Η απόπειρα ν’ ανιχνεύσουμε μέσω των αποσπασμάτων την εξέλιξη των χαρακτηριστικών της Νέας Κωμωδίας συνιστά την ουσιαστική και την εις βάθος μελέτη της. Ιδιαιτέρως χρήσιμη προς αυτή την κατεύθυνση μπορεί ν’ αποδειχτεί και η προσέγγιση των σωζόμενων σπαραγμάτων των ησσόνων ποιητών, η οποία προσθέτει στοιχεία που αφορούν το ευρύτερο πλαίσιο της Νέας Κωμωδίας, συμβάλλει στην παρακολούθηση των εξελικτικών τάσεων και προσφέρει πληρέστερη εικόνα σ’ ένα χώρο όπου κυριαρχεί ο Μένανδρος. Ένας από τους ήσσονες ποιητές, τα διασωθέντα αποσπάσματα του οποίου αποτελούν το αντικείμενο μελέτης της παρούσας εργασίας, είναι ο Βάτων. Ο Βάτων δραστηριοποιείται στην Αθήνα, κατά το πρώτο μισό του 3ου αι. π.Χ. Το γεγονός ότι οι πάπυροι δεν αναφέρουν πληροφορίες γι’ αυτόν, με εξαίρεση τη μαρτυρία του P. Herc. 1018 (βλ. απ. 8 Κ-Α), επιβεβαιώνει το γεγονός ότι το έργο του δεν ξεχώρισε μεταξύ των συγχρόνων του και δεν κατάφερε τελικά να διασωθεί στο σύνολό του. Ωστόσο αποσπάσματά του δεν έλειπαν από Ανθολογίες και συλλογές, όπως το έργο του Αθήναιου και του Στοβαίου. Η έμμεση παράδοση λοιπόν διέσωσε τέσσερις τίτλους κωμωδιών: Αἰτωλός, Ἀνδροφόνος, Εὐεργέται, Συνεξαπατῶν και επτά αποσπάσματα συνολικά. / Fragments of comic poet Baton.

This doctoral thesis explores a subject falling in the interface between ancient Greek philosophy and literature. Specifically, I am concerned with common ground between the New Comedy of Menander and aspects of Aristotle’s philosophy. The thesis does not argue that the resemblance identified between the two writers shows the direct influence of Aristotle on Menander but rather thay they share a common thought-world. The thesis is structured around a series of parallel readings of Menander and Aristotle; key relevant texts are Menander’s "Epitrepontes", "Samia", "Aspis", "Perikeiromene" and "Dyscolos" and Aristotle’s "Posterior Analytics", "Nicomachean and Eudemian Ethics", "De Anima" and "Poetics". My claim is that Menander’s construction of characters and plots and Aristotle’s philosophical analyses express analogous approaches on the subject of the relationship between knowledge and ethics. Central for my argument is the consideration that in Aristotle’s writings on ethics, logic, and psychology, we can identify a specific set of ideas about the interconnection between knowledge-formation and character or emotion, which shows, for instance, how ethical failings typically depend on a combination of cognitive mistakes and emotional lapses. A few years later than the composition of Aristotle’s school-texts, Menander’s comedies, as expressed in the extant texts, present to a wider audience a type of drama which, as I argue, reflects an analogously complex and sophisticated understanding of the interplay between cognitive or rational understanding and character or emotion. More broadly, Aristotle and Menander offer analogous views of the way that perceptions and emotional responses to situations are linked with the presence or absence of ethical and cognitive understanding, or the state of ethical character-development in any given person. Thus, I suggest, the interpersonal crises and the progress towards recognition of the identity of the crucial figures in Menandrian comedies embody a pattern of thinking about perception, knowledge and the role of emotion that shows substantial linkage with Aristotle’s thinking on comparable topics.

This thesis is asking whether the television series Community (2009-) can be defined as a Sitcom, combined with a look at how other genres that generally are considered to be non-comic are incorporated in the series and how those are identifiable as well as whether or not they compromise Community’s possible label as a Sitcom. In seeking to define this show’s place in its own genre I found that whilst Community does not follow the archetypal technical conventions of Sitcom, it still does follow some of its setups, tropes and ideas. It does not suffice as a classical Sitcom, but it does lean on some of the genres conventions and has not yet passed over the line where it would be part of a completely different genre. Instead I state that the series fits the term New Comedy, as devised by Antonio Savorelli, not a genre but a term representing the heightened use of metatextuality on four levels in Comedy. Thus Community suffices as a part of an evolved version of the Sitcom genre.

No description available.

Este trabalho consiste no estudo introdutório e tradução da comédia O Díscolo, de Menandro, autor grego do século IV a.C. A primeira parte do estudo contempla a apresentação da comédia em seu contexto e sua estrutura dramática. A segunda parte é dedicada à análise das personagens - por ser uma comédia que privilegia os caracteres, julgo importante estender-me sobre eles. Essa seção divide-se em nove partes, cada uma dedicada a uma personagem, exceto no caso da primeira seção intitulada A Divindade, que apresenta uma análise sobre o deus Pã e as Ninfas; e a quinta seção, intitulada Personagens femininas, que traz a análise da menina, filha de Cnêmon, de Simica, e da mãe de Sóstrato. A tradução, segunda realizada no Brasil a primeira é de Mário da Gama Kury tem o objetivo de divulgar a obra do autor grego para o público brasileiro em geral. Com esse intuito, o texto foi vertido para o português em prosa, procurando-se manter o seu ritmo fluido e sua linguagem. Além disso, a linha do verso foi mantida para facilitar a consulta ao original grego. / This work consists in the introductory study and translation of the comedy Dyskolos, of Menander, Greek author of the fourth century BC. The first part of the study includes the presentation of comedy concerning its context and its dramatic structure. The second part is devoted to the analysis of the characters - as a comedy that emphasizes the characters, I consider it important. This section is divided into nine parts, each one devoted to one character, except for the first section entitled The Divine, which presents an analysis of the god Pan and the Nymphs, and the fifth section, entitled Female characters, which conveys the analysis of the girl, the daughter of Knemon of Simike, and of Sostratos mother. The translation, the second one developed in Brazil the first is by Mario da Gama Kury aims to disseminate the work of the Greek author to the Brazilian public. With this purpose, the text was converted to Portuguese on prose, trying to keep its rhythm and language. Besides that, the line of the verse was kept to make it easier the consultation with the original.

Este trabalho consiste no estudo introdutório e tradução da comédia O Díscolo, de Menandro, autor grego do século IV a.C. A primeira parte do estudo contempla a apresentação da comédia em seu contexto e sua estrutura dramática. A segunda parte é dedicada à análise das personagens - por ser uma comédia que privilegia os caracteres, julgo importante estender-me sobre eles. Essa seção divide-se em nove partes, cada uma dedicada a uma personagem, exceto no caso da primeira seção intitulada A Divindade, que apresenta uma análise sobre o deus Pã e as Ninfas; e a quinta seção, intitulada Personagens femininas, que traz a análise da menina, filha de Cnêmon, de Simica, e da mãe de Sóstrato. A tradução, segunda realizada no Brasil a primeira é de Mário da Gama Kury tem o objetivo de divulgar a obra do autor grego para o público brasileiro em geral. Com esse intuito, o texto foi vertido para o português em prosa, procurando-se manter o seu ritmo fluido e sua linguagem. Além disso, a linha do verso foi mantida para facilitar a consulta ao original grego. / This work consists in the introductory study and translation of the comedy Dyskolos, of Menander, Greek author of the fourth century BC. The first part of the study includes the presentation of comedy concerning its context and its dramatic structure. The second part is devoted to the analysis of the characters - as a comedy that emphasizes the characters, I consider it important. This section is divided into nine parts, each one devoted to one character, except for the first section entitled The Divine, which presents an analysis of the god Pan and the Nymphs, and the fifth section, entitled Female characters, which conveys the analysis of the girl, the daughter of Knemon of Simike, and of Sostratos mother. The translation, the second one developed in Brazil the first is by Mario da Gama Kury aims to disseminate the work of the Greek author to the Brazilian public. With this purpose, the text was converted to Portuguese on prose, trying to keep its rhythm and language. Besides that, the line of the verse was kept to make it easier the consultation with the original.

No description available.

L’identification des contraintes financières et sociales qui sont sous-entendues dans la situation des personnages amoureux de la comédie de Ménandre – à partir de ses pièces et fragments subsistants et de ses adaptations en langue latine par Térence – permet d’éclairer la rhétorique de séduction ou de dissuasion employée par les divers personnages types de ce genre littéraire. Or, il existe un parallèle étroit entre ces discours et situations dramatiques et l’élégie érotique qui fleurit quelques siècles plus tard à Rome sous la plume de Tibulle, Properce et Ovide. Certains aspects déroutants de la rhétorique de séduction employée par les élégistes sont élucidés lorsqu’on les comprend dans le contexte dramatique de la comédie nouvelle : notamment, le poète narrateur se positionne dans la situation du jeune protagoniste amoureux de la comédie et la bien-aimée à qui il s’adresse se trouve dans la situation de la courtisane indépendante qui figure dans plusieurs pièces comiques. Cette recherche conclut qu’il existe une tension financière entre l’amant élégiaque et sa maîtresse qui, bien qu’elle soit passée sous silence par les poètes, influence les arguments utilisés par le narrateur à son égard et les propos imaginés ou rapportés de sa bien-aimée en retour. / The identification of the financial and social constraints that underlie Menander’s love plots helps in explaining the arguments contained in the persuasive and dissuasive discourses employed by the various archetypal characters of this literary genre. This research demonstrates that there is a narrow parallel between the rhetoric rooted in these narrative situations and the later works of the Latin love elegists in a way that elucidates some aspects of the elegiac discourse: the poet-narrator positions himself in the situation of the enamoured young man of new comedy and his beloved addressee’s situation corresponds to that of the independent mistress who appears in many comic plots.

L’identification des contraintes financières et sociales qui sont sous-entendues dans la situation des personnages amoureux de la comédie de Ménandre – à partir de ses pièces et fragments subsistants et de ses adaptations en langue latine par Térence – permet d’éclairer la rhétorique de séduction ou de dissuasion employée par les divers personnages types de ce genre littéraire. Or, il existe un parallèle étroit entre ces discours et situations dramatiques et l’élégie érotique qui fleurit quelques siècles plus tard à Rome sous la plume de Tibulle, Properce et Ovide. Certains aspects déroutants de la rhétorique de séduction employée par les élégistes sont élucidés lorsqu’on les comprend dans le contexte dramatique de la comédie nouvelle : notamment, le poète narrateur se positionne dans la situation du jeune protagoniste amoureux de la comédie et la bien-aimée à qui il s’adresse se trouve dans la situation de la courtisane indépendante qui figure dans plusieurs pièces comiques. Cette recherche conclut qu’il existe une tension financière entre l’amant élégiaque et sa maîtresse qui, bien qu’elle soit passée sous silence par les poètes, influence les arguments utilisés par le narrateur à son égard et les propos imaginés ou rapportés de sa bien-aimée en retour. / The identification of the financial and social constraints that underlie Menander’s love plots helps in explaining the arguments contained in the persuasive and dissuasive discourses employed by the various archetypal characters of this literary genre. This research demonstrates that there is a narrow parallel between the rhetoric rooted in these narrative situations and the later works of the Latin love elegists in a way that elucidates some aspects of the elegiac discourse: the poet-narrator positions himself in the situation of the enamoured young man of new comedy and his beloved addressee’s situation corresponds to that of the independent mistress who appears in many comic plots.

No description available.