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With the vocabulary of buffoonery (βωμολοχ-) Aristophanes often rejects comic entertainement of a trite and banal sort. In spite of those passages, scholarship has attempted to pin down the bomolochos as a highly specific character but, as Dionysus’ character in the Frogs shows, utterances of that type are not at odds with the severe Aristophanic claim to poetic inventiveness and refinement., FuturoClassico FCl, N. 7 (2021)

International audience; Willing to challenge the classical tradition, Richlin (2005) adapted the Latin play Persa by Plautus to a contemporary context using American slang and pop culture. Richlin aims at making Roman comedy performable, popular and funny again whether onstage or in the classroom. Is her radical modernisation a form of domestication that is often criticized in translation studies for being unfaithful and unethical? Based upon a comparison between the original Latin text and Richlin's version, this paper questions the ethics of faithfulness which play a major role in translation terminology, a system determined by the traditional polarity between domestication and foreignization. By highlighting the ludic nature of Plautus' comedy (especially the ongoing joke with Greek culture and language), this paper argues that using modern transposition is a heavily Plautine strategy suitable for recovering the immediacy of comedy.; Contre la tradition classique, Amy Richlin (2005) a traduit la pièce latine Persa de Plaute en l'adaptant à un contexte contemporain, grâce à l'utilisation de l'argot américain et de références empruntées à la culture pop. Son objectif est de rendre la comédie romaine à nouveau jouable, populaire et drôle, à la fois sur scène et en classe. Son choix radical de modernisation est-il un exemple de domestication, une tendance souvent critiquée dans les études de traduction pour ses manquements à la fidélité au texte et à l'éthique du traducteur ? Sur la base d'une comparaison entre le texte latin original et la version d'A. Richlin, cet article remet en question l'éthique de la fidélité qui joue un rôle majeur dans la terminologie de la traduction, selon la polarité traditionnelle entre domestication et dépaysement. En soulignant la nature ludique de la comédie plautinienne (en particulier le jeu permanent avec la culture et la langue grecques), cet article soutient que le choix de la transposition moderne est une stratégie plautinienne légitime destinée à retrouver l'immédiateté de la comédie.

About the intralingual tradition of Menander's ASPIS

Qui était ce Philoxène élève d’Anaxagore cité par Athénée ? S'agit-il d’un « efféminé » du dème de Dioméia ? Et qui sont les autres Philoxène, de Cythère, de Leucade ou d'ailleurs, auxquels, en prenant les poètes comiques au pied de la lettre, Athénée attribue une gourmandise insatiable et même un livre de recettes ? Cet article se propose de contextualiser les fragments de l’ancienne comédie afin d’identifier un poète-musicien novateur, qui fut parmi les premiers à écrire la musique de ses airs – c’est pourquoi il fut surnommé « Fourmi », insecte dont les cheminements évoquaient l’écriture. Et en jouant avec la métaphore qui fait d’une composition poétique un plat auquel la musique sert de garniture, les poètes qui ont prêté à cet élève d’Anaxagore une gourmandise insatiable, un livre de cuisine et même une recette de farce à base de vers ou l’envie de manger des cigales, n’ont fait que l’opposer à l’image du poète-musicien traditionnel qui, tel une cigale, ne se nourrissait que de rosée. Who was this Philoxenus, pupil of Anaxagoras, mentioned by Athenaeus? Was he an “effeminate” from the deme of Diomeia? And who were the other Philoxenuses, be they from Cythera, Lefkada or elsewhere, to whom Athenaeus, giving credence to the attacks of comic poets, lends an insatiable gourmandise and even a book of recipes? This article aims to contextualize fragments of Ancient comedy in order to identify an innovative poet and musician who was one of the first to write the music of his tunes – which is why he was nicknamed “Ant”, an insect whose comings and goings evoke writing. Playing with the metaphor that describes poetic composition as a dish whose garnish is music, poets who attributed to this pupil of Anaxagoras an insatiable greed, a cookery book and even a worms filling recipe or the desire to eat cicadas have done no more than opposing him to the traditional image of the poet and musician who, just like a cicada, fed only on dew.

The article is dedicated to images of Athenian politicians at the time of Peloponnesian War in comedies made by Aristophanes. Common features are discovered within portrayal of demagogues — politicians of a new type. Author comes to the conclusion, that their representation is a generalization of certain types by its nature. Статья посвящена образам афинских политиков периода Пелопоннесской войны в комедиях Аристофана. Выявлены общие черты в изображении демагогов — политиков нового типа. Автор приходит к выводу, что их образы имеют характер обобщающего типажа.

La noción de tópos, concebido como un principio compartido por una comunidad, desempeña una función central en los tratados de retórica desde la Antigüedad grecolatina. Este concepto también resulta relevante, creemos, en el discurso literario y permite trazar relaciones entre literatura y retórica. Si bien la literatura comparada le asigna autonomía al término y tiende a disociarlo de su función persuasiva, entendemos que los tópicos desempeñan en la comedia antigua una función compleja: operan como motivos literarios, pero también adoptan a la vez una finalidad argumentativa. La comedia de Aristófanes, en particular, propugna ciertas ideas políticas, empleando varios tópicos, ya sea bajo la forma de enunciados o de personajes-tipo. Los tópicos se utilizan, entonces, tanto en la oratoria como en la comedia con fines persuasivos. The notion of tópos, conceived as a principle shared by a community, has a central place in the treatises of rhetoric from Greco-Roman antiquity. This concept is also relevant, we believe, in literary discourse and it allows to establish a connections between literature and rhetoric. While comparative literature tends to disassociate this notion from its persuasive function, we understand that the tópoi have a complex function in ancient comedy: the tópoi are literary motifs, but also adopt an argumentative purpose. Aristophanes' comedy, in particular, advocates certain political ideas, using a series of tópoi, either in the form of statements or character types. The tópoi are then used in both oratory and comedy with persuasive purposes. Fil: Schere, María Jimena. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.

La variada y novedosa manipulación de los objetos en la comedia griega antigua puede considerarse un sello propio del género cómico que, en su evidente derrotero por diferenciarse de la tragedia, redobla la apuesta y fuerza hasta los límites sus posibilidades estéticas, potenciando sus efectos e intensidad. El presente trabajo ofrece una visión de conjunto del creativo tratamiento escénico de los objetos en la comedia de Aristófanes. The varied and novel manipulation of props in Ancient Greek Comedy can be read as a typical feature of the comic genre which, in its visible itinerary intended to distinguish from tragedy, forces to the limits their aesthetic possibilities, increasing their effects and intensity. This paper provides an overview of the creative scenic use of props in Aristophanes's comedy.

Journée d'études sur « Le Rhésos » Responsable : Caroline Plichon. Organisée dans le cadre de l'ACI « L'Antiquité grecque et les disciplines scientifiques ». Université de Lille 3, mercredi 11 octobre 2006 Programme en annexe Journées d'études sur L'« In Euclidem » de Proclus Responsable : Alain Lernould. Université de Lille 3, vendredi 13 et samedi 14 octobre 2006. Programme en annexe Journée d'études sur « Les cours de l'École Normale de l'an III » Responsable : Bernard Maitte. Université ...

International audience; In 1589 appeared in Paris the first separate Latin translation of the Peace by Aristophanes, thanks to Florent Chrestien. This paper analyses to which extent the audacious choice of translating this comedy rather than the Plutus or the Clouds, in the context of the Wars of Religion, goes along with an as well audacious practice of erudite translation.; En 1589 paraît à Paris la première traduction latine séparée de la Paix d’Aristophane, due à Florent Chrestien. Cet article examine dans quelle mesure le choix audacieux de traduire cette comédie plutôt que le Ploutos ou les Nuées, dans le contexte des Guerres de Religions, s’accompagne d’une pratique tout aussi audacieuse de la traduction savante.

AMARO, Márcio Henrique Vieira. O amor e a guerra em Aristófanes a partir de uma leitura da Peça Rãs. 2015. 135f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015. Based on a reading of the play The Frogs, 405 b.C., by Aristophanes, it’s inferred a strong use of mythological material used by the comediographist in the construction of the text. Therefore, a reading of that comedy under the modern scientific approaches to the myth allows the determination of a mythical nucleus able to offer an important key to reading the work of Aristophanes as well as the dramatic production of the late classical Greek period. In the agon between Aeschylus and Euripedes, the tragic themselves are the ones who, insulting each other, reveal the source of their production to be, respectively, the influence from the myths of Ares and Aphrodite. Both the tragedians being members of the triad elected by the Athenians as the best representatives of the tragic genre, and, the poetry being one of the constituent sources of the Greek citizen’s education, this research will verify to what extent the myths of Ares and Aphrodite are present in the work of the two tragedians, and how both use it as a contribution to the foundation for the shaping of the Greek man’s spirit. From a dialectic between love and war, the second part of the research will verify the occurrences of these traditions in the work of the comediographist Aristophanes, analyzing the play The Frogs. The author, when choosing the kingdom of the dead as a discussion space between these two mythological traditions, establishes a paradigmatic court, able to appreciate and value the diferent elements and types of tragic speech, treating them, however, under the comical perspective. It is necessary to determine to what extent the comic speech from the parallel between the underground structures and the contingency of Athenian life were being used as an attempt to interpret the myth. Finally, will verify with the presentation of the play Frogs, the comedy would be, in 405 b.C., seeking to appropriate the mythological speech, modifying it and shaping it according to the new requirements of the polis, as the tragic did before, and what are the implications of this new discourse on the elements related to theater: text, performance and audience. A partir da leitura da peça Rãs, de 405 a.C., de Aristófanes, depreende-se uma forte utilização de material mitológico utilizado pelo comediógrafo na construção do texto. Dessa forma, uma leitura dessa comédia, a partir das modernas abordagens científicas do mito, permite a determinação de um núcleo mítico capaz de oferecer uma importante chave de leitura para a obra de Aristófanes, bem como para a produção dramática do final do período clássico grego. No agón entre Ésquilo e Eurípedes, são os próprios trágicos, que, insultando-se, revelam como fonte de sua produção, respectivamente, a influência dos mitos de Ares e Afrodite. Sendo os dois tragediógrafos integrantes da tríade eleita pelos atenienses como os melhores representantes do gênero trágico, e, sendo a poesia uma das fontes constituintes da educação do cidadão grego, a pesquisa verificará, até que ponto os mitos de Ares e Afrodite estão presentes na obra dos dois tragediógrafos, e como ambos os utilizam como contribuição para o fundamento da formação do espírito do homem grego. Tendo como base uma dialética entre o amor e a guerra, a pesquisa irá verificar as ocorrências dessas tradições na obra do comediógrafo Aristófanes, a partir da leitura da peça Rãs. Aristófanes, ao escolher o reino dos mortos como espaço de discussão entre essas duas tradições mitológicas, estabelece um tribunal paradigmático, apto para apreciar e valorar os diferentes elementos e tipos de discurso trágico, tratando-os, entretanto, sob a ótica cômica. Faz-se mister determinar até que ponto o discurso cômico, a partir do paralelo entre estruturas do submundo e a contingência da vida ateniense estariam sendo utilizados como uma tentativa de interpretar o mito. Por fim, verificaremos se comédia no ano de 405 a.C., com a apresentação da peça Rãs, procurava apropriar-se do discurso mitológico, modificando-o e plasmando-o de acordo com as novas exigências da pólis, como antes fizeram os trágicos, e quais as implicações desse novo discurso diante dos elementos do fazer teatral: texto, performance e audiência.

In the 6th century B.C., Solon played an important role in the city of Athens. As a lawgiver, he established laws for the Athenians. But he was also a poet : Solon's poetic fragments – entirely poems or a single verse – have been passed on later by authors. Up until now, scholars have tried, on the one hand to understand the reforms of the lawgiver and one the other hand to study his poems. Both of these approaches aim to improve our incomplet knowledge about the 6th century B.C. But the sources of the indirect tradition have been submit to skepticism. This allows new and fresh perspectives for Solonian studies. The scope of my PhD Thesis follows this skeptic approach : I will analyze most of the authors of the 5th and 4th centuries B.C., what they say and do about Solon. It will allow us to thus understand the dynamics of transmission, of mutation and of appropriation which occur to this authoritative figure in each text of the corpus. Because tradition heavily influences all the interpretations of Solonian poetry and reforms in the field of politic and legislation, it requires us to go back to the first sources of these various interpretations. I hope this study will help us increase our knowledge of the political and intellectual background of the Athenian Democracy of the 4th century B.C., and clarify which kind of connexion exists between the polis and its own past. Last but not least, this study contributes to understand how a political argumentation and a democratic ideology can be shaped by forensic discourses.; Au VIe siècle avant J.-C., Solon a joué un rôle politique important à Athènes. Législateur, il a établi des lois. Législateur, mais aussi poète : des fragments poétiques qui vont du poème complet à un simple vers nous ont été transmis grâce à des auteurs postérieurs. Jusqu’à présent, les études sur Solon ont, pour la majeure partie, cherché à mieux cerner le législateur athénien d’une part, à comprendre la pensée postulée dans les poèmes d’autre part. Ces démarches visent toutes deux à enrichir notre connaissance lacunaire du VIe siècle avant J.-C. Le scepticisme appliqué aux sources de la tradition indirecte, qui nous apporte des informations sur Solon, a ouvert de nouvelles perspectives. Le projet que nous proposons s’inscrit dans cet héritage. Nous nous intéressons aux auteurs des Ve et IVe siècles avant J.-C. pour analyser, dans la lettre du texte, ce qu’ils disent de Solon et surtout, la manière dont ils le disent. Ainsi, il sera possible de saisir les dynamiques de transmission, de mutation et d’appropriation de cette figure d’autorité chez chacun des auteurs de notre corpus, car tirée à hue et à dia, la figure de Solon a servi des causes fort différentes. Puisque la tradition conditionne fortement les interprétations de la poésie solonienne et l’étude de son action politico-législative, il était nécessaire de revenir à la source même de toutes ces interprétations. Dès lors, il sera possible d’enrichir notre connaissance de l’histoire politique et intellectuelle de l’Athènes démocratique du IVe siècle, mieux comprendre le rapport qu’elle entretient avec son propre passé, mais aussi saisir comment se construit une argumentation politique et une idéologie propre à une société donnée à un moment précis de son histoire.

Dans cette contribution, la Comédie Ancienne est associée de manière surprenante au complexe chamanistique, ou respectivement, au schéma du goës ou magos qui existait dans la Grèce archaïque et dans les premiers temps de la Grèce classique. Après un bref aperçu de l’histoire de la recherche concernant le ‘chamanisme’ grec dans les études classiques, l’auteur écarte explicitement les spéculations essentialistes sur l’origine, mais utilise le phénomène religieux au sens d’un procédé de fantaisie mental et théâtral. Le potentiel performatif du goës est à même de traduire la chute soudaine, constitutive du genre, dans des espaces et des modes de jeu grotesques et ataviques, sur la scène comique. En particulier, les thèmes de la guérison et des voyages dans l’Hadès ou au ciel, thèmes qui jusqu’à présent n’ont pas vraiment été traités comme il l’aurait fallu, comme le héros comique ambigu et excessif, et la poétique alogique et non naturaliste de la Comédie Ancienne, peuvent s’expliquer comme repoussoirs d’un goës chamanique. Dans les pièces populaires de la place de marché, un tel théâtre de bouffons et de médecins charlatans perdure à travers l’histoire. À la fin, l’approche théorique est mise en pratique en prenant comme exemple la Paix d’Aristophane. L’intrigue relativement simple, où le héros chevauche jusqu’au ciel pour trouver une sorte de thérapie pour la cité, est enrichie d’une nouvelle signification totalement englobante, au-delà du politique strict. In this contribution Old Comedy is surprisingly associated with the shamanistic complex, or respectively, with the pattern of the goes or magos who existed in archaic and early classical Greece. After a brief review of the history of research concerning Greek 'shamanism' in Classics the author explicitely dismisses essentialist speculations on origins, but uses the religious phenomenon in the sense of a mental and theatrical device of phantasy. The performative potential of the goes is able to convey the sudden fall, constitutive of the genre, into grotesque-atavistic spaces and modes of playing on the comic stage. In particular, the themes of healing and of journeys to Hades or heaven, which up until now have hardly received due treatment, as well as the ambiguous and excessive comic hero and the alogical-nonnaturalistic poetics of Old Comedy can be elucidated on the foil of a shamanic goes. In popular plays of the marketplace such a theater of buffoons and quack-doctors remains actual through the history. At the end, the theoretical approach is put into practice by taking Aristophanes' Peace as an example. The relatively simple plot where the comic hero rides to heaven in order to find some sort of therapy for the city is enriched with a new all-encompassing meaning beyond the strictly political.

Thesmophoriazusae is one of the plays less studied by the critics, especially if we consider that Lisistrata -- a play which was performed in the same year as the aforementioned (411 a.C) -- was studied plenty, for example.The parodies of Euripidean plays in this comedy made the critics think that this comedy was one of the lesser important works of Aristophanes, considered merely a bunch of jokes about Euripides. Yet more recent studies, like the one of Zeitlin (1981), started to point to other possibilities of interpretation of the comedy in such a way that it was possible to understand that the Thesmophoriazusae is not as superficial as it seems at the first sight. Slater (2002), for example, think that he female assembly in the play is a key to a different interpretation of the play; as being a possible reference to the repression that the Athenians suffered in the crisis of 411. My goal, therefore, is -- based on the discussion of the problems to date this play -- to explore some passages which possibly mention historic facts and make a comparison between these passages and the representation of the female assembly in the lines 295ff. As Tesmoforiantes são uma peça menos estudada pela crítica, principalmente se levarmos em consideração os amplos estudos feitos sobre Lisístrata, por exemplo, obra tida como encenada no mesmo ano que As Tesmoforiantes (411a.C). As paródias a textos de Eurípides, dentro desta comédia, fizeram que a crítica até meados dos anos 70, creditasse pouco valor à obra, considerando-a apenas uma série de brincadeiras sobre o tragediógrafo e, assim, uma peça de menor valor. Entretanto estudos posteriores, como o de Zeitlin (1981), começam a apontar para outras leituras da obra, de modo que fosse possível perceber que a peça não era assim tão superficial quanto parece à primeira leitura. Slater (2002), por exemplo, enxerga, na representação da assembleia feminina, outras possibilidades de leitura, como a possível referência à repressão que os atenienses sofriam no período da crise de 411. O meu objetivo, portanto, é pensar algumas passagens que remeteriam a fatos históricos e buscar fazer uma comparação entre essas passagens e a representação da assembleia feminina nos versos 295 ss.

The present article offers a study of Lysistrata’s classical tradition, the literary character created by Aristophanes at the end of Vth century B.C. A panorama is offered from the Antiquity to the end of XXth century. In this way, we analyze the different faces of this literary personage, the different ways in wich Lysistrata has been interpreted and assimilated throughout the time, and, finally, its renovation in the contemporary age, historical moment in which Lysistrata has become the most well-known comedy of Aristophanes. El presente artículo ofrece un estudio de la tradición clásica de Lisístrata, el personaje literario creado por Aristófanes a fi nes del siglo V a.C. Se ofrece un panorama que parte de la Antigüedad y que llega hasta fi - nales del siglo XX. De este modo, analizamos los distintos rostros de este personaje, las diferentes maneras en que Lisístrata ha sido interpretada y asimilada a lo largo del tiempo y, fi nalmente, su renovación en la época contemporánea, el momento histórico en el que Lisístrata se ha convertido en la obra mejor conocida de Aristófanes.

Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-07-31Bitstream added on 2014-06-13T20:03:03Z : No. of bitstreams: 1 oliveira_jk_dr_arafcl.pdf: 2005071 bytes, checksum: 4b32864178e15ee3857fc899c460c105 (MD5) Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) As funções do coro na comédia de Aristófanes é o título e o tema desta tese que investiga o coro no gênero que foi praticado na Grécia antiga. Nossa investigação pautou-se no princípio de que os textos da Comédia Antiga que chegaram à nossa época foram compostos para serem postos em cena e, por isso mesmo, têm peculiaridades que devem ser levadas em consideração no momento da análise. Os textos das onze comédias de Aristófanes preservadas registram um roteiro ficcional que pode ser recuperado apenas pela leitura, como é comum em todo texto teatral, mas, além disso, os enredos das peças deixam gravadas as estratégias cênicas de realização concreta da obra em um espaço teatral específico. Assim, a partir do texto, é possível depreender tanto o enredo quando elementos da performance. Quando observamos o coro neste gênero, notamos que, nestes dois aspectos da comédia, ele desempenha importantes funções: na narrativa, ele assume diferentes papéis actanciais de acordo com as exigências do roteiro ficcional da peça; e, na performance, assume funções técnicas que viabilizam a apresentação da peça em um espaço concreto. A estrutura narrativa das obras foi estudada pelo viés teórico da semiologia do teatro. Para o estudo das funções do coro na performance das comédias, foram levadas em consideração as condições materiais dos festivais teatrais do século V a.C. – espaço amplo da orquestra, aglomeração no theatron, restrição a, no máximo, cinco atores para desempenhar todas as personagens da peça – e, a partir dessas exigências concretas, observou-se que o coro é um elemento estrutural do gênero frequentemente usado pelo poeta para solucionar os problemas ligados às dificuldades espaciais próprias da realização teatral da Atenas do século V a.C. The functions of the chorus in the Aristophanes comedy is the title and the main subject of this thesis which study the chorus in the genre practiced in the Ancient Greece. Our investigation grounded in the principle the texts of the Ancient Comedy that survived until our time were made to be put in scene and for that reason they have some singular characteristics that needed to be considered in the analysis. The texts of the eleven preserved comedies of Aristophanes show a fictional script that can be recovered only by reading, as usual in every theatric text, but, more than that, the plot of the plays keep record the scenic strategies applied in its concrete realization. So, from the text it is possible to comprehend the plot and elements of the performance. When we focus the chorus in this genre we can notice that – in theses two aspects of comedy – it has important functions: in the narrative it took different actantial roles according to the demands of the script of the play; and in the performance it took some technical roles that make possible the presentation of the play in a concrete space. The narrative structure of the plays was studied using as theoretical support the theater semiology. To study the functions of the chorus in the performance of the comedies the material resources in the theater festivals during the 5th century B.C. were considered – and from theses concrete demands, we could see that the chorus is a structural element of the genre frequently used by the poet to solve some problems caused by space difficulties characteristic of the theatral realization in the 5th century B.C. Athens.

A survey of the classic issue 'urbanitas' versus 'rusticitas' applied to love in Latin comedy, epigrammatic poetry, elegy and novel. The prominence of the city in late republican and Augustan poetry is grounded on the philosophical debate about human civilization and progress promoted by Lucretius, the epicurean poet who was critic about the moral shortcomings of modern urban society. Inspired by the lucretian speculation on progress, Vergilius (in eclogue X), the elegists, and especially Tibullus (in elegy II 3), explore the close connection existing between love and urban background, while Ovid praises Rome as the city of love and Venus’ realm.

Orientador: Veronica Fabrini Machado de Almeida Acompanha 1 DVD-R com gravação do espetáculo "As Vespas" Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: As releituras de textos da Comédia Antiga apontam para um conjunto de questões pertinentes aos procedimentos artísticos da Modernidade. Mapeando as questões teóricas e praticas, podemos verificar alguns temas caros à produção teatral contemporânea e que transitam entre a obra literária e os processos criativos do espetáculo. A pesquisa tem como objetivo a investigação experimental e teórica das operações texto/cena tendo como pré-texto uma obra da Comédia Antiga, As Vespas, de Aristófanes. Com o objetivo de situar e contextualizar o trabalho prático reunimos, em um primeiro núcleo, a investigação dos procedimentos ideológicos e estéticos que alimentam e situam o fazer teatral no âmbito da sensibilidade contemporânea. Nesse núcleo examinamos as questões teóricas que envolvem a constituição do elemento onde, relativo às abordagens do espaço: as tematizações do espaço e os elementos estético/ideológicos do espaço que estruturam as ações. Ainda nesse núcleo investigamos as questões concernentes às ações e figurações do sujeito na cena e no texto escrito e que se referem ao elemento quem. Nessa direção também é contemplada a relação sujeito/memória na figuração do personagem. O segundo núcleo refere-se aos contextos de origem da dramaturgia cômica da Antiguidade grega. Aí são mapeados aspectos da retórica e visão de mundo originários do texto, de modo a inserir a leitura da obra nos rastros de uma herança, no âmbito de um legado, expondo a obra textual inclusive em suas defasagens. Finalmente, no terceiro núcleo, retomando algumas questões do primeiro núcleo, abordamos o trabalho prático com a apresentação cênica, o registro dos depoimentos do elenco, as anotações de alguns envolvidos - atores e músico - no processo e a gravação em DVD da apresentação de As Vespas. Abstract: The reading of some of the texts of Ancient Comedy reveals a set of issues which are relevant to modern artistic procedures. By studying these theoretical and practical issues, we can identify various themes valuable in contemporary theatrical production which are located on the borderline between literary work and the creative processes of plays. The research was designed to investigate the operations of text/scene, both experimentally and theoretically, using a text from the Ancient Comedy as a pre-text: Wasps, by Aristophanes. The first nucleus presents the practical investigation, which studied the ideological and esthetic proceedings which orient what is done in the theater to account for contemporary sensitivity. In this nucleus, we examine the theoretical issues involving the constitution of the element of where in relation to approaches to space: the thematization of space and the esthetic/ideological elements of space which structure actions. In this nucleus we also investigate questions about actions and the configuration of the subject on stage and in the written text in relation to the element of who. Moreover, the relation between subject and memory for the characters is considered. The second nucleus investigates the context of the origin of comic drama in ancient Greece. In this nucleus, various aspects of rhetoric and world view revealed in the text are identified, so that the reading of the text becomes a part of our heritage from the past, a kind of legacy, which reveals the text to us even when its reading is displaced in time. Finally, in the third nucleus, we again take up some of the issues presented of the first nucleus and consider actual scenic performances, including the testimony of the cast and the notes of some of those involved in the process and the recording of a DVD of the production of Wasps. Doutorado Artes Cênicas Doutor em Artes

On examine ici les principaux linéaments de l'herméneutique de Johannes Clauberg, notamment à travers la structure de sa Logica Vetus et Nova et le modèle qu'elle propose de l'analyse de la " phrase obscure ". La thèse soutenue est que si Clauberg place essentiellement dans le lexique, et non dans la syntaxe, les racines de l'ambiguïté et de l'obscurité des énoncés, c'est que sa conception du langage et de la pensée les rend trop isomorphes l'un à l'autre pour qu'une obscurité proprement syntaxique puisse être conçue.The major features of Johannes Clauberg's hermeneutics are examined in this paper, as they appear in the very structure of one of his major works, the Logica Vetus et Nova, and particularly in the pattern of analysis provided by this work when it comes to interpret an " obscure sentence ". Clauberg looks for the roots of ambiguity and obscurity rather in the words themselves than in their syntactic combinations; because - that's the conclusion we intend to draw - of his conception of the relation between language and thought. For Clauberg, language and thought are too identical in their structures for a major discrepancy to occur between them.

Aucune thèse n’a plus contribué à l’écho philosophique des linguistiques structurales, que la célèbre phrase de Saussure : « Dans la langue, il n’y a que des différences, sans terme positif. ». C’est aussi l’une des plus critiquées : le caractère différentiel du signe ne tiendrait-il pas, tout simplement, à ce que le langage est un moyen limité devant communiquer des messages en nombre illimité (cf. Jakobson, Martinet, puis V. Descombes ou Th. Pavel) ? On montre ici que cet évitement de la question ontologique a pourtant un coût théorique : il oblige à adhérer à une conception fonctionnaliste du langage et à une sémantique référentialiste. De plus, contrairement à l’interprétation habituelle, seuls signifiant et signifié séparément sont différentiels ; le signe en totalité, lui, est positif. A travers une relecture de Bergson et Hegel, on montre que la notion de différence qualitative pure est philosophiquement intenable, et on s’efforce de reconstituer la théorie de la valeur à travers la distinction entre différence et opposition. Il en ressort une conception différente de l’idée selon laquelle ce qui caractérise l’espèce humaine, c’est sa capacité symbolique. No statement more contributed to the philosophical impact of structural linguistics, than Saussure’s very famous sentence: “In language, there is only differences, without positive terms.” But it is also one of the most criticized: it has been said that this differential dimension of linguistic signs hold rather to the fact that language is a limited mean to convey an unlimited number of messages (cf. Jakobson, Martinet, Descombes, Pavel). This paper shows that this strategy to avoid the ontological commitment of linguistics has a theoretical cost: it must eventually hold a functionalist theory of language with referentialist semantics. Besides, contrary to the common interpretation, only the signifier and the signified are but differential for Saussure; the whole sign is absolutely positive. The paper, through a reading of Bergson and Hegel, shows that the notion of pure qualitative difference is unsustainable, and tries to reconstitute Saussure”s value theory through the distinction between difference and opposition. What comes up is a different conception of the idea that mankind is characterized by it symbolic capacities.

Chez Aristophane, le public est impliqué dans le jeu comique, grâce à la disposition physique de l’espace théâtral. Il est raisonnable de penser que les femmes faisaient partie du public. Ce travail analyse les vv. 42 ss. de Lysistrata, où il semble que Cléonice s’adresse aux femmes assises dans la cavea.In Aristophanes the audience may be drawn into action: this is made easy by propinquity of place. It is a reasonable surmise that women were admitted in the audience. This paper analyzes Lysistrata vv. 42ss. where seems possible that Calonice is speaking to women sit down in the cavea.

Methodos est une revue exclusivement électronique, publiée sur le portail de revues.org; International audience; This article aims to shed light on the interactional dynamics created by the comic practice of onomasti kômôidein, making use of some theoretical tools provided by sociolinguistics (interactional and conversational analysis in particular). By illuminating the analogy that exists between the insults aimed by actors at actual citizens called by their real names on the one hand, and slander (diabolè) on the other hand, this paper seeks to give nuance to an opposition which dominates Aristophanic criticism: between "ritualist" and "political" interpretations of the dramatic phenomenon in question.; Cet article se propose de mettre en lumière les dynamiques interactionnelles mises en œuvre par la pratique comique de l'onomasti kômôidein, à travers le recours à certaines instruments théoriques fournis par la socio-linguistique (analyse interactionnelle et conversationnelle). En soulignant l'analogie existante entre les injures que les acteurs adressent contre des citoyens réels appelés par leur nom et la calomnie, la diabolè, il propose de nuancer l'opposition, qui domine la critique aristophanienne, entre les interprétations « ritualistes » et les interprétations « politiques » de ce phénomène dramatique.

Methodos est une revue exclusivement électronique, publiée sur le portail de Revues.org; International audience; The author wants to show that the passages where the Acharnians poet seems to undo the illusion and grant his public a privileged position, in so far as he seems to give them information about the fiction, are in fact ambiguous. The public of the comedy is actually, especially in these same moments, considered by the poet as credulous. That is why the political mission endorsed by the comedy - educating the citizens and making them clear-minded - must be put to the test.; L'auteur cherche à montrer que les passages dans lesquels le poète des Acharniens semble rompre l'illusion et conférer un statut privilégié au public en lui donnant des informations sur la fiction, sont en fait ambigus : le public de la comédie est en réalité, même et surtout à ces moments-là, traité par le poète comme un public crédule. Dès lors, c'est la mission politique que s'arroge la comédie, en prétendant éduquer les citoyens et les rendre lucides, qui est en question.