Harassing the Satirist: The Alleged Attempts to Prosecute Aristophanes

Sommerstein, Alan H.

doi:10.1163/9789047405689_008

Cited by 73 publications

(14 citation statements)

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“…Cle ón habría emprendido acciones legales por la comedia Babilonios contra el comediógrafo o contra el pro ductor Calístrato. Sobre las presuntas acciones legales de Cleón contra Aristó-fanes, véanse Hal liwell 1991b, Atkinson 1992, Sommerstein 2004a, 2004b. Hal liwell 1991b, por ejemplo, considera que las representaciones teatrales estaban al margen de las san cio nes legales por el contexto de licencia excepcional que significaban los festivales teatrales.…”

Section: A R í a J I M E N A S C H E R Eunclassified

La función argumentativa de la referencia explícita al público en la comedia temprana de Aristófanes

Schere¹

2013

Emerita

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The argumentative function of the explicit reference to the public in the early comedy of AristophanesEste trabajo analiza la función argumentativa que desempeña la referencia explícita al público en las comedias aristofánicas del período de Cleón que se centran en polémicas de carácter político. A nuestro entender, la mención expresa del público resulta decisiva para determinar cuáles son los personajes favorecidos en la obra, que operan como portavoces del enunciador-autor. Hay tres tipos de personajes que suelen acceder al privilegio de entrar en contacto directo con sus espectadores: los héroes cómicos, el coro y los esclavos favorables al héroe, que protagonizan la escena de apertura de algunas comedias. En todos los casos, se trata de personajes positivos, que funcionan como portavoces de la postura defendida en la obra o que colaboran con el plan del héroe. Por el contrario, los personajes antagónicos al héroe no gozan de esta prerrogativa. Esta clara diferencia deja de manifiesto el uso intencional del recurso y su valor argumentativo en la comedia temprana.Palabras clave: Referencia al público; argumentación; héroe cómico; portavoz; antagonista.This work analyzes the argumentative function of the explicit reference to the public in the Aristophanic comedies, focusing on the political plays of the period of Cleon. In our opinion, the express mention of the public is crucial to understand which are the positive characters in the play. There are three types of characters that usually have the privilege of mentioning the spectators: the comic heroes, the choir and the slaves favourable to the hero, who has the leading role in the opening scene of some comedies. In all the cases, it is a positive character, who acts as a spokesman for the enunciator-author or collaborates with the plan of the hero. On the contrary, the antagonistic characters do not enjoy this prerogative. This clear difference demonstrates that the resource has an intentional use and an argumentative function in the early comedy.

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Section: A R í a J I M E N A S C H E R Eunclassified

La función argumentativa de la referencia explícita al público en la comedia temprana de Aristófanes

Schere¹

2013

Emerita

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“…For other attempts to define satire in classical literature and beyond, see Kernan 1959, Griffin 1994, Bogel 2001, and Rosen 2007 Satirists often thematize various social or political constraints on their freedom to attack certain individuals (often ironically, since they routinely proceed to ignore such constraints in their work), but those constraints usually have to do with specific targets rather than with obscene sexual language, which was freely deployed (though to different degrees) by all the ancient satirists. See, on Athenian satire, Reckford 1987, 460-7, Halliwell 2004, Sommerstein 2004 on Roman satire, Richlin 1992, 197-200, Freudenburg 2001, 44-51, Braund 2004 All translations from Greek and Latin are our own. 4 Indeed, some in antiquity believed that Archilochus composed verses that explicitly attacked homosexuality; cf.…”

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confidence: 99%

Greco‐Roman Satirical Poetry

Rosen¹,

Keane²

2013

A Companion to Greek and Roman Sexualities

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“…31 Walsh (2009) 56. 32 Cartledge (1990) 43-53, 82;Sommerstein (1984) 334-7 and (1997 from 337 n. 76. 33 E.g.…”

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confidence: 99%

“…The number of citizens at a regular assembly-meeting was probably close to six thousand (Hansen [1991] 130-1 with primary sources). Pace Sommerstein (1997) theatre and assembly goers probably came from the same social strata. Although the earliest evidence for the charging of admission to the theatre occurs in a speech of 346, in which Demosthenes refers to seats costing two obols (18.28), late sources assumed that it went back to the time of Pericles (Csapo [2007] 100-3; Pickard-Cambridge [1988] 265-8).…”

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Aristophanes and de Ste. Croix: The Value of Old Comedy as Evidence for Athenian Popular Culture

Pritchard

2012

Antichthon

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De Ste. Croix famously argued that Aristophanes had a conservative political outlook and attempted to use his comedies to win over lower-class audiences to this minority point of view.The ongoing influence of his interpretation has meant that old comedy has been largely ignored in the historiography of Athenian popular culture. This article extends earlier critiques of de Ste. Croix by systematically comparing how Aristophanes and the indisputably popular genre of fourthcentury oratory represented the social classes of the Athenians and political leaders. The striking parallels between the two suggest that Aristophanes, far from advocating a minority position, exploited the rich and, at times, contradictory views of lower-class citizens for comic and ultimately competitive ends. As a consequence his plays are valuable evidence for Athenian popular culture and help to correct the markedly fourth-century bias in the writing of Athenian cultural history.

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Harassing the Satirist: The Alleged Attempts to Prosecute Aristophanes

Cited by 73 publications

References 0 publications

La función argumentativa de la referencia explícita al público en la comedia temprana de Aristófanes

La función argumentativa de la referencia explícita al público en la comedia temprana de Aristófanes

Greco‐Roman Satirical Poetry

Aristophanes and de Ste. Croix: The Value of Old Comedy as Evidence for Athenian Popular Culture

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