Thesis (Ph. D.)--Universität Basel, 1915. / Vita. Includes bibliographical references (p. 120) and index.

Thesis (Ph. D.)--University of Chicago, 1900.

This master thesis aims to describe the creation of dramatic illusion based on the interaction of three elements: actor - play - spectator. It also seeks to define metatheatre as a defiance of the dramatic illusion. It distinguishes the notion of metatheatre from the one of play-within-play in general. Specific Plautus'use of the metatheatre technique follows with respective examples from four of his comedies: Amphitruo, Aulularia, Cistellaria and Pseudolus.

A presente dissertação divide-se em duas partes. Na primeira, analisamos O mercador, de Plauto, examinamos o que disse Aristóteles sobre o gênero cômico e estudamos as origens da comédia, com destaque para a Nea, com base no trabalho de George E. Duckworth. Partindo-se desse estudo, as características próprias da comédia, em geral, são apontadas, demonstrando-se a fórmula da comédia utilizada pelos autores antigos, apresentada neste trabalho, ao citarmos Northrop Frye. Após isso, focalizamos a estrutura da obra O mercador e, também, os tipos existentes na obra plautina, sobretudo os tipos femininos. A seguir, destacamos a relação amorosa entre o senex e a escrava-cortesã. Na segunda parte da dissertação, traduzimos a comédia, a partir do texto latino encontrado na edição de A. Ernout publicada pela Société d\'Édition \"Les Belles Lettres\". / This dissertation is presented in two parts: in the first one, we made an analysis of Plautus\'Mercator. To lay the foundation of such analysis, we considered what Aristoteles stated about comedy and we also retrace the sources of comedy, with particular emphasis on the Nea, by taking into consideration the study of George Duckworth. Still based on this work of Duckworth, we conducted a research on the identifying characteristics of comedy and, to do such, we also consulted Northrop Frye, whose work helped us to expose the strategies of comedy developed by the ancient authors. After this comprehensive study of comedy, we gave an analysis of the structure of the play and the characters, particularly the female ones, presented in Mercator. Eventually, the first part of our study is dedicated to examine the loving relationship between senex and his slave courtesan. In the second part of the dissertation, we present a translation into Portuguese of Plautus\' comedy from the original text, in Latin, which was found in A. Ernout\'s book published by the Société d\'Édition \"Les Belles Lettres\".

Thesis (Ph. D.)--Columbia University, 1933. / Vita. Published also without vita.

Thesis (Ph. D.)--Columbia University, 1933. / Vita. Published also without vita.

Thesis (Ph. D.)--University of Wisconsin, 1907. / Includes index. Bibliography: p. 64-66.

The author's inaugural dissertation, Munich, 1926. / Includes bibliographical references.

La tromperie dans le théâtre de Plaute repose souvent sur l’articulation entre vision et visible. Le spectacle tient une grande place dans le ludus romain et Plaute accentue le jeu sur la sensorialité dans son texte. Mais le contexte intellectuel de la période hellénistique, dans lequel ont été composées les pièces grecques dont s’inspire Plaute, invite à une relecture de la tromperie, en lien avec l’erreur. L’examen du lexique de la vision fait émerger des situations dans lesquelles le regard est engagé. Est affirmée par les personnages, et tout à la fois remise en question, la confiance accordée à la vue. L’analyse du Miles gloriosus, dans lequel l’esclave trompeur déclare jeter une glaucuma sur les yeux de celui qu’il berne, révèle un schéma dont nous nous demandons s’il est pertinent pour les autres pièces de Plaute : tout en offrant à la vue un objet fallacieux, le trompeur sape la confiance du trompé dans l’évidence visuelle. Nous étudions alors les causes d’altération de la perception, qui figurent dans l’arsenal sceptique grec (ivresse, folie, rêve) puis envisageons la manière dont est manipulé le visible, par la ressemblance (similitudo), qu’elle soit due au déguisement ou à la geméllité. Émergent les deux pôles de la critique des sens par les scepticismes (pyrrhonien et néoacadémicien) : relativité des jugements subjectifs et indécidabilité de la nature de l’objet. Par l’affection oculaire et l’ensorcellement, métaphores de la tromperie et du trompeur, Plaute développe un discours médical original, entre grec et latin, et montre un seruus fallax forgeant des illusions. Son pendant, le jeune homme amoureux, vit dans l’illusion amoureuse qu’il a lui-même forgée. / Deception in Plautus’ plays often rests on the articulation between vision and visible. Spectacle plays a crucial part in the Roman ludus and Plaute emphasises the topic of sensoriality in his text. But the intellectual context of the Hellenistic period, during which the Greek plays that have inspired Plautus have been composed, spurs us to take a fresh look at deception, in connection with error. The study of the lexicon of vision brings out various situations in which gaze is involved. The characters both assert and question the confidence granted to sight. The analysis of the Miles gloriosus, in which the deceitful slave declares that he will cast a glaucuma on the eyes of the one he aims to deceive, reveals a certain pattern : while offering to the gaze a fallacious object, the deceiver undermines the trust of the deceived in what he sees. We aim to understand if this pattern is relevant for other Plautus’ plays. We study the causes of alteration of perception, which appear in the Greek skeptic topoi (drunkenness, madness, dream) and then consider the way in which the visible is manipulated, thanks to resemblance (similitudo) through disguise or gemellity. There appear the two focuses of the criticism of the senses by the Skeptics (Pyrrhonian and neoacademician) : relativity of subjective judgments and undecidability of the nature of the object. Through ocular affection and of bewitchment, which are the metaphors of the deception and of the deceiver, Plautus develops an original medical discourse, between Greek and Latin, and shows a fallax seruus forging illusions. His counterpart, the young man in love, lives in the illusion of love that he has himself forged.

A presente dissertação divide-se em duas partes. Na primeira, analisamos O mercador, de Plauto, examinamos o que disse Aristóteles sobre o gênero cômico e estudamos as origens da comédia, com destaque para a Nea, com base no trabalho de George E. Duckworth. Partindo-se desse estudo, as características próprias da comédia, em geral, são apontadas, demonstrando-se a fórmula da comédia utilizada pelos autores antigos, apresentada neste trabalho, ao citarmos Northrop Frye. Após isso, focalizamos a estrutura da obra O mercador e, também, os tipos existentes na obra plautina, sobretudo os tipos femininos. A seguir, destacamos a relação amorosa entre o senex e a escrava-cortesã. Na segunda parte da dissertação, traduzimos a comédia, a partir do texto latino encontrado na edição de A. Ernout publicada pela Société d\'Édition \"Les Belles Lettres\". / This dissertation is presented in two parts: in the first one, we made an analysis of Plautus\'Mercator. To lay the foundation of such analysis, we considered what Aristoteles stated about comedy and we also retrace the sources of comedy, with particular emphasis on the Nea, by taking into consideration the study of George Duckworth. Still based on this work of Duckworth, we conducted a research on the identifying characteristics of comedy and, to do such, we also consulted Northrop Frye, whose work helped us to expose the strategies of comedy developed by the ancient authors. After this comprehensive study of comedy, we gave an analysis of the structure of the play and the characters, particularly the female ones, presented in Mercator. Eventually, the first part of our study is dedicated to examine the loving relationship between senex and his slave courtesan. In the second part of the dissertation, we present a translation into Portuguese of Plautus\' comedy from the original text, in Latin, which was found in A. Ernout\'s book published by the Société d\'Édition \"Les Belles Lettres\".