This monograph deals with some hitherto overlooked dramatic features of Aristophanic comedy, focusing in particular on Acharnians and Clouds. The study is divided into two parts, whose specific issues are strongly connected by the general issues of cheating and deceit, as well as by the common methodological framework. Both parts aim to elucidate some of the complex interaction devices which link the intratextual audience of the protagonist’s schemes and the audience of the play, and which can be outlined by a thorough examination of the main semiotical clues to the audience’s empathy toward the comic hero. This is achieved in a psycho-analytical perspective by a close reading of jokes and forms of abuse, whose dynamical patterns entail a structural complicity between the abuser and the witness to the abuse. One main result of the study is that Aristophanes’ deeper semiotic strategies can be recognised in the peculiar shifts in the identification connecting the implied audience of the play and the Chorus. The main point of this research is to show how cheating and deceit operate in Aristophanes’ dramas not only as a main thematic issue, but as an essential feature of the author-audience relationship.
Inganni d’autore. Due studi sulle funzioni del protagonista nel teatro di Aristofane
GRILLI, ALESSANDRO
1993-01-01
Abstract
This monograph deals with some hitherto overlooked dramatic features of Aristophanic comedy, focusing in particular on Acharnians and Clouds. The study is divided into two parts, whose specific issues are strongly connected by the general issues of cheating and deceit, as well as by the common methodological framework. Both parts aim to elucidate some of the complex interaction devices which link the intratextual audience of the protagonist’s schemes and the audience of the play, and which can be outlined by a thorough examination of the main semiotical clues to the audience’s empathy toward the comic hero. This is achieved in a psycho-analytical perspective by a close reading of jokes and forms of abuse, whose dynamical patterns entail a structural complicity between the abuser and the witness to the abuse. One main result of the study is that Aristophanes’ deeper semiotic strategies can be recognised in the peculiar shifts in the identification connecting the implied audience of the play and the Chorus. The main point of this research is to show how cheating and deceit operate in Aristophanes’ dramas not only as a main thematic issue, but as an essential feature of the author-audience relationship.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
