In lieu of an abstract, here is a brief excerpt of the content:Intertextual Biography in the Rivalry of Cratinus and AristophanesZachary P. BilesMore than a decade ago, Malcolm Heath provided an influential explanation for charges of plagiarism between comic poets when he posited a growing store of ideas that were recycled as quickly as they were invented. As a result, "Anything put on stage in a comedy would become public property and be absorbed into the repertoire, so that all (...) comic poets contributed to it; and all drew on it, although each would aim to give a new and original twist to the material which he borrowed, so that the repertoire constantly evolved. If this was so, then any poet could lay claim to originality... and any rival could make a counterclaim of plagiarism."1 These remarks have important implications for the study of Old Comedy, not least in exposing the irony of such assertions as that of Antiphanes (Poiēsis, fr. 189 K-A), which overstates generic distinctions between tragedy and comedy on the score of originality. Beyond merely acknowledging comedy's essentially adaptive nature, Heath's position suggests that a certain degree of allusiveness was, as it were, built into the genre. Unfortunately there are few opportunities to test the potential insights that follow from Heath's general proposition since the corpus of comic fragments poses so many questions of plot, context, attribution, and-always important for this kind of study-chronology.There is one sequence of plays, however, that has attracted attention since antiquity as an example of comic poets responding to one another and for which valuable insights can still be gained by building on Heath's thesis. In 423 Cratinus took the prize against Aristophanes' Clouds with Pytine, a play in which Cratinus boldly portrayed himself as the hero while borrowing heavily from Aristophanes' caricature of him in Knights the previous year. While interest in the relationship of these plays has been renewed in recent years, the convergence of issues pertaining to adaptation, intertextuality, and rivalry has not been fully explored. Besides discussing these ideas as they relate to Knights and [End Page 169] Pytine, I shall extend the thread of artistic borrowing at either end, first by positing a stage autobiography of Cratinus that both predates and inspired Knights, and then by tracing elements of intertextuality between Wasps and Pytine. Generally speaking Heath's model proves to be of great value; however, my study makes an important modification by treating competition as a vital aspect of comic poetry.2 The intertextuality of these plays primarily depends on poetic biography, and the notion of competition is central to my understanding of stage biography as comic poets employed it either to assert their own superiority or malign their rivals. After examining the biographical interplay in the rivalry of Cratinus and Aristophanes, I end by applying the intertextual model more generally to Wasps, a play that advertises itself as a competitive response and whose intertextual relationship with Pytine can be viewed as a function of competitive strategy.IThe trail of evidence begins with a scholion on Knights 400. Commenting on the chorus's elusive response to Cleon ("If I don't despise you, may I become a blanket in Cratinus' house!"), the scholiast writes:(= Pytine test. ii K-A)3 [End Page 170]Certain errors about Cratinus' retirement aside,4 the scholiast shows himself to be a reliable witness to the play by his knowledge of the plot and ability to cite the text in the continuation of his commentary (fr. 193). Thus, with the exception of treating the more fully developed caricature of Cratinus as a drunk in the Knights parabasis as the actual source of inspiration for his self-portrayal in Pytine, generations of scholars have followed the scholiast's characterization of Pytine as a redemptive play, however exaggerated this biographical (mis)representation may have been in both plays. Two recent studies have raised objections to the traditional understanding of Knights and Pytine. Troubled by a certain feeling of allusiveness in the jokes about Cratinus in Knights and Acharnians, Keith Sidwell hypothesizes a source for the audience's familiarity with details of Cratinus' life by arguing that his stage "biography " was not an Aristophanic... (shrink)

This paper considers Epicharmus’ fragments mainly from the point of view of dialogue history. We shall focus on the four following topics (each one of them will be examined in a specific paragraph): Concerning the history of dramatic dialogue, Epicharmus’ fragments furnish evidence of the otherwise unknown archaic and non-Attic dramatic dialogue. Moreover, they alone among the pre-classic dramatic fragments show changing voices and interlocution between the dramatis personae. Epicharmus is the first Greek author who brings together dialogic form and (...) philosophical content. For this reason, he is a starting point in my hypothesis that philosophical dialogue as a literary genre has its origins in a certain tendency of Old Comedy to make fun of philosophers and philosophic theories. This hypothesis is consistent with the ancient sources that locate the source of inspiration for Plato’s dialogues in the Sicilian tradition of mime and comedy. In dealing with philosophical topics, Epicharmus’ aim is neither to discard previous theories nor to teach new ones, but rather to parody them in order to entertain his public, even adapting them to the comic situations they occur in whenever necessary. As far as we can see from the scant extant texts, the habit of parodying philosophy is established by Epicharmus and remains well alive even in Attic comedy. Finally, Epicharmus’ fragments show some of the verifiably oldest allusions and references to other writings, so that we can attempt to reconstruct the „intertextual dialogue“ between his texts (especially frr. 147, 213, 214, 275, and 276KA) and the parodied ones. Intertextuality is used here as an artful comical device, and implies the author’s familiarity with the texts he refers to. This confirms that some Presocratic works were well known and read in Syracuse at least since the beginning of the 5 th century BC. (shrink)

A history of the comic has not yet been written. According to historians, the comic had very different, and sometimes even opposite causes, in relation to different ages and cultures. What provoked laughter in one civilization could be taken quite seriously in another. The comic has always had a particular function and its nature, its internal composition, has not been immutable. It could be kept within the limits of a single sphere that was assigned to it in (...) particular (the comic, as opposed to the tragic), but it could also be elevated to a conceptual vision of the world, and in this case, it embraced much more universal domains of human history. Nevertheless, nothing has been written on the history of the comic throughout all ages and encompassing all peoples. Serious studies concerning the place it occupies in the history of civilizations are, however, of great interest. (shrink)

Why philosophize about comedy? What is the use of investigating the comical from philosophical and psychoanalytic perspectives? In The Odd One In, Alenka Zupancic [haceks over both cs] considers how philosophy and psychoanalysis can help us understand the movement and the logic involved in the practice of comedy, and how comedy can help philosophy and psychoanalysis recognize some of the crucial mechanisms and vicissitudes of what is called humanity. Comedy by its nature is difficult to pin down with concepts and (...) definitions, but as artistic form and social practice comedy is a mode of tarrying with a foreign object--of including the exception. Philosophy's relationship to comedy, Zupancic [haceks over both cs] writes, is not exactly a simple story. It could begin with the lost book of Aristotle's Poetics, which discussed comedy and laughter. But Zupancic [haceks over both cs] draws on a whole range of philosophers and exemplars of comedy, from Aristophanes, Molière, Hegel, Freud, and Lacan to George W. Bush and Borat. She distinguishes incisively between comedy and ideologically imposed, "naturalized" cheerfulness. Real, subversive comedy thrives on the short circuits that establish an immediate connection between heterogeneous orders. Zupancic [haceks over both cs] examines the mechanisms and processes by which comedy lets the odd one in. Alenka Zupancic [haceks over both cs] is Senior Research Fellow at the Institute of Philosophy, Slovene Academy of Sciences, Ljubljana. She is the author of The Shortest Shadow: Nietzsche's Philosophy of the Two. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Echoes of Romanticism and Expatriate Englishness in Charlotte Brontë's The ProfessorDavid SiglerCharlotte Brontë's many debts to Romanticism, and especially Lord Byron, are a well-known feature of her fiction. Yet only recently has this become an important part of the discussion surrounding The Professor, her first-written and last-published novel. The novel, written between 1844 and 1846 and published posthumously in 1857, is increasingly seen to be in dialogue with William (...) Wordsworth and Walter Scott, in addition to Byron. Anna Barton, seeing Brontë as "the pupil of Wordsworthian Romanticism" and "a daughter of Romanticism," shows how The Professor develops "intertextual exchanges that perform the failure of the Romantic lyric within the Victorian novel."1 Tanya Llewellyn has argued that the protagonist William Crimsworth, seemingly influenced by Byron's Turkish tales, Orientalizes the women in his life as a way to manage sexual threats.2 Mandy Swann, meanwhile, sees in Brontë's early work an ambivalent response to the Romantic figure of the poet-prophet, as part of the author's general struggle, early in her career, to theorize female creativity.3Yet in other recent accounts, William Crimsworth seems to be as un-Byronic and un-Wordsworthian as possible. Crimsworth has been said to be a "particularly off-putting" narrator, "defensive and humourless," whose "dubious masculinity," passionlessness, and, in one reading, stiflingly repressed homosexuality render him a comically overliteral thinker.4 I will suggest that this incapacity in him for meaningful human engagement is what leads him to fixate on British Romantic poetry as a solution, however backhanded, to his erotic and professional difficulties. [End Page 30] Yet as the echoes of Romanticism that haunt his erotic and professional relations quickly take on lives of their own, they enable the story, and its ethical vision, to exceed William's control. Once the novel directs its protagonist's obsessive personality in the direction of Romantic poetry, it can become an intriguing meditation on ethics, expatriate Englishness, and time.William Crimsworth is a hardworking Englishman living and working in Brussels. The city, which William finds too "cosmopolitan," becomes the site of his zealous self-exploration as he mingles, ever defensively, with the locals.5 Approaching the city like "a morning traveller," as he puts it, William must analyze his foreignness if he is to survive his own residual and aspirational Englishness.6 The phrase "morning traveller" is drawn from Robert Southey's 1798 poem "The Traveller's Return," which describes love as an echo-effect. It is a very auditory poem: Southey's "morning traveller" spends the day listening to unfamiliar sounds, until, in the evening, he hears a "distant sheep-bell," which teaches him that "sweetest is the voice of Love / That welcomes his return."7 A sheep bell is, of course, a tracking mechanism, facilitating the free movement and eventual return of sheep to a shepherd. Southey's speaker learns to grasp the hidden similarity between love and the sheep bell. Just as the sound of the bell goes away and comes back, signifying the wandering and return of livestock, the human "morning traveller" must begin to identify with it. He himself, hearing the sound, gets interpellated by it, once it becomes his objective correlative. Brontë's The Professor, in matters of love, uses Romantic poetry, including Southey's, as a similar tracking device for William. The echo it produces constantly and ambivalently connects the protagonist to England and secures his place within the ideological apparatuses of the state.Judith Butler has observed that "my own foreignness to myself is, paradoxically, the source of my ethical connection with others."8 She explains that because there are aspects of oneself that remain forever baffling and inexplicable, we should suppose that other people—who can also seem foreign and inexplicable—contain similar aporias. If their accounts of themselves are difficult for us to understand, we should recognize, through our inability to sympathize, that we too are surely baffling and that they, like us, are likely also baffling to themselves. Thus, [End Page 31] through the sheer dubiousness of understanding other people, we can achieve a kind of negative shared humanity. We all probably confront an inassimilable kernel... (shrink)

Three of Aristophanes' eleven extant comedies use the typical comic device of role reversal to imagine worlds in which women are "on top." Freed from the social constraints which keep them enclosed within the house and silent in the public realms of discourse and action, women are given a field and context on the comic stage. They issue forth to lay their plans, concoct their plots, and exercise their power over men.The Lysistrate and the Ecclesiazousae stage of the (...) intrusion of women into the public spaces of Athens, the Acropolis and Agora, respectively, as an intrusion into the political and economic life of the city. The Thesmophoriazousae, however, resituates the battle of the sexes in another domain, that of aesthetics, and, more precisely, that of theatre itself. Instead of the collective confrontation of men and women, the play directs the women's actions against a single male target, the tragic poet, Euripides.Froma I. Zeitlin, an associate professor of classics at Princeton University, is the author of several articles on Greek tragedy and on the ancient novel. Her monograph, Under the Sign of the Shield: Language, Structure, and the Son of Oedipus in Aeschylus' "Seven against Thebes," is forthcoming, and she is presently completing The Divided World: Gender and System in Aescylean Drama. (shrink)

Anselm’s 'Proslogion' is, as he says in its Preface, 'unum argumentum', a single line of reasoning, that builds toward the following: “that God is truly,” “that he is the highest good who needs no other,” and that he is the one “whom all things need so that they may be and may be well.” This paper attempts to shed light on how Anselm carries out the threefold task that he sets for himself and way in which his procedure brings unity (...) to the work. Although I do not provide a full account of the unity of the 'Proslogion', I lay the groundwork for such an account by reflecting on the 'Proslogion' in light of the 'Symposium', with a view to bringing a pattern of thinking present in Plato’s work to bear on the 'Proslogion'—an intertextual approach that illuminates aspects of Anselm’s thinking and reveal the rich Platonic and Neoplatonic tradition within which he was working. In the 'Symposium', one discerns a pattern of thinking that consists of three “moments”: a comic moment, a tragic moment, and a philosophic moment. To follow this pattern in one’s inquiry is, as Socrates suggests, to practice 'ta erôtica', “erotics,” the art of erotic thinking. Familiarity with this pattern of erotic thinking helps make sense of Anselm’s thinking in the 'Proslogion', and in this paper I reveal how this is so. (shrink)

From US Supreme Court Justice Louis Brandeis’s 1933 judgement in Louis K Liggett Co v Lee to Matt Wuerker’s satirical cartoon “Corpenstein”, the use of Frankenstein’s monster as a metaphor for the modern corporation has been a common practice. This paper seeks to unpack and extend explicitly this metaphorical register via a recent filmic and graphic interpretation of Mary Shelley’s Frankenstein myth. Whilst Frankenstein has been read as an allegorical critique of rights—Victor Frankenstein’s creation of a monstrous body, reflecting the (...) figurative construction of a body by rights discourse—the metaphoric notion of reanimating a ‘soulless corpse’ resonates with Edward’s Thurlow’s description of the corporation as having ‘no soul to damn’. By exploring the figurative and optical representations of this process of reanimating the body in Scott Beattie’s film I, Frankenstein and Kevin Grevioux’s companion graphic novel I, Frankenstein: Genesis, I would like to extend this metaphoric register, by examining the theological origin and nature of the corporate form. This theology is explicitly referenced in the film and graphic novel via the battle between Gargoyles and Demons, which dominates the plot and backstory. The role of Frankenstein’s monster—now called Adam—however, is about enabling the reanimation of thousands of corpses without souls for possession by the demon hoard headed by Prince Naberius, who in his alternative persona Charles Wessex, controls the Wessex Institute and Wessex Industries. This ‘corporate baron’ himself has devoted his ‘life’ to enabling the rediscovery of Frankenstein’s ability to reanimate the dead for the purposes of gaining immortality. This mythic framing, however, renders explicitly visible the nature and purpose of the corporate form itself—of capturing and reanimating life in a form of immortality via the mechanisms of perpetual succession. This visual rendering, of a metaphoric framing goes to show the way in which the optical nature of the dominant forms of popular culture—film, television, comic books—provide a means for seeing law’s metaphorical images and for thus unpacking, interrogating and rendering them anew. It argues for a shift from the image of the corporation as a monstrous body to one which involves relations of reciprocity, gratuitousness and gift. (shrink)

An exploration of the self in dramaturgical societies: This is the double, duplicitous, witty self, the one who communicates indirectly through characters and masks, the self who is a personality, who knowingly plays a role on the public stage, and who inhabits a wry, not to say awry, paradoxical world created by a mischievous comic God. A motley bunch of characters wander across the stage of this article. These include recusant Catholics, American sociologists, theologians of paradox, philosophers of comedy, (...) Oscar Schindler, Mick Jagger, William Shakespeare, G.K. Chesterton, as well as various assorted epicurean puritans, inventive liars, elusive playwrights, pompous intellectuals, sleuthing heroes from detective fiction, ambitious pretenders, satirists of newspaper folly, media nitwits, boys playing girls playing boys, and, if you are really good, girls playing boys playing girls. All of them bearing testament to Viola's immortal line: I am not what I am. (shrink)

This article proposes a theological emphasis to the definition of προσλαμβάνω in Romans 14–15. Previous accounts have emphasised the domestic and social implication of Paul's imperative—‘welcome one another’ (Rom. 15:7a). The result has been that what Paul might have meant by God's and Christ's ‘welcome’ (Rom. 14:3 and 15:7b) has been governed by the ethical imperative. In order to investigate the ‘welcome’ of God and Christ, this article proposes a context of three important Septuagintal antecedents as yet unconsidered: 1 Samuel (...) 12, Psalm 18, and Psalm 65: In this context, God's and Christ's ‘welcome’ in Rom. 14–15 incorporates notions of justification, election, salvation, and unified worship. A theological reading of προσλαμβάνω, using these intertextual resources, therefore provides a stronger position from which to understand Paul's imperative—‘welcome one another’. (shrink)

Ever since the global spread of the COVID-19 pandemic in 2020, East Asians across the globe have been ostracized, othered, pathologized, and subjected to numerous anti-Asian hate crimes. Despite contemporary China’s rapid modernization, the country is still perceived as an Oriental and primitive site. Taking these cues, the current article aims to investigate the Sinophobic attitudes in the wake of COVID-19 through a detailed analysis of sequential comics and cartoons by artists of East Asian descent, such as Laura Gao and (...) Lisa Wool-Rim Sjöblom. Drawing theoretical insights from Alexandre White’s “epidemic orientalism” and Priscilla Wald’s “medicalized nativism,” this essay investigates how these chosen comics function as counternarratives through first-person storytelling. In so doing, these comics, while reinstating the dignity of East Asians, also challenge and resist the naturalized methods of seeing that justify violence and dehumanization. The article further argues that Sinophobia and anti-Asian hate crimes are motivated as much by the origins of COVID-19 in China as by the political, economic, and technological variables that have shaped modern China. (shrink)

Not all comics are art. What about the comics that are art? What sort of art are they? In particular, are comics a form of literature? For a variety of reasons it is tempting to think that at least some comics are literature. Nevertheless, many theorists reject the ‘comics as literature’ view. And although some reasons for resisting that view are misguided, I shall argue that there are other good reasons for being hesitant about treating comics as a form of (...) literature. This leaves us at an impasse with respect to the classification of comics. I suggest that the way out of the impasse is to recognize that comics are a hybrid art form. (shrink)

Strong comic immoralism maintains that every time a humorous demonstration (for example, a joke) involves a moral defect, it is enhanced aesthetically in virtue of having this moral defect. I want to show that strong comic immoralism is a coherent position, that it is possible to defend, and that there is, in fact, some reason to defend it. By doing this, my hope is that, moving forward, those who are interested in questions about the relationship between immorality and (...) the aesthetic value of jokes will take more seriously the objections that may be presented against their views by the strong comic immoralist, rather than claiming that “no one on this side of Satan” would be one. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective (...) authorship (coupled with our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

A widely accepted view in the philosophy of humour is that immoral jokes, like racist, sexist or homophobic jokes, can nevertheless be funny. What remains controversial is whether the moral flaws in these jokes can sometimes increase their humour. Moderate comic immoralism claims that it is possible, in at least some cases, for moral flaws to increase the humour of jokes. Critics of moderate comic immoralism deny that this ever occurs. They recognise that some jokes are both funny (...) and immoral, yet they claim that it is always something other than the moral flaws of jokes that contribute to their humour. In a series of recent papers, Aaron Smuts has pressed this objection to moderate comic immoralism. I argue that Smuts' attempt to narrow the range of cases in which humour can be attributed to immoral features is not sufficient to demonstrate that moderate comic immoralism is false. Specifically, I claim that Smuts cannot rule out a case for moderate comic immoralism grounded in the possibility that humour is normatively relative while the ethical status of jokes is not. (shrink)

The Sanskrit D?rgh?gama manuscript is a Sarv?stiv?da/M?lasarv?stiv?da text containing a collection of ancient canonical Buddhist s?tras, composed in Sanskrit and written on birch bark folios. This collection had been lost for centuries and was rediscovered in the late twentieth century. In this paper, I examine key instances of intertextuality between a new edition of a s?tra from the Sarv?stiv?da D?rgh?gama – the Sanskrit Pras?dan?ya-s?tra –, the Pali Sampas?dan?ya-sutta, and Chinese???? – the three corresponding versions of this text in the?gama/nik?ya collections (...) of the Sarv?stiv?da, Therav?da, and Dharmaguptaka schools. Hence, contradictions among the texts that are not easily explainable will be shown, uncovering apparent confusion among the creators of these texts and hopefully shedding new light on our understanding of these texts. (shrink)

: Julia Kristeva coined the term intertextuality in 1966, and since that time intertextuality has come to have almost as many meanings as users. No small task, I clarify what intertextuality means for Kristeva and her mentor/colleague, Roland Barthes before criticizing their concept of intertextuality and its application in interpretation. Because no rational and coherent concept of intertextuality is offered by Kristeva, Barthes, or their Epigoni, I conclude that intertextuality should be stricken from the lexicon of sincere and intelligent humanists.

This paper extends studies on intertextuality into a more explicitly interactional context. I examine the actual process of intertextuality where comedy audiences construct recombinant selves through making sense of various membership categories as well as through making sense of a certain kind of comedy. The examination of this process requires receptive research; however, most studies leave the interpretive process unanalyzed. Conducting both a sequential analysis and a membership categorization analysis will reveal that categories are not “pre-formed” but “per-formed” in situ. (...) To illustrate these points, I report on a receptive study of Local comedy in Hawai‘i. (shrink)

Enūma eliš exhibits a masterful array of intertextual borrowings that makes it exceptional among Akkadian literary texts. In this paper I discuss “intertextu- ity” as an analytical category and its suitability and limitations for the study of ancient compositions. I consider three different levels of intertextuality and present instances from an assorted group of texts. I finally show how a variety of intertextual types that are usually found in isolation are combined in Enūma eliš to create an original piece.

According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions undertaken (...) in the creation of those works. Underlying this argument is the idea that such generative actions are partly constitutive of a work's identity, and, therefore, they may affect the ethical value of an artwork either positively or negatively, and they are the proper objects of ethical appraisal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Comic Business: Theatricality, Technique, and Performance Contexts in Aristophanic ComedyC. W. MarshallMartin Revermann. Comic Business: Theatricality, Technique, and Performance Contexts in Aristophanic Comedy. Oxford: Oxford University Press, 2006. xiv + 396 pp. 15 black-and-white plates. 3 black-and-white figs. 5 tables. Cloth, $115.The cover illustration of Martin Revermann's book on Aristophanic performance betrays the author's personal and intellectual debts: caricatures of five scholars thanked in the preface, (...) drawn as if they were characters in Clouds, including Oliver Taplin in a swing looking down from above like Socrates. It is a shame many libraries will not keep the cover, since the lighthearted image is quite revealing about the nature of this study, though without any intended association with the academic pedantry of the Thinkery. Following chapter 1, entitled "Comic Business" (3–7), really a short whirlwind of an introduction that raises many of the sorts of questions the book addresses, the structure of the book falls neatly into two parts: three chapters examine the nature of performance criticism of ancient comedy and address a wide range of specifics; three chapters address individual plays, Clouds, Lysistrata, and Wealth. Each chapter falls into well-labeled sections, which will facilitate ongoing reference to the book. Revermann's study aims at a theoretical sophistication that is needed if the study of ancient performance is to proceed meaningfully. While he does not engage with every issue he raises in sufficient depth, Revermann provides a crucial advance on previous discussions (the book comes thirty years after C. W. Dearden's Stage of Aristophanes and twenty-six years after Kenneth McLeish's Theatre of Aristophanes).Chapter 2, "Performance Criticism: Point and Methods" (8–65), addresses some important and underexplored methodological questions that often go unmentioned in such studies. After arguing that "no ancient statement known to [End Page 431] me... claims a necessary link between meaning and dramatic performance" (15), Revermann identifies a "nexus of competitive agendas and social performances" (22), building on those Wilson has described for the choregos. Many of the issues raised (non-competitive performances, pay for poets, the relative importance of dramatic festivals) are equally important for the study of tragedy, and the book generally raises issues that students of tragic performance will need to consider. A general vocabulary of theatre semiotics is introduced, helpfully, with specific examples examining how performance generally is framed.Revermann embarks on an ambitious project of replacing the "significant action" hypothesis (which assumes that every significant action within a Greek play is indicated by the words a character says) that has dominated discussions of ancient stagecraft. This is a very helpful discussion, and it is surely correct, culminating in a good articulation of Revermann's methodology (63–64). Again, the principal examples come from tragedy. However, when Revermann invokes the question of on-stage frogs (agreeing with my 1996 discussion, which in its way sought also to challenge the "significant action" hypothesis), I think he needlessly muddles the matter by imagining the possibility of subsequent, frogless performances, when, I would say, a great deal is lost as a result. Revermann's interest is more with the possibilities offered by performance generally (65: "'Why frogs?,' irrespective of their visibility"), and sometimes the nitty-gritty of specific staging choices is not pressed (comparison is made with the offstage songs of the cloud chorus on 200).Chapter 3 (66–106) addresses "Two Fundamental Problems." The first relates the performance script (as attested in our manuscripts) to a concept of authenticity, considering that many plays were reperformed in the fourth century and after. Given that issues of reperformance were barely acknowledged until the last decade (Easterling's 1994 discussion is subtitled "A Speculative Note"), Revermann provides a solid discussion, arguing that the scripts of both tragedy and comedy closely match what was performed in Athens. Inconsistencies exist, but they are mentioned; context-specific references in Aristophanes point to the primary script surviving. An appendix on the time allocated to a performance during a festival is relevant (333–37). Revermann argues that the scripts as we have them may not have been performed in their entirety during their initial performance, suggesting, for example, that one... (shrink)

Tragedy has traditionally been ranked higher than comedy, and critics often valorize the ‘tragic vision of life’. Using twenty contrasts between tragedy and comedy, I argue that there is a ‘comic vision of life’ which is superior to the tragic vision, especially in the post-heroic era in which we live.

Comic is one of the paradigmatic forms of hybrid media, and coming up with a satisfactory definition for it has been difficult. Sam Cowling and Ley Cray (2022) take a functional approach and offer an Intentional Picture-Reading View which defines comics as something that is “aptly intended to be picture-read.” I show that the view is extensionally inadequate as is because formally ambitious prose and concrete poetry, too, are aptly intended to be picture-read. The way forward, I argue, is (...) to look at more medium-specific non-depictive images (such as speech balloons and panels) to set comics apart from other hybrid media. (shrink)

The author analyses conceptual metaphors characteristic of one of the literary theories, the theory of intertextuality, employing the methods of cognitive linguistics, i.e. the cognitive theory of metaphor. He claims that the tools of this conception enable one to describe the idea of paradigm-change; in this context author considers the role of metaphor in science. By interpreting synonyms as different realizations of various Idealized Cognitive Models, he shows that the change of metaphors employed in talking about ‘what happens between texts’ (...) leads to evolutionary change from ‘influentology’ to ‘intertextuality’, a transformation closely related to the change of the subject of history of literature. The change of metaphors transforms the focus of literary theory ; its focus moves from the author to the reader, and from the act of creation to the act of reception. Within this perspective writing is no longer a creatio ex nihilo but an innovative re-creation of ‘what has already been read’. This change enables one to capture some paradoxical inversions, like the one which demonstrates how a subsequent texts influence texts prior to them. (shrink)

Aristophanic Comedy falls structurally into marked divisions, episodic and epirrhematic. The first is a very simple method of composition consisting of short iambic scenes, connected by choral stasima which are more or less relevant to the action. As a general rule these episodes occupy the second half of the play between the Parabasis and Exodos, and, since they show the hero enjoying the fruits of his earlier struggles, contribute little to the development of the plot. Many of the Comic (...) Fragments in trimeters are probably taken from episodes, but any attempt to classify them would add nothing to knowledge of a play from the structural viewpoint. The case is otherwise with the epirrhematic parts of Comedy. These are of complicated structure, marked by the use of the syzygy, i.e. the correspondence of odes and epirrhemes on the plan abab and also by the use of the tetrameter, which is confined to these sections. They may be further differentiated among themselves by the metre used. In the Parodos anapaests, iambs and trochees are found, in the Agon iambs and anapaests, in the parabatic syzygy only trochees, in the πλον anapaestic and aeolic tetrameters. Taking the use of the tetrameter as guide it is possible to classify certain of the Comic Fragments, and subject matter and the criterion of metre often give some indication of the particular epirrhematic section from which they are taken. Prologue and Exodos stand outside the scheme of both episodic and epirrhematic composition, being structurally self-contained. The former consists of iambic trimeters, not a simple means of differentiation, but sometimes subject matter affords convincing points of analogy with the Aristophanic Prologue. The Exodos shows a great variety of metres, but here again subject matter and Aristophanic analogy are of great value in classification. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Comic RomanceBenjamin La FargeIOn the surface, it would seem that nothing could be more different from comedy than romance. Comedy deflates, romance inflates. Comedy is realistic, romance fantastical. Comedy reduces, romance elevates. Comedy is democratic, romance heroic. Yet there are underlying similarities. Both involve a conflict between destructive and restorative impulses. In both, appearances are typically mistaken for reality, and both end happily. Above all, both are governed (...) by a structure of illogical logic that generates laughter in one and fantasy in the other.The generic differences between comedy and romance are crucial to a proper understanding of their functions. Comedy celebrates the renewal of life, the relation of man to woman and of man to man, in a spirit of tolerant acceptance, while romance celebrates a narcissistic dream of the self. If the former is best enjoyed in a crowded theater, the latter is usually enjoyed in solitude. Romance is a fiction of wish fulfillment. Since wishful thinking is generally understood as childish, romance is often regarded as a poor cousin among literary genres, haughtily dismissed by highbrows who associate it with the infantile pleasures of their childhood reading and with lowbrow fiction in general. This is precisely why so many sophisticated readers are reluctant to grant science fiction and other forms of fantasy any enduring literary value. In their view the pleasures of such works can not be taken seriously.Yet those childhood pleasures have a lasting appeal that lingers in the mind of every adult. There must be few grown readers who do not harbor a special fondness for the first heroes and heroines they encountered in their favorite childhood stories. Many of those heroes possess [End Page 18] some magical power; and when they place that power in the service of justice, especially the justice of revenge, their appeal is irresistible. I have seen grown men, armed and dressed for battle, avidly reading Superman comics. What stirred them, as it stirred many educated men and women in their childhood, was the spectacle of an omnipotent hero fighting to overcome the wrongs of this world.Even if our sentimental memory of these heroic figures is nothing more than nostalgia for irrecoverable pleasures, their initial impact may be seen as having a formative influence on a child's expectations, as many commentators have thought. In either case, they are all descended from a venerable tradition of literary figures. Superman himself is a direct descendant of Sherlock Holmes, who comes from a long line of English heroes going back to Robin Hood and Merlin, each of whom is involved in righting some injustice. Ultimately, all of them are descended from Odysseus, who reclaimed his rightful kingdom, after an absence of twenty years, by murdering his wife's suitors.Romance, like comedy, is a conflict between destructive and restorative impulses, and these impulses are embodied in the characters that inhabit this dream fiction.1 Like comic characters, the characters of romance evoke in us the same responses of wish and fear, and like comedy itself romance builds toward a catharsis of those two emotions. To achieve that catharsis, romance requires our "willing suspension of disbelief" (as Coleridge put it so memorably), which we have no difficulty in granting, provided only that the story is skillfully told. What we want from romance is the fulfillment of the wishes it arouses; what we get from their fulfillment is the pleasure of story-for-the-sake-of-story. It is this pleasure, in fact, that constitutes the basic, generic purpose of romance.The difference between the two genres, however, can be seen in the kinds of wish and fear they evoke in us, for unlike comedy the feelings of wish and fear evoked by romance are uncomplicated by ambivalence. We may wish to experience the destructive impulse vicariously through the protagonist, but only in order to see him triumph in the end. We are so entirely sympathetic to his enterprise that we cannot possibly wish for his destruction. If he is destroyed, as in the case of Tristan, the hero of the eponymous medieval romance, we are forced to recognize that the love potion he drank with Isolde was his... (shrink)

As a doctor and practitioner researcher, I use comics as a research method. This graphic article is an attempt to convince you, the academy and perhaps myself, that comics are research.

As to the wearing of a leather phallus by fifth-century comic actors, Pickard- Cambridge wrote: ‘Aristophanes’ resolution to avoid such indecencies does not seem to have lasted long.’ One year would not have beenlong; and Beare, who resumed Thiele's position, and Webster, who supported that of Körte, carried on a controversy on the matter without reference to what I believe is a relevant, if misunderstood, text.

The aim of this paper is to present how an innovative approach to teaching philosophy can effectively meet the requirements of the prescribed curriculum, and contribute to achieving the expected learning outcomes, interdisciplinary teaching and learning links, formative monitoring and evaluation of student achievements, to achieve educational subject goals. In this paper, the authors, considering comics as a kind of teaching medium, i.e., the application of the comic method in teaching, on the example of a scenario for a philosophy (...) lesson in high school show how it is possible to combine a comics approach to teaching philosophy with philosophy for children. Philosophy for children as well as the comic book approach to teaching philosophy are extremely complementary (they are provocative and dialogical, stimulate students' intellectual curiosity, develop critical and creative thinking, create a positive and stimulating learning environment), which allows them to be combined effectively. (shrink)

Many comics are aesthetically trashy: They are immediately grasped and easily available. Historically, this trashiness is lobbed as an aesthetic defect of many comics, a defect for both their production and their appreciation. To defend these comics, some point to non-aesthetic values, like sociality. I argue that there is aesthetic value to these comics, and that it lies precisely in their trashy characteristics: their immediacy and availability. Many comics have these characteristics because many comics are cartooned. The immediacy of cartooning (...) is precisely what makes so many ordinary comics beautiful in an ordinary way. (shrink)

In this article, I argue, adverting to critical practices, that film adaptations are comparable with the comics that serve as their sources. The possibility of comparison presumes the existence of covering values according to which these comparisons are made. I raise four groupings of covering values for comics—narrative, pictorial, historical, and referential—and show how they apply to film adaptations as well, and argue that a fifth kind of value, fidelity, is relevant to comparisons of source comics to film adaptations. I (...) close with a discussion of different types of fidelity that might be brought to bear in evaluation. (shrink)

Is finding someone funny a way of treating them as an object? And if so, does that make it immoral? In this paper, I argue that seeing someone as comic involves failing to take into account their subjectivity, which makes it a form of objectification. As for the morality of this ‘comic objectification’, I argue that regarding someone with a comically objectifying attitude is wrongful when such an attitude plays a role in legitimating the oppression of members of (...) their social group. (shrink)

During nearly two centuries, American storytellers have celebrated comic figures, ebullient showoffs who turned up on one frontier after another—in the old South, in Kentucky and Tennessee, along the great inland rivers, in the mountains and the mines and on the prairies. Often, the stories went, when these characters engaged in a favorite pastime—playfully bragging about their strength, their skill and their exploits—they used animal metaphors such as Opossum, Screamer, Half-Horse Half-Alligator, the Big Bear of Arkansas or Gamecock of (...) the Wilderness to furnish nicknames. Often they were also identified as fictional or real frontiersmen—Mike Fink, Nimrod Wildfire, Jim Doggett, Pecos Bill—and tall tales clustered around them. Explaining a metaphor and a nickname, an Ohio newspaper in 1830 cited the most famous braggart of this sort: "Ring-tailed roarer—A most vicious fellow—a Crockett." . . . The stories did not have to have roots in reality and often were not new. The real Crockett was well built, handsome, ruddy-cheeked. But traditional jokes made ugliness a funny quality. Falstaff claimed Bardolph's crimson proboscis glowed with a flame that made torches inoperative. The Spectator in 1711 told about "Spectator's" election to England's Ugly Club. Joke 177 in Joe Miller's Jests was about the British kingdom's champion ugly man. When Gus Longstreet entered law school in Litchfield, Connecticut, in 1813, a student welcomed him: "Here, sir, is a knife always given to the ugliest student. . . . Until now it has been mine, but beyond doubt, sir, since you are here, I have now no right to it any longer." Andy Jackson—"Old Hickory"—won a like award. Lore had it that Davy was so repulsive looking that if he grinned at a raccoon, it tumbled from its tree. Once, worried because he grinned and grinned without bringing down his victim, he was relieved when a close look showed he had mistaken a knot for a beast. All the same, he had grinned all the bark off the branch. Walter Blair is professor emeritus in the department of English at the University of Chicago. His many influential works include Native American Humor and Horse Sense in American Humor. "Americanized Comic Braggarts" appears in a slightly different version in the book America's Humor from Poor Richard to Doonesbury. (shrink)

A recent article on ‘The Number of Speaking Actors in Old Comedy’ by D. M. MacDowell has argued that to perform the plays of Aristophanes required the use of four, but never five, speaking actors.1 Systematically argued, MacDowell presents a cogent case against Henderson , who has suggested that at times five actors were permitted. MacDowell also presents some very sensible observations on the nature of any prescription which might limit the number of actors. The final paragraphs, however, express considerable (...) discomfort at the earliest work in the extant corpus: 'Akharnians, however, remains problematic, since it has two scenes which may be thought to require five actors' . A tentative solution is offered by MacDowell, which is that 'these scenes were actually performed without a fifth actor, by making very quick changes in the scene with Amphitheos and the Envoy, and by using dolls for the Megarian's Daughters' . Unspeaking performers for the Megarian's Daughters are more likely than dolls, since they must follow orders for movement . Apart from this, I have no doubt that this is indeed how Akharnians was performed, and an examination of the specific comic techniques employed by Aristophanes in the two problematic scenes in Akharnians demonstrates not only the comic desirability of their use, but their applicability to other plays by Aristophanes. (shrink)

In this essay, I take up the question of why so many of the movies made by Hollywood are endless sequels, “prequels,” and remakes of prior blockbuster hits and so many are based on comic books (X-men, Superman, Batman, and so on). I tie the explanation in part to the aforementioned 1950 Supreme Court ruling prohibiting production companies, and in part to broader cultural changes. In particular, I argue that precisely because film producers can no longer make money from (...) the concessions (i.e., the purchases within the theater), but only of the ticket sales, the producers keep producing remakes of known popular movies, rather than make deeply original movies. (shrink)

What would happen if lightning struck a tree in a swamp and transformed it into The Swampman, or if saving billions of lives required sacrificing millions first? The first is a philosophical thought experiment devised by Donald Davidson, the second a theme from a comic written by Alan Moore. I argue that that comics can be read as containing thought experiments and that such philosophical devises should be shared with students of all ages.

Textual representation of graphene in Sweden’s most circulated newspapers is analyzed in 229 articles from 2004 to 2018. What is and is not said about graphene is explored through systematically identifying the lexical and grammatical patterns of sentences using the word “graphene.” Graphene is said to be a super material with certain properties, to be an object of research, commercialization, and application, and to have societal significance. Given frequent classifications of graphene as a nanomaterial in scientific discourse, there is notably (...) limited reference to graphene as “nano” in the newspapers and only marginal reference to risk. This paper discusses the findings regarding this Swedish newspaper discourse on graphene in relation to its intertextuality, i.e., how texts draw upon and recontextualize other texts: the Swedish newspaper discourse on graphene echoes discourses of promise formulated elsewhere in society; it is not very diversified in terms of themes; it is dominated by positive and neutral representations rather than by risk; and it makes limited reference to the nano-discourse, even though, according to most definitions, graphene is a nanomaterial. (shrink)