LEADER 03887nam 2200709 450 001 9910456441103321 005 20200520144314.0 010 $a1-281-99756-0 010 $a9786611997564 010 $a1-4426-7117-3 024 7 $a10.3138/9781442671171 035 $a(CKB)2420000000003838 035 $a(EBL)3254951 035 $a(SSID)ssj0000289625 035 $a(PQKBManifestationID)11238112 035 $a(PQKBTitleCode)TC0000289625 035 $a(PQKBWorkID)10404029 035 $a(PQKB)11064768 035 $a(CaBNvSL)slc00215959 035 $a(MiAaPQ)EBC3254951 035 $a(MiAaPQ)EBC4671214 035 $a(DE-B1597)464199 035 $a(OCoLC)944178497 035 $a(DE-B1597)9781442671171 035 $a(Au-PeEL)EBL4671214 035 $a(CaPaEBR)ebr11256932 035 $a(CaONFJC)MIL199756 035 $a(OCoLC)431554549 035 $a(EXLCZ)992420000000003838 100 $a20160922h19931993 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBarbarian play $ePlautus' Roman comedy /$fWilliam S. Anderson 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d1993. 210 4$dİ1993 215 $a1 online resource (195 p.) 225 1 $aThe Robson Classical Lectures 300 $aDescription based upon print version of record. 311 $a0-8020-7941-5 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tForeword -- $tPreface -- $t1. Plautus and the Deconstruction of Menander -- $t2. si-amicus Diphilo aut Philemoni es: Plautus? Exploitation of Other Writers and Features of the Greek Comic Tradition -- $t3. Plautus? Plotting: The Lover Upstaged -- $t4. Heroic Badness (malitia): Plautus? Characters and Themes -- $t5. Words, Numbers, Movement: Plautus' Mastery of Comic Language, Metre, and Staging -- $t6. Plautus and His Audience: The Roman Connection -- $tNotes -- $tBibliography -- $tIndex 330 $aIn this volume William S. Anderson sets Plautus, who wrote Rome's earliest surviving poetry, in his rightful place among the Greek and Roman writers of what we know as New Comedy (fourth to second centuries).Anderson begins by defining major innovations that Plautus made on inherited Greek New Comedy (Menander, Philemon, and Diphilus), transforming it from romantic domestic drama to a celebration of rollicking family anarchy. He shows how Plautus diminished the traditional importance of love and replaced it with a new major theme: 'heroic badness,' especially embodied in the rogue slave (ancestor of the impudent servant, valet, or maid). Anderson then examines the unique verbal texture of Plautus' drama and demonstrates his revolt against realism, his drive to have his characters defy everyday circumstances and pit their intrepid linguistic wit against social order, their Roman extravagant impudence against Greek self-control. Finally, Anderson explores the special form of metatheatre that we admire in Plautus, by which he undermines the assumptions of his Greek `models' and replaces them with a new, confident Roman comedy. 410 0$aRobson classical lectures. 606 $aLatin drama (Comedy)$xGreek influences 606 $aLatin drama (Comedy)$xHistory and criticism 606 $aLITERARY CRITICISM / Ancient & Classical$2bisacsh 608 $aElectronic books. 615 0$aLatin drama (Comedy)$xGreek influences. 615 0$aLatin drama (Comedy)$xHistory and criticism. 615 7$aLITERARY CRITICISM / Ancient & Classical. 676 $a872.01 700 $aAnderson$b William S.$0164152 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910456441103321 996 $aBarbarian play$91117123 997 $aUNINA