Michael D Fontaine
Biographic Data
| ID | 10657252 |
|---|---|
| NAME | Michael D Fontaine |
| GIVEN NAMES | Michael D |
| FAMILY NAME | Fontaine |
| SIGNATURE | FONTAINE M D |
| ORCID | 0000-0002-5003-6680 |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 0 |
Joannes Burmeister
First critical edition of Burmeister’s newly discovered Aulularia. Joannes Burmeister of Lüneburg (1576–1638) was among the greatest Neo-Latin poets of the German Baroque. His masterpieces, now mostly lost, are Christian ‘inversions’ of the Classical Roman comedies of Plautus. With only minimal changes in language and none in meter, each transforms Plautus’s pagan plays into comedies [...]
Verba Perplexabilia
Parapraxis and Parechesis
This chapter develops the stylistic method for recovering Plautus’ “funny” words adumbrated in chapter 1. An investigation of the comedian's dramatic use of Freudian errors, including slips of the tongue and the mishearing of words, suggests that ancient scribes occasionally corrupted the less familiar word in a “parechesis,” or pun on two similar words, to an exact repetition of the more familiar word. Likewise, it is argued, scholars persistent…
Innuendo and the Audience
This chapter continues the investigation of Plautus’ use of irony and innuendo. Jokes and riddles in Poenulus, Rudens, Amphitryo, and Stichus suggest that characters’ onstage actions occasionally betray their claims or that the jokes they make sometimes presuppose a Greek background. Discussion then turns to the composition and character of Plautus’ audience. Contrary to many prevailing views, it is concluded from archaeological, demographic, and…
Conclusion
This chapter recapitulates and summarizes the findings of the book. It reviews the stylistic techniques and methods whereby Plautus uses “funny” words in puns and suggests avenues of future research. It also revisits the question of when in antiquity Plautine comedy ceased to be seen as a continuation of Greek comedy and instead as something farcical and radically different; it suggests that Roman comedy is in fact generally closer to Greek comed…
Double Entendre
Taking as its point of focus Plautus’ adulescentes (young men), this chapter surveys double entendre ‐ that is, the jokes and puns in Plautus that involve a specifically sexual component ‐ as well as the methods and means whereby the Roman comedian makes them. Connections are drawn between the quips of Plautus’ courtesans and those of courtesans in Greek literature, including a number of examples collected by the Greek writer Machon. Also discuss…
No prominent works on this page.
Verba Perplexabilia
Parapraxis and Parechesis
This chapter develops the stylistic method for recovering Plautus’ “funny” words adumbrated in chapter 1. An investigation of the comedian's dramatic use of Freudian errors, including slips of the tongue and the mishearing of words, suggests that ancient scribes occasionally corrupted the less familiar word in a “parechesis,” or pun on two similar words, to an exact repetition of the more familiar word. Likewise, it is argued, scholars persistent…
Innuendo and the Audience
This chapter continues the investigation of Plautus’ use of irony and innuendo. Jokes and riddles in Poenulus, Rudens, Amphitryo, and Stichus suggest that characters’ onstage actions occasionally betray their claims or that the jokes they make sometimes presuppose a Greek background. Discussion then turns to the composition and character of Plautus’ audience. Contrary to many prevailing views, it is concluded from archaeological, demographic, and…
Conclusion
This chapter recapitulates and summarizes the findings of the book. It reviews the stylistic techniques and methods whereby Plautus uses “funny” words in puns and suggests avenues of future research. It also revisits the question of when in antiquity Plautine comedy ceased to be seen as a continuation of Greek comedy and instead as something farcical and radically different; it suggests that Roman comedy is in fact generally closer to Greek comed…
Double Entendre
Taking as its point of focus Plautus’ adulescentes (young men), this chapter surveys double entendre ‐ that is, the jokes and puns in Plautus that involve a specifically sexual component ‐ as well as the methods and means whereby the Roman comedian makes them. Connections are drawn between the quips of Plautus’ courtesans and those of courtesans in Greek literature, including a number of examples collected by the Greek writer Machon. Also discuss…
Joannes Burmeister
First critical edition of Burmeister’s newly discovered Aulularia. Joannes Burmeister of Lüneburg (1576–1638) was among the greatest Neo-Latin poets of the German Baroque. His masterpieces, now mostly lost, are Christian ‘inversions’ of the Classical Roman comedies of Plautus. With only minimal changes in language and none in meter, each transforms Plautus’s pagan plays into comedies [...]
Classical Antiquity Studies (4 works) · Art (3 works) · Literature (3 works) · Comedy (2 works) · Historical and Literary Studies (2 works) · Linguistics and language evolution (2 works) · Philosophy (2 works) · Pun (2 works) · Computer Science (1 work) · Curculio (1 work)