By Ashley Clements
Aristophanes' comedian masterpiece Thesmophoriazusae has lengthy been well-known among the performs of previous Comedy for its deconstruction of tragic theatricality. This publication unearths that this deconstruction is grounded now not easily in Aristophanes' wider engagement with tragic realism. really, it demonstrates that from its outset Aristophanes' play attracts upon Parmenides' philosophical revelations pertaining to truth and phantasm, making use of Eleatic strictures and imagery to philosophize the theatrical scenario, criticize Aristophanes' poetic rival Euripides as promulgator of damaging deceptions, disclose the damaging complicity of Athenian theatre audiences in tragic phantasm, and articulate political suggestion to an viewers negotiating a interval of political turmoil characterised through deception and uncertainty (the months sooner than the oligarchic coup of 411 BC). The e-book thereby restores Thesmophoriazusae to its right prestige as a philosophical comedy and divulges hitherto unrecognized proof of Aristophanes' political use of Eleatic principles throughout the past due 5th century BC.
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Extra resources for Aristophanes' Thesmophoriazusae: Philosophizing Theatre and the Politics of Perception in Late Fifth-Century Athens (Cambridge Classical Studies)
On φύσις as a marked philosophical term, the ‘catchword of the new philosophy’, as Kahn (1960) 201 puts it (cited by Sansone (1996) 342), see Hajistephanou (1975); Mannsperger (1969). For the basis for this extrapolation, see Sansone (1996) and Rashed (2007), who see traces in Euripides’ words of Empedocles’ theory of sensory perception (Emp. 31a86 DK), which posited mutually exclusive senses able to register only those efﬂuences commensurate to the πόροι of each sense organ, see Long (1966) 260 and my discussion, pp.
On use of the verb in early accounts of the senses that becomes ‘formulaic’. 8; Bollack (1969b) 429–30; Palmer (2009) 316–17, although on the issue of perception, cf. also Laks (1990), my p. 20 n. 18 and p. 47 n. 11. See Austin and Olson (2004) ad loc. for an indication of the range of scholarly attempts to read a parody of ‘a particular philosophical system’ in 14–18 based upon alleged speciﬁc allusions (none of which they ﬁnd compelling), including the cosmology of Anaxagoras, the inﬂuence of which on the Melanippe fragment (fr.
I have followed the practice of Wardy (1996) 15, 152 nn. 14–15, endorsed by Sedley (1992), in basing what follows upon MXG. Signiﬁcantly, Hays’ (1990) 333–4, esp. nn. 13–14, reading of our prologue as a popular reception of Gorgianic scepticism, noting the epistemological uncertainty that follows at lines 27–8, can suggest only two points of linguistic commonality with the MXG text: the use of χωρίς at Th. 13 (cf. MXG 980b10) and the negated articular inﬁnitives τοῦ μήτ’ ἀκούειν μήθ’ ὁρᾶν at Th.
Aristophanes' Thesmophoriazusae: Philosophizing Theatre and the Politics of Perception in Late Fifth-Century Athens (Cambridge Classical Studies) by Ashley Clements