Theater outside Athens: Drama in Greek Sicily and South Italy
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This volume brings together archeologists, art historians, philologists, literary scholars, political scientists and historians to articulate the ways in which western Greek theater was distinct from that of the Greek mainland and, at the same time, to investigate how the two traditions interacted. The papers intersect and build on each other in their pursuit of a number of shared questions and themes: the place of theater in the cultural life of Sicilian and South Italian 'colonial cities;' theater as a method of cultural self-identification; shared mythological themes in performance texts and theatrical vase-painting; and the reflection and analysis of Sicilian and South Italian theater in the work of Athenian philosophers and playwrights. Together, the essays explore central problems in the study of western Greek theater. By gathering a range of perspectives and methods, this volume offers the first wide-ranging examination of this hitherto neglected history.
and that orators are masters at exploiting their vulnerabilities. The jurors/citizens are likened to sick children who neglect a doctor’s recommendations because a fancy chef entices them into believing that the doctor is wrong to say medicines can help more than a plate of rich sweets. The pastry chef in this example, like a demagogue in a democracy or a tyrannical propagandist, stimulates and directs desires that benefit his own standing, all the time pretending to be tending to the well-being
the rhetorical potential of Heraclitus’ doctrine of change, the scene would not comically unmask a false premise. In contrast, if someone before Epicharmus had already thought of exploring the practical implications of Heraclitus’ theory, Epicharmus’ contribution would be a comic reductio ad absurdum. At least to judge from the mechanisms of Attic comedy, this second possibility is more plausible: in Clouds, for example, Socrates perverts the grammatical theories of Protagoras, but Aristophanes
126–43, Pianko (1948), Reinhardt (1996), Kerkhof (2001) 116–29, Casolari (2003) 55–9, and Rodr´ıguez-Noriega Guill´en (this volume). Despite Hall’s observations, the label ‘colonial’ remains useful; if there were a better one, it could be replaced, but as it is ‘colonization’ may refer quite generally to any process of collective settling in an ethnically (and linguistically!) foreign environment, without necessarily implying an ‘organized, state-sponsored venture’. Note especially Xenophanes fr.
(kritän codd.: krit n PCG post Ahrens), ‘It lies on the knees of five judges.’ On the western traditions of Odysseus, see Phillips (1953); on the comic Odysseus, see also Phillips (1959). Downloaded from Cambridge Books Online by IP 18.104.22.168 on Fri Nov 15 19:11:29 WET 2013. http://dx.doi.org/10.1017/CBO9781139032377.006 Cambridge Books Online © Cambridge University Press, 2013 79 80 ´ luc´ı a rodr´ı guez-noriega guill en Epicharmus also wrote several plays dealing with Heracles, who,
the importance of ethnic feeling among Dorians and Ionians, especially at the time of the Peloponnesian War. With respect to the Ion at Athens, see Gr´egoire (1959) 164–5 and Delebecque (1951) 229–32 for the ‘patriotic’ interpretation; Conacher (1959) 22–6, Walsh (1978), Hoffer (1996) 312–17, and Hall (1997) 40–51 for critical discussion; Zacharia (2003) 44–102 and Swift (2008) 69–85 for summary. Hall (1997) 56. Downloaded from Cambridge Books Online by IP 22.214.171.124 on Fri Nov 15 19:12:11