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By Philip Walsh

Brill’s significant other to the Reception of Aristophanes offers a substantial account of the reception of Aristophanes (c. 446-386 BC) from Antiquity to the current. Aristophanes used to be the well known grasp of previous Attic Comedy, a dramatic style outlined through its topical satire, excessive poetry, frank speech, and obscenity. on the grounds that their preliminary construction in classical Athens, his comedies have involved, encouraged, and repelled critics, readers, translators, and performers. The ebook contains seventeen chapters that discover the ways that the performs of Aristophanes were understood, appropriated, tailored, translated, taught, and staged. cautious realization has been given to severe moments of reception throughout temporal, linguistic, cultural, and nationwide barriers.

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For some interesting suggestions on fruitful sources for further study beyond the usual suspects, see Heath (2002) 143–50; and Ruffell (2011). 7 A pioneering study of this sort was Pomeroy (1975). See also the remarks of Foley (1981a) xi. 8 See also Keuls (1985); and Henry (1985). An additional result of their work has been the presence of a feminist dimension (if unacknowledged) in subsequent works oriented altogether differently. See also the remarks of Skinner and Vivante on “the purging of feminism from subsequent waves of scholarly thought” (Skinner and Vivante (2004) 604).

While many made that journey both before and after Dionysus in Frogs, only Heracles himself, Dionysus, and now Menippus do it wearing a 54 For a penetrating explication of the influence of Aristophanes in the Bis Accusatus and the sophistication of Lucian as a reader of Aristophanes in the second century, see Rosen (2015), especially 153–6. 55 Branham (1989) 14. 56 Branham (1989) is invaluable throughout. In an important study of Aristophanic reception in the Second Sophistic more widely, Bowie offers more detail on a number of motifs or scenes in his dialogues that Lucian purloins and transforms from Aristophanes (Bowie (2007) especially 35–9).

48 Goldhill (1991) 176–87. Χρηστός is a loaded term in comedy, as Neil (1911) pointed out. It is essentially the term used by the upper classes to distinguish themselves from their rivals, the πονηροί (“worthless men”). 49 Edwards argues that this omission is not accidental. Like Goldhill he sees an important difference between carnival as an oppositional discourse and the institutional context of fifth-century comedy.

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