Names and Naming in Aristophanic Comedy

Classical Quarterly 42 (02):304- (1992)
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Abstract

One of the ironies of literary history is that the survival of Aristophanic comedy and indeed of all Greek drama is due to the more or less faithful transmission of a written text. Reading a play and watching one, after all, are very different sorts of activities. Unlike a book, in which the reader can leaf backward for reminders of what has already happened or forward for information about what is to come, a play onstage can be experienced in one direction only, from ‘beginning’ to ‘end’. Nor can a play be put down and picked up again at one's leisure or interrupted while the audience puzzles over a difficult or intriguing passage. Live theatre is an ephemeral and essentially independent thing, which must be experienced in its own time and on its own terms or not at all, and as a result we modern readers, dependent on the written page, are at a marked disadvantage in understanding ancient drama. Taplin's study of staging in Aeschylus has shed considerable light on the dramatic technique of Athenian tragedy. Stage-practice in Aristophanic comedy, and in particular the ways in which names and naming are used there, has received much less attention

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Citations of this work

Aristophanes' Adôniazousai.L. Reitzammer - 2008 - Classical Antiquity 27 (2):282-333.

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References found in this work

The Woman Least Mentioned: Etiquette And Women's Names.David Schaps - 1977 - Classical Quarterly 27 (2):323-330.
IG_ Ii 2 2343, Philonides and Aristophanes' _Banqueters.D. Welsh - 1983 - Classical Quarterly 33 (1):51-55.
Who is Dicaeopolis?Ewen Lyall Bowie - 1988 - Journal of Hellenic Studies 108:183-185.

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