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Slaves, masters, and the art of authority in plautine comedy

by McCarthy, Kathleen

in Ambiguity / Ambivalence / Ancient & Classical / Ancient Greek comedy / Artifice / Asinaria / Atellan Farce / Aulularia / Authority in literature / Bacchides (play) / Captivi / Casina (play) / Character (arts) / Characterization / Comedy / Comedy of humours / Criticism / Criticism and interpretation / Cynicism (contemporary) / Cynicism (philosophy) / Deed / Deference / Dialogic / Dowry / Explanation / Fantasy world / Farce / Flattery / Generosity / Genre / Good faith / Household / Humiliation / Ideology / Imagery / Irony / Joke / Language & Literature / LITERARY CRITICISM / LITERARY CRITICISM / Ancient & Classical / Literature and society / Literature and society -- Rome / Manumission / Master and servant in literature / Menaechmi / Menaechmus / Meretrix / Miles Gloriosus (play) / Minstrel show / Miser / Monologue / Mostellaria / Nickname / Nobility / Obedience (human behavior) / Otium / Parody / Performing Arts / Plautus / Plautus, Titus Maccius / Plautus, Titus Maccius -- Criticism and interpretation / Plot device / Poenulus / Protagonist / Pseudolus / Pun / Requirement / Ridicule / Romantic comedy film / Rome / Rudens (play) / Slavery / Slavery in literature / Social status / Subjectivity / Suggestion / Terence / The Comic / The Erotic / The Other Hand / Thematic elements / Trickster / True Identity / Tyche / Wealth

2000,2009,2001

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Slaves, masters, and the art of authority in plautine comedy

by McCarthy, Kathleen

2000,2009,2001

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Slaves, masters, and the art of authority in plautine comedy

by McCarthy, Kathleen

2000,2009,2001

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Slaves, masters, and the art of authority in plautine comedy

McCarthy, Kathleen

2000,2009,2001

Overview

What pleasures did Plautus’ heroic tricksters provide their original audience? How should we understand the compelling mix of rebellion and social conservatism that Plautus offers? Through a close reading of four plays representing the full range of his work (Menaechmi, Casina, Persa, and Captivi), Kathleen McCarthy develops an innovative model of Plautine comedy and its social effects. She concentrates on how the plays are shaped by the interaction of two comic modes: the socially conservative mode of naturalism and the potentially subversive mode of farce. It is precisely this balance of the naturalistic and the farcical that allows everyone in the audience--especially those well placed in the social hierarchy--to identify both with and against the rebel, to feel both the thrill of being a clever underdog and the complacency of being a securely ensconced authority figure.

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Publisher

Princeton University Press

Subject

Ambiguity

/ Ambivalence

/ Ancient & Classical

/ Ancient Greek comedy

/ Artifice

/ Asinaria

/ Atellan Farce