρα των δραματικών προσώπων. / The aim of this study is to present a detailed analysis of the the function of obscenity in Aristophanes’ Acharnians and Peace. The two comedies have been chosen because of their common theme, the quest for peace by an Athenian countryman. Both are clearly divided in two parts: that of the war and the other one for the peace. The comparison of the similar scenes proves that the use of obscenity in the two plays is different: in Acharnians it depends mostly on the character of Dikaiopolis and is explicit and aggressive, while in Peace is more refined and relevant to the theme of the play. This is due to the fact that Peace was performed in 421 B.C., when opponent parties of the Peloponnesian War were ready to sign peace. On the other hand in 425 B.C., when Acharnians was performed, peace seemed to be far away. The conclusion is that Aristophanes in each comedy handles the obscenity in a different way. That obscenity is revealed as an element of his art closely related with the plot and the character of the dramatic persons.

Aristophanes to Fo is a study of the principal comedic conventions of Aristophanes' political satire and their relationship to contemporary political satire. A template of these principal conventions is tabulated. This is then compared to, and contrasted with, conventions used in subsequent plays in the genre of political satire, including one written as the practice component of this exegesis. This process determines the influence of Aristophanic conventions on political satire from 4th century BCE Greece to the modern era. There is an analytical emphasis on three 20th century plays as case studies and on my play, Soft Murder, which is case study number four. At the core of the research is the hypothesis that Aristophanic comedic conventions are still relevant to the genre of political satire in contemporary theatre. To retain relevance the genre should be a discourse on a situation or event that has social as well as political meaning to its audience and its presentation should have entertainment value for the culture of the time. Soft Murder is a fundamental part of this process and is written concurrently with the research component.

Η παρούσα εργασία έχει στόχο τη συλλογή και τη μελέτη των κριτικών των παραστάσεων της αρχαίας ελληνικής κωμωδίας που σκηνοθέτησε ο Αλέξης Σολομός για το Εθνικό Θέατρο και οι οποίες παραστάθηκαν στο θέατρο της Επιδαύρου από τα τέλη της δεκαετίας του 1950 έως τα μέσα της δεκαετίας του 1970, οπότε το Φεστιβάλ της Επιδαύρου άνοιξε τις πύλες του σε νέους θιάσους. Μέσα από τη συλλογή των κυριότερων σημείων της κριτικογραφίας η εργασία καταγράφει και συνθέτει μια γραπτή ‘εικόνα’ της παράστασης. Το πρόβλημα που προκύπτει από τις κριτικές μελέτες είναι διττό: Καταρχάς εξαρτάται στην επιστημονική εγκυρότητα της κριτικής. Αρκετοί είναι αυτοί που αρκούνται σε μια κριτική αμιγώς υποκειμενική. Κάθε κριτική αξιολογείται με βάση την εγκυρότητα, (η οποία κρίνεται σύμφωνα με την αντικειμενική – επιστημονική διαδικασία τεκμηρίωσης του συλλογισμού), καθώς και την ειδίκευση του κάθε μελετητή, αν για παράδειγμα είναι φιλόλογος, σκηνοθέτης, ή άλλης συναφούς ιδιότητας. Στη συνέχεια ο δεύτερος άξονας αφορά στη συχνότητα που οι ίδιοι κριτικοί ασχολούνται με τις παραστάσεις του Σολομού. Είναι άξιο παρατήρησης ότι σχεδόν για δύο δεκαετίες η πλειονότητα των κριτικών που γράφουν για τον εξεταζόμενο σκηνοθέτη παραμένει η ίδια, με συνέπεια η κριτικογραφία να μην είναι παραγωγική και να μην εγείρει δημιουργικούς προβληματισμούς. Με την πάροδο των χρόνων δε, χαρακτηρίζεται από στασιμότητα και επανάληψη. Η εργασία διαρθρώνεται ως εξής: Ακολουθείται η χρονολογική κατάταξη των Αριστοφανικών παραστάσεων, έχοντας ως αφετηρία το 1957 όπου ο Αλέξης Σολομός σκηνοθετεί τις Εκκλησιάζουσες αρχικά για το Ωδείο Ηρώδου του Αττικού και ακολούθως για τα Επιδαύρια. Οι συντελεστές παρουσιάζονται μέσα από τις κριτικές που δημοσιεύτηκαν στον τύπο εκείνη την περίοδο. Επομένως, η κάθε παράσταση είναι ένα διαφορετικό υποκεφάλαιο, του οποίου η δομή προκύπτει από την παρουσίαση των συντελεστών της παραγωγής. Στην εισαγωγή των υποκεφαλαίων αναφέρονται αμιγώς γενικές συνθήκες και γεγονότα της παράστασης. / The method of Alexis Solomos for Aristophanes' comedies that have played at Epidauros Theater with the National Theater of Greece from 1957 to 1973.

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 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.

Diss.--Universität Erlangen-Nürnberg, Erlangen. / Bibliography: p. [189]-200.

A dissertação pretende-se uma contribuição para o estudo poético da Comédia Antiga, analisando o emprego das convenções do gênero na peça As Rãs e traduzindo-a de modo a tornar visíveis essas questões em português. Todos os elementos formais da Comédia Antiga (estrutura, enredo, personagens, elocução, versificação e espetáculo) parecem se definir por três aspectos: fisicalidade, acumulação e descontinuidade. Dessa combinação nasce o efeito próprio da Comédia Antiga: as sensações de pertencimento, liberdade e realização. Na Ática dos séculos V e IV a.C, outra função da Comédia Antiga era comentar e influenciar a política da cidade. A ação da comédia não é composta por estritas relações de causa e efeito e a coerência do todo só pode ser entendida ao observar a correlação de temas e imagens que permeiam a peça e podem ser percebidos sobretudo na parábase e nas repetições de termos de mesma raiz ou mesmo campo semântico. N\'As Rãs predominam os temas do bom nascimento, da virtude moral e da poesia, cujas interrelações são exploradas pelo poeta. Aristófanes parece sacrificar algo da satisfação cômica para fortalecer o teor exortativo da peça, que incentiva a escolha de boas lideranças, o fim das disputas civis e a paz com os peloponésios. Por fim, analisam-se traduções em português de Aristófanes e propõe-se como tornar visíveis em português as características formais do gênero identificadas na primeira parte da dissertação. / This dissertation intends to contribute to the study of the poetics of Ancient Comedy. It analyses how the play Frogs employs generic conventions, and presents a translation into Portuguese, so that readers who have no knowledge of Ancient Greek can access the debate. All formal elements in Ancient Comedy (structure, plot, characters, elocution, metre and spectacle) seem to be defined by three aspects: physicality, accumulation and discontinuity. Out of the conjunction of these traits emerges Ancient Comedy\'s distinctive effect: the feeling of connection, freedom, fulfilment and satisfaction. Another function of fifth and early fourth-century Attic Comedy was to comment and influence Athens\' politics. The plot of Ancient Comedy is not strictly organical, and its coherence relies on the pervasive themes and images of a play, which make themselves known especially in the parabasis and the reiteration of words with similar stems and meaning. In Frogs, these themes are good birth, moral virtue and poetry, which Aristophanes interconnects. The poet seems to sacrifice a little of comic satisfaction in order to stress the exhortative character of the play, which recommends the choice of good leaders and the end of both civil strife and war against the Peloponnesians. At last, the dissertation analyses translations of Aristophanes\' plays into Portuguese, and proposes how the traits identified in the first part can be made visible in Portuguese.

Das peças com tema feminino de Aristófanes Lisístrata (411 a.C), As Tesmoforiantes (411 a.C) e Mulheres na Assembleia (392 ou 391) , a segunda foi a que menos despertou o interesse dentre os estudiosos do século XX.Até a década de 70, essa era uma comédia considerada de menor valor literário pela crítica, pois não apresentava uma heroína forte, como Lisístrata, ou uma ideia inovadora, como a de Praxágora, a peça era vista então apenas como uma aglomeração pobre de paródias de peças euripidianas.Entretanto estudos posteriores, como o de Zeitlin (1981), começam a apontar para outras leituras da obra, de modo que fosse possível perceber que a peça não era assim tão superficial quanto parece à primeira leitura. Zeitlin, por exemplo, explica que as paródias não são meras pilhérias, mas fazem uma intersecção entre o feminino e o masculino, o cômico e o trágico. Slater (2002) vai além e enxerga, na representação da assembleia feminina, outras possibilidades de leitura, como a possível referência à repressão que os atenienses sofriam no período da crise de 411. O meu objetivo, portanto, é, a partir da discussão dos problemas de datação que essa peça oferece, pensar algumas passagens que remeteriam a fatos históricos, para que se comprove que As Tesmoforiantes são uma obra ainda mais complexa, em que se pode também encontrar um outro modo de leitura. / Between the plays with female protagonists Lysistrata (411b.C), Thesmophoriazusae (411 a.C) and Ecclesiazûsae (392 or 391) -, the second was the one that raised least interest with the critics of the 20th century. Until the 70s, the critics considered Thesmophoriazusae to be a comedy of minor literary value, because it didnt present a strong heroine, like Lysistrata, or a new ideia, like Praxagoras. The play was seen merely as a poor agglomeration of euripidean parodies. However, in later studies (like the one of Zeitlin (1981), for example) started to hint at other possible interpretations of this work, making it clear that the play was not as superficial as it might have seem to be at the first sight. Zeitlin, for example, explains that the parodies are not mere mockeries, but make an intersection of relation between male and female, between comic and tragic. Slater (2002) goes further and sees, in the representation of the female Assembly, other possibilities of interpretation, as possible references to the repression suffered by the Athenians in the period of 411. My aim, thus, is, through discussion of the problems that arise trying to determinate the precise date of the plays performance, to consider relative passages that could help establish a frame of historical facts, so that we can prove that Thesmophoriazusae is a play far more complex and that it is possible to interpret it accordingly.

O presente trabalho tem em vista um estudo sobre a derrota na primeira apresentação de Nuvens de Aristófanes, em 423 a. C., e as relações de competição e rivalidade entre os poetas cômicos inferidas pelo discurso sobre o fracasso na revisão da mesma peça. Atentarei especialmente para a parábase de Nuvens, conjugada com as parábases das peças anteriores, como Acarnenses (425 a. C.) Cavaleiros (424 a. C.), e posteriores, como Vespas (422 a. C.) e Paz (421 a. C.). Entendo que essa investigação é significativa para a compreensão não apenas da poética aristofânica, mas também para o exame da obra fragmentária de outros autores cômicos, como Cratino e Êupolis. / The present work aims at a study on the defeat in the first presentation of Aristophanes Clouds, in 423 a. C., and the relations of competition and rivalry between the comic poets inferred by the discourse on failure in the revision of the same play. I will pay special attention to the parabasis of Clouds, in conjunction with the parabasis of the previous plays, such as Acharnians (425 BC), Knights (424 BC), and later ones, like Wasps (422 BC) and Peace (421 BC). I understand that this research is significant for the understanding not only of aristophanic poetics, but also for the examination of the fragmentary work of other comic authors, such as Cratinus and Eupolis.

O presente trabalho tem em vista um estudo sobre a derrota na primeira apresentação de Nuvens de Aristófanes, em 423 a. C., e as relações de competição e rivalidade entre os poetas cômicos inferidas pelo discurso sobre o fracasso na revisão da mesma peça. Atentarei especialmente para a parábase de Nuvens, conjugada com as parábases das peças anteriores, como Acarnenses (425 a. C.) Cavaleiros (424 a. C.), e posteriores, como Vespas (422 a. C.) e Paz (421 a. C.). Entendo que essa investigação é significativa para a compreensão não apenas da poética aristofânica, mas também para o exame da obra fragmentária de outros autores cômicos, como Cratino e Êupolis. / The present work aims at a study on the defeat in the first presentation of Aristophanes Clouds, in 423 a. C., and the relations of competition and rivalry between the comic poets inferred by the discourse on failure in the revision of the same play. I will pay special attention to the parabasis of Clouds, in conjunction with the parabasis of the previous plays, such as Acharnians (425 BC), Knights (424 BC), and later ones, like Wasps (422 BC) and Peace (421 BC). I understand that this research is significant for the understanding not only of aristophanic poetics, but also for the examination of the fragmentary work of other comic authors, such as Cratinus and Eupolis.