Emmanuela Bakola
Biographic Data
| ID | 5626660 |
|---|---|
| NAME | Emmanuela Bakola |
| GIVEN NAMES | Emmanuela |
| FAMILY NAME | Bakola |
| SIGNATURE | BAKOLA E |
| AFFILIATIONS | King's College London |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 55 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 3 |
Seeing the invisible
Interior spaces, "seen" and "unseen" in Greek tragedyIt hardly needs to be stated that the visible and the invisible lay at the very heart of fifth-century Greek theatre.Greek theatre took place in the open, in the bright light of day, with the sun illuminating the natural spaces that hosted the event.This is a striking contrast with tragedy's common themes of the dark sides of human nature, the suppressed memories of terrible deeds, the unexpres…
Earth, Nature, and the Cult of the Tomb
This chapter examines the depiction of the fifth-century tragic poet Aeschylus in Aristophanes’ Frogs by paying particular attention to the play’s engagement with space, especially the space of the earth below, from which the poet is welcomed back to Athens in the finale. It offers new arguments for connecting Frogs to the cult of Aeschylus’ tomb in Sicily, including the play’s engagement with the volcanic properties of the Sicilian landscape and…
Interiority, the ‘Deep Earth’ and the Spatial Symbolism of Darius' Apparition in the Persians of Aeschylus
This article demonstrates that the spatial category of depth is crucial for understanding Aeschylus' Persians . Underground spaces are often symbolically represented in Greek drama not only on a vertical axis but also by the interior of the stage-building ( skene ). By investigating the connections between ‘interiority’ and ‘depth’, this article argues that the most economical and effective reconstruction of Darius' apparition is to suppose that …
Greek Comedy and the Discourse of Genres
Recent scholarship has acknowledged that the intertextual discourse of ancient comedy with previous and contemporary literary traditions is not limited to tragedy. This book is a timely response to the more sophisticated and theory-grounded way of viewing comedy's interactions with its cultural and intellectual context. It shows that in the process of its self-definition, comedy emerges as voracious and multifarious with a wide spectrum of litera…
Cratinus and Tragedy
Through examination of four of Cratinus' comedies, Ch 3 challenges the generally accepted argument that Aristophanes is unusual in his engagement with tragedy and demonstrates that paratragedy was also a major feature in Cratinus' comedy. It shows that Cratinus' Plutoi had an intertextual relationship with Prometheus Lyomenos and the Prometheus trilogy (which has survived under the name of Aeschylus) more generally, as well as with Aeschylus' Ore…
Cratinus and the Satyr Play
Chapter 2 picks up on the theme of interaction with other genres and demonstrates how one of Cratinus' comedies, Dionysalexandros, operated throughout by cross‐generic play with satyr drama. Based on a fresh examination of the original papyrus POxy 663, and the satyr drama pattern of Dionysalexandros, it goes on to offer a reconstruction of the lost part of the papyrus hypothesis. By discussing material from fragmentary (Satyroi) and extant comed…
Production and Imagination
Chapter 5 explores dramaturgical and stagecraft aspects of Cratinus' comedies. First it discusses the construction and use of dramatic space in Odysseis, Plutoi, Nemesis, and Seriphioi, especially in the opening scenes. It also explores Cratinus' dramatization of the literary topos of the storm, his large stage props, machinery and change of scenes. In Dionysalexandros it discusses the role of costume and disguise, arguing that it constitutes a m…
Poetic Persona and Poetic Voice in Cratinus' Comedy
Myth, Politics, and Drama
Chapter 4 looks at the complex texture of Cratinus' plots and his techniques of characterization. In Dionysalexandros, Plutoi, Seriphioi, and Nemesis, mythical, topical, and drama‐derived plot elements are freely interwoven, so that Cratinus' plots often develop along several strands. The demonstration of Cratinus' multi‐layered style of composition entails challenging the modern classification of some of his mythical comedies simply as ‘politica…
Cratinus and the Art of Comedy
Using a methodologically innovative approach, Emmanuela Bakola studies the surviving fragments of Cratinus' plays and offers a thorough analysis of the
The drunk, the reformer and the teacher
Although the role of competition in Greek cultural and social practices has been well documented and studied, it is only in the last decades that the extent to which it permeates Athenian drama has been realised. The element of competition in Athenian dramatic performances is now widely used as an interpretative tool, especially in Old comedy, where the competitive conditions of performance are overtly articulated. As research on the fragmentary …
A Missed Joke in Aristophanes’ Wasps 1265–1274
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The drunk, the reformer and the teacher
Although the role of competition in Greek cultural and social practices has been well documented and studied, it is only in the last decades that the extent to which it permeates Athenian drama has been realised. The element of competition in Athenian dramatic performances is now widely used as an interpretative tool, especially in Old comedy, where the competitive conditions of performance are overtly articulated. As research on the fragmentary …
Cratinus and the Art of Comedy
Using a methodologically innovative approach, Emmanuela Bakola studies the surviving fragments of Cratinus' plays and offers a thorough analysis of the
Interiority, the ‘Deep Earth’ and the Spatial Symbolism of Darius' Apparition in the Persians of Aeschylus
This article demonstrates that the spatial category of depth is crucial for understanding Aeschylus' Persians . Underground spaces are often symbolically represented in Greek drama not only on a vertical axis but also by the interior of the stage-building ( skene ). By investigating the connections between ‘interiority’ and ‘depth’, this article argues that the most economical and effective reconstruction of Darius' apparition is to suppose that …
A Missed Joke in Aristophanes’ Wasps 1265–1274
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
A Missed Joke in Aristophanes’ Wasps 1265–1274
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The drunk, the reformer and the teacher
Although the role of competition in Greek cultural and social practices has been well documented and studied, it is only in the last decades that the extent to which it permeates Athenian drama has been realised. The element of competition in Athenian dramatic performances is now widely used as an interpretative tool, especially in Old comedy, where the competitive conditions of performance are overtly articulated. As research on the fragmentary …
Cratinus and Tragedy
Through examination of four of Cratinus' comedies, Ch 3 challenges the generally accepted argument that Aristophanes is unusual in his engagement with tragedy and demonstrates that paratragedy was also a major feature in Cratinus' comedy. It shows that Cratinus' Plutoi had an intertextual relationship with Prometheus Lyomenos and the Prometheus trilogy (which has survived under the name of Aeschylus) more generally, as well as with Aeschylus' Ore…
Cratinus and the Satyr Play
Chapter 2 picks up on the theme of interaction with other genres and demonstrates how one of Cratinus' comedies, Dionysalexandros, operated throughout by cross‐generic play with satyr drama. Based on a fresh examination of the original papyrus POxy 663, and the satyr drama pattern of Dionysalexandros, it goes on to offer a reconstruction of the lost part of the papyrus hypothesis. By discussing material from fragmentary (Satyroi) and extant comed…
Production and Imagination
Chapter 5 explores dramaturgical and stagecraft aspects of Cratinus' comedies. First it discusses the construction and use of dramatic space in Odysseis, Plutoi, Nemesis, and Seriphioi, especially in the opening scenes. It also explores Cratinus' dramatization of the literary topos of the storm, his large stage props, machinery and change of scenes. In Dionysalexandros it discusses the role of costume and disguise, arguing that it constitutes a m…
Poetic Persona and Poetic Voice in Cratinus' Comedy
Myth, Politics, and Drama
Chapter 4 looks at the complex texture of Cratinus' plots and his techniques of characterization. In Dionysalexandros, Plutoi, Seriphioi, and Nemesis, mythical, topical, and drama‐derived plot elements are freely interwoven, so that Cratinus' plots often develop along several strands. The demonstration of Cratinus' multi‐layered style of composition entails challenging the modern classification of some of his mythical comedies simply as ‘politica…
Cratinus and the Art of Comedy
Using a methodologically innovative approach, Emmanuela Bakola studies the surviving fragments of Cratinus' plays and offers a thorough analysis of the
Greek Comedy and the Discourse of Genres
Recent scholarship has acknowledged that the intertextual discourse of ancient comedy with previous and contemporary literary traditions is not limited to tragedy. This book is a timely response to the more sophisticated and theory-grounded way of viewing comedy's interactions with its cultural and intellectual context. It shows that in the process of its self-definition, comedy emerges as voracious and multifarious with a wide spectrum of litera…
Interiority, the ‘Deep Earth’ and the Spatial Symbolism of Darius' Apparition in the Persians of Aeschylus
This article demonstrates that the spatial category of depth is crucial for understanding Aeschylus' Persians . Underground spaces are often symbolically represented in Greek drama not only on a vertical axis but also by the interior of the stage-building ( skene ). By investigating the connections between ‘interiority’ and ‘depth’, this article argues that the most economical and effective reconstruction of Darius' apparition is to suppose that …
Seeing the invisible
Interior spaces, "seen" and "unseen" in Greek tragedyIt hardly needs to be stated that the visible and the invisible lay at the very heart of fifth-century Greek theatre.Greek theatre took place in the open, in the bright light of day, with the sun illuminating the natural spaces that hosted the event.This is a striking contrast with tragedy's common themes of the dark sides of human nature, the suppressed memories of terrible deeds, the unexpres…
Earth, Nature, and the Cult of the Tomb
This chapter examines the depiction of the fifth-century tragic poet Aeschylus in Aristophanes’ Frogs by paying particular attention to the play’s engagement with space, especially the space of the earth below, from which the poet is welcomed back to Athens in the finale. It offers new arguments for connecting Frogs to the cult of Aeschylus’ tomb in Sicily, including the play’s engagement with the volcanic properties of the Sicilian landscape and…
Art (12 works) · Classical Antiquity Studies (12 works) · Literature (9 works) · Comedy (7 works) · Organic Chemistry Synthesis Methods (7 works) · Historical, Religious, and Philosophical Studies (5 works) · Philosophy (5 works) · Drama (4 works) · Classical Philosophy and Thought (3 works) · Comics (3 works)