Dans le trimetre iambique, il y a des clausules tragiques et d autres comiques. Ces deux types de clausules alternent dans les scenes para-tragiques d Aristophane, dans le concours de chant des ...Guepes, dans la pesee des vers des GrenouiHes et dans la parodie de l Helene des Thesmophories.
The study examines offensiveness in intra-/inter-cultural transfer of the ancient Greek comedy Lysistrata by Aristophanes in 411 BC into Modern Greek and English. The play is known for its bad ...language and is a very useful resource for analyzing profanity transfer, in different time periods. The study uses impoliteness theory (García-Pastor, 2008) and humor theory (Attardo, 2001), to explore variation in the degree to which offensiveness is tolerated in four target versions of the ancient play. The methodology adopts a mixed-methods approach: the study first conducts qualitative research and then qualitative/quantitative research through a questionnaire utilizing participants’ insight into assessing degrees of humor. The elicited data showed higher tolerance of taboo language in the recent versions, whether Greek or English, and lower degrees of offensiveness in the earlier versions. Another finding concerns the tendency of Modern Greek to engage in profanity more often than the modern-day English translation. The analysis advances understanding of how taboo language may be perceived and of the interplay between translator choices and the im/politeness norms prevalent at particular times and communities of practice, as norms of a target community of practice may be reflected in translation products for target discourses to become operative.
•Humor, in Aristophanes’ Lysistrata comedy, conveys an anti-war message and makes ample use of swearwords.•Swearwords may be transferred differently intra- or cross-culturally depending on norms and conventions.•There is significantly lower degree of offensiveness in the earlier Modern Greek and English versions of the play.•Today's respondents felt that higher offensiveness more effectively conveys the communicative force of the anti-war text.
The expression ψυχαγωγεῖ Σωκράτης used by Aristophanes in Birds has been interpreted in different ways. However, the fact that the comediographer compares the action of invoking the souls of the dead ...to Odysseus, ὥσπερ Οὑδυσσεύς, suggests that book 11 of the Odyssey was the model that inspired the scene. Many platonic passages from Protagoras, Republic, Gorgias, Phaedo and Apology explain which could have been the cause of the aristophanic parody: Socrates’ propensity to mention Odysseus in his descriptions of what is awaiting for the souls in Hades after the death.
ZUSAMMENFASSUNG In der bisherigen Hegel-Literatur wird Schlegel zumeist als Hegels Antipode behandelt. Im Gegensatz dazu richtet sich mein Interesse in der vorliegenden Arbeit darauf, zu zeigen, dass ...Hegels Darstellung der Komödie In der „Phänomenologie des Geistes“ unter dem Einfluss von Schlegels Texten über die Komödie entstanden sein könnte. Um dies belegen zu können, werden zunächst die literaturgeschichtliche Bedeutung von Schlegels Aufsatz über Aristophanes aus dem Jahr 1974 und der Ruf gezeigt, den er in der damaligen intellektuellen Öffentlichkeit erlangte. Daraufhin soll dargelegt werden, inwieweit es strukturelle Überschneidungen zwischen Hegels und Schlegels Darstellungen der Komödie gibt. Im Zentrum der Argumentation steht aber, dass beide Autoren die Parabase als das zentrale Element der Darstellung verwenden. Im letzten Teil der Arbeit wird aber versucht zu zeigen, dass Hegel über Schlegel hinausgeht, sofern die Komödie in Hegels System das Potenzial darstellt, über die Art und Weise der Vorstellung hinaus zum absoluten Wissen zu gelangen.
ABSTRACT In the previous Hegel literature, Schlegel is mostly treated as Hegel’s antipode. In contrast to this, my interest in the present work is directed towards showing that Hegel’s presentation of comedy in the „Phenomenology of the Spirit“ may have developed under the influence of Schlegel’s texts on comedy. In order to be able to prove this, the significance of Schlegel’s essay on Aristophanes from 1974 and the reputation he gained in the intellectual public of the time are shown first. It will then be shown to what extent there are structural overlaps between Hegel’s and Schlegel’s presentations of comedy. At the center of the argument, however, is the fact that both authors use the parabasis as the central element of the presentation. In the last part of the work, the attempt is made to show that Hegel goes beyond Schlegel, insofar as the comedy in Hegel’s system displays the potential to reach absolute knowledge beyond the way of representation.
The Greek playwright Aristophanes (active 427–386 BCE) is often portrayed as the poet who brought stability, discipline, and sophistication to the rowdy theatrical genre of Old Comedy. In this ...groundbreaking book, situated within the affective turn in the humanities, Mario Telò explores a vital yet understudied question: how did this view of Aristophanes arise, and why did his popularity eventually eclipse that of his rivals?Telò boldly traces Aristophanes's rise, ironically, to the defeat of his play Clouds at the Great Dionysia of 423 BCE. Close readings of his revised Clouds and other works, such as Wasps, uncover references to the earlier Clouds, presented by Aristophanes as his failed attempt to heal the audience, who are reflected in the plays as a kind of dysfunctional father. In this proto-canonical narrative of failure, grounded in the distinctive feelings of different comic modes, Aristophanic comedy becomes cast as a prestigious object, a soft, protective cloak meant to shield viewers from the debilitating effects of competitors' comedies and restore a sense of paternal responsibility and authority. Associations between afflicted fathers and healing sons, between audience and poet, are shown to be at the center of the discourse that has shaped Aristophanes's canonical dominance ever since.
Led by the poet Virgil, Dante navigates the various levels of the Inferno, where his political opponents face chastisement and dismemberment according to Dante's virtuous pagans: Homer, Ovid, Horace, ...and Lucan, among whom Virgil is recognized as the "Prince of Poets". As Virgil describes, because the legacy "they left on earth is recognized in Heaven / and wins them ease in Hell out of God's favor," they are "sinless ... suffering Hell in one affliction only: / that without hope they live on in desire". Dante singles out those who created enduring works of art that changed the world, making them a literal light in the darkness for Dante as well as a figurative light for a future society that they will continue to influence.
The calibration of radiocarbon measurements is based on a number of mathematical assumptions that are rarely considered by users of the various available calibration programs. As
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C ages take on ...mathematical properties best known from quantum physics, a quantum theoretical approach provides a useful basis to evaluate the reliability of processes of calibration and Bayesian modelling of radiocarbon datasets. We undertake such an evaluation here through a consideration of the mathematics of calibration, the normalization process, and through an archaeological case study. We demonstrate that the normalization function deemed necessary for
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C histogram shape-correction is identical to the default prior widely used in Bayesian calibration. We highlight flaws in default Bayesian calibration algorithms which may affect archaeological studies that are overly reliant on high calibration precision, especially when based on relatively small (N<100) sample sizes. The observed differences between algorithms have consequences for radiocarbon models that claim sub-generational (~25-30 calendar years) precision.
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