Dorota Dutsch
Biographic Data
| ID | 5627906 |
|---|---|
| NAME | Dorota Dutsch |
| GIVEN NAMES | Dorota |
| FAMILY NAME | Dutsch |
| SIGNATURE | DUTSCH D |
| AFFILIATIONS | University of California, Santa Barbara |
| VERIFIED | No |
| TOTAL WORKS | 31 |
| TOTAL CITATIONS | 24 |
| WORKS AS AUTHOR | 27 |
| WORKS AS EDITOR | 4 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 2 |
A Companion to Plautus
"This reference resource will offer a comprehensive survey of the plays of Rome's most popular dramatist. The surviving scripts of Titus Maccius Plautus (along with those of his successor Terence) provide the primary source of the Western Comic theatrical tradition for the Middle Ages, Renaissance, modern era, and today's newer media of movies and television sitcoms. The Companion will explore the distinctive features of Plautus' dramaturgy, how …
Between Utopia and History
Chapter I draws on Lucian’s Portraits to envision composite iconic figures that readers construct from other literary portraits. Ten “snapshots” provide raw material for such composite images of Pythagorean women. The snapshots are drawn from Pythagorean acousmata ; Plato’s dialogues, and the writings of Aristoxenus, Dicaearchus, Neanthes, and Timaeus of Tauromenium. These extracts cited in the works of Imperial writers are shaped by several comp…
Theophylact Simocatta, Theano to Eurydice
Zanetto 3 Θεανὼ Εὐρυδίκῃ Ὁ φυσικός σοι κόσμος παρῴχηκε , καὶ ῥυτίδων ἐγγὺς ἡ εὐπρέπεια · σὺ δὲ παραχαράττειν ἐπιχειρεῖς τὴν ἀλήθειαν ἐπιπλάστῳ κόσμῳ τοὺς ἐραστὰς φενακίζουσα . πειθάρχει τῷ χρόνῳ , γραΐδιον · οὐ γὰρ εὐπρεπεῖς οἱ λειμῶνες ἐν μετοπώρῳ τοῖς ἄνθεσι . ...
Letters of Advice
S III 160, 162; T 115–16; Hercher 607 Μέλισσα Κλεαρέτα [χαίρειν ]. 1. Αὐτομάτως ἐμὶν φαίνῃ πλέονα τῶν καλῶν ἔχεν · τὸ γὰρ ἐσπουδασμένως ἐθέλεν τὺ ἀκοῦσαι περὶ γυναικὸς εὐκοσμί - ας καλὰν ἐλπίδα διδοῖ ὅτι μέλλεις πολιοῦσθαι κατ ’ ἀρε -...
Epilogue
The Epilogue turns briefly to Byzantine reception of Pythagorean women in five short witty letters composed in the persona of Theano. Theophylact Simocatta’s Theano to Eurydice is compared to four anonymous notes “by Theano”: (yet another) To Eurydice, To Timonides, To Eucleides , and To Rhodope , preserved in a one manuscript only, along with explicitly Christian texts. All five notes present Theano as an exemplar of ancient ethics and debate wh…
Treatises
T 142.17–145.6 ; Stob. Anth . 4.28.19 Hercher p. 688 (Mullach 2 p. 34) Περικτιόνης Πυθαγορείας ἐκ τοῦ Περὶ γυναικὸς ἁρμονίας . 1. 1 Τὴν ἁρμονίην γυναῖκα νώσασθαι δεῖ φρονήσιός τε καὶ σωφροσύνης πλείην · κάρτα γὰρ ψυχὴν πεπνῦσθαι δεῖ εἰς ἀρετήν , ὥστ...
Notes from Vaticanus Graecus 578
S 178 ̓Επιστολαὶ πρός τινας τῆς σοφωτάτης Θεανοῦς Letters to women from wisest Theano S VIII 178, 180 ; T 197; Hercher 606 No. 7 Εὐρυδίκῃ τῇ θαυμασίᾳ . Τίς λύπη κατέχει τὴν ψυχήν ; ἀθυμεῖ
Pictures from an Exhibition
Chapter II collects and analyses the Greek sayings that circulated under Theano’s name, and briefly discusses the Syriac collection. It situates Theano in the gallery of sages and clever women whose personae were represented and repeatedly performed through chreiai . Theano articulates her program within a greater network of sayings and anecdotes, including sayings of clever courtesans, Sappho, Diogenes, Herodotus, and Spartan women, to then be d…
Pythagorean Women Philosophers
Modern scholarly accounts of Greek philosophical history usually exclude women. And yet, from Dixaearchus of Messana to Diogenes Laertius, classical writers record the names of women philosophers from various schools. What is more, pseudonymous treatises and letters (likely dating after the first century CE) articulate the teachings of Pythagorean women. How can this literature inform our understanding of Greek intellectual history? To take these…
Companion to Plautus
Mothers and Whores
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A Handbook to Classical Reception in Eastern and Central Europe
Handbook to Classical Reception in Eastern and Central Europe
The Fall of Cities in the Mediterranean
A body of theory has developed about the role and function of memory in creating and maintaining cultural identity. Yet there has been no consideration of the rich Mediterranean and Near Eastern traditions of laments for fallen cities in commemorating or resolving communal trauma. This volume offers new insights into the trope of the fallen city in folk-song and a variety of literary genres. These commemorations reveal memories modified by divers…
Fall of Cities in the Mediterranean
Mourning a city “empty of men”
A summary 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.
Women in Roman Republican Drama
Nenia
Na(e)nia is a genre of verbal composition (cf. carmen), most commonly a chant including a eulogy, performed at a funeral to the accompaniment of pipe music by professional mourners called praeficae.1 In contrast to the formal laudatio funebris, the nenia's praise of the deceased and its female performers were routinely mocked as insincere by comic writers.2 Ancient etymologists claimed that word nenia was equivalent of offal and rubbish as well a…
Towards a Roman Theory of Theatrical Gesture
Genre, Gender, and Suicide Threats in Roman Comedy
Several frustrated lovers in Roman comedy threaten to kill themselves, but of course never act on their threats. In this paper, I first situate the parasuicidal amator within the literary tradition of Greek tragedy, its Roman adaptations, and the praetexta , and then ask how gendered connotations of suicide contribute to the humor of empty threats. Particularly poignant is comedy's relationship to the praetexta and the logic of sacrifice for the …
From Hip Hop to Homer
The "Page and Stage" program in Los Angeles Central Public Library allowed audiences to interact closely with several works of classical literature featuring heroic sagas (Homer's Iliad and Odyssey and Aeschylus' Seven against Thebes ). By introducing different translations of these ancient texts (Pope's and Fagles' Iliad ), their reinventions (Will Power's Seven ), and relevant works of contemporary literature (Joseph Heller's Catch 22 ) and fil…
(Wo)men of Bacchus
This chapter is concerned with the instability of gender boundaries in comedy and with the gendering of instability in Roman culture. After a brief discussion of comedy's association of modus with masculinity, it turns to those instances in which the scripts of Plautus graft (allegedly) masculine attitudes onto feminine utterances or vice versa. The blending of genders in comedy is then compared with the rhetoric surrounding the suppression (in 1…
Father Tongue, Mother Tongue
Efforts to separate the speech of ‘the man himself’ from that of ‘unmanly’ others are implied in ancient rhetorical and philosophical treatises. This chapter traces such efforts from Donatus, through Cicero, to Aristotle and Plato, in an attempt to define the ontological status of feminine discourses in Roman comedy. The chôra, the indefinite (Derrida) and thus feminine (Kristeva, Irigaray) space of becoming in Plato's theory of creation emerges …
Epilogue
Of Pain and Laughter
Roman comedy uses various means to portray male and female suffering. In general — although there are some meaningful exceptions — loud weeping (indicative of all that is irrational and incoherent) is associated with female characters, while the use of interjections (indicative of greater self-control) is associated with male characters. The stereotypical routine of the comic maid also reveals a biased perception of female pain as disorderly and …
Feminine Discourse in Roman Comedy
Ancient scholiasts and modern scholars have long been aware of a specialized feminine vocabulary (terms of endearment, a special word for 'please', and interjections) used by the authors of Roman comedy. This study investigates the cultural implications of these linguistic choices for female characters. Lexical mannerisms are, it emerges, only one manifestation of a larger tendency to portray women as disregarding of interpersonal boundaries and …
Towards a grammar of gesture
In his Institutio (11.3.85–88), Quintilian divides all human gestures into “imitative” and “natural,” with natural gestures forming a symbolic code comparable to spoken language. This language of gesture would have included hand movements equivalent to adverbs, pronouns, nouns, and verbs. Such symbolic gestures, spontaneously accompanying words, were the only ones that Quintilian recommended for the orator. The actor’s gestures, dependent as they…
Nenia
Na(e)nia is a genre of verbal composition (cf. carmen), most commonly a chant including a eulogy, performed at a funeral to the accompaniment of pipe music by professional mourners called praeficae.1 In contrast to the formal laudatio funebris, the nenia's praise of the deceased and its female performers were routinely mocked as insincere by comic writers.2 Ancient etymologists claimed that word nenia was equivalent of offal and rubbish as well a…
Gestures in the manuscripts of Terence and late revivals of literary drama
Several manuscripts of Terence feature a cycle of miniatures depicting masked actors. The miniatures mark scene-headings and on this account have often been dismissed as merely decorative and irrelevant to the history of ancient theater. Nevertheless, the pictures project an illusion of theatricality so irresistible and lively, that it is hardly possible that the illustrated Terence does not reflect some sort of performance practice. This paper f…
Towards a grammar of gesture
In his Institutio (11.3.85–88), Quintilian divides all human gestures into “imitative” and “natural,” with natural gestures forming a symbolic code comparable to spoken language. This language of gesture would have included hand movements equivalent to adverbs, pronouns, nouns, and verbs. Such symbolic gestures, spontaneously accompanying words, were the only ones that Quintilian recommended for the orator. The actor’s gestures, dependent as they…
Female furniture
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
Gestures in the manuscripts of Terence and late revivals of literary drama
Several manuscripts of Terence feature a cycle of miniatures depicting masked actors. The miniatures mark scene-headings and on this account have often been dismissed as merely decorative and irrelevant to the history of ancient theater. Nevertheless, the pictures project an illusion of theatricality so irresistible and lively, that it is hardly possible that the illustrated Terence does not reflect some sort of performance practice. This paper f…
(Wo)men of Bacchus
This chapter is concerned with the instability of gender boundaries in comedy and with the gendering of instability in Roman culture. After a brief discussion of comedy's association of modus with masculinity, it turns to those instances in which the scripts of Plautus graft (allegedly) masculine attitudes onto feminine utterances or vice versa. The blending of genders in comedy is then compared with the rhetoric surrounding the suppression (in 1…
Father Tongue, Mother Tongue
Efforts to separate the speech of ‘the man himself’ from that of ‘unmanly’ others are implied in ancient rhetorical and philosophical treatises. This chapter traces such efforts from Donatus, through Cicero, to Aristotle and Plato, in an attempt to define the ontological status of feminine discourses in Roman comedy. The chôra, the indefinite (Derrida) and thus feminine (Kristeva, Irigaray) space of becoming in Plato's theory of creation emerges …
Epilogue
Of Pain and Laughter
Roman comedy uses various means to portray male and female suffering. In general — although there are some meaningful exceptions — loud weeping (indicative of all that is irrational and incoherent) is associated with female characters, while the use of interjections (indicative of greater self-control) is associated with male characters. The stereotypical routine of the comic maid also reveals a biased perception of female pain as disorderly and …
Plautus' Pharmacy
This chapter explores a register of speech that the 4th-century commentator Donatus called blanditia. A detailed analysis of the distribution of the lexical markers of this register (the modifier amabo and the address with mi/mea) in Terence and Plautus reveals that blanditia is primarily a discourse implying intimate connection. Such speech relies on an in-depth knowledge of the needs of others, or an illusion of such knowledge, which can be use…
Introduction
Feminine Discourse in Roman Comedy
Ancient scholiasts and modern scholars have long been aware of a specialized feminine vocabulary (terms of endearment, a special word for 'please', and interjections) used by the authors of Roman comedy. This study investigates the cultural implications of these linguistic choices for female characters. Lexical mannerisms are, it emerges, only one manifestation of a larger tendency to portray women as disregarding of interpersonal boundaries and …
From Hip Hop to Homer
The "Page and Stage" program in Los Angeles Central Public Library allowed audiences to interact closely with several works of classical literature featuring heroic sagas (Homer's Iliad and Odyssey and Aeschylus' Seven against Thebes ). By introducing different translations of these ancient texts (Pope's and Fagles' Iliad ), their reinventions (Will Power's Seven ), and relevant works of contemporary literature (Joseph Heller's Catch 22 ) and fil…
Genre, Gender, and Suicide Threats in Roman Comedy
Several frustrated lovers in Roman comedy threaten to kill themselves, but of course never act on their threats. In this paper, I first situate the parasuicidal amator within the literary tradition of Greek tragedy, its Roman adaptations, and the praetexta , and then ask how gendered connotations of suicide contribute to the humor of empty threats. Particularly poignant is comedy's relationship to the praetexta and the logic of sacrifice for the …
Towards a Roman Theory of Theatrical Gesture
Women in Roman Republican Drama
Nenia
Na(e)nia is a genre of verbal composition (cf. carmen), most commonly a chant including a eulogy, performed at a funeral to the accompaniment of pipe music by professional mourners called praeficae.1 In contrast to the formal laudatio funebris, the nenia's praise of the deceased and its female performers were routinely mocked as insincere by comic writers.2 Ancient etymologists claimed that word nenia was equivalent of offal and rubbish as well a…
The Fall of Cities in the Mediterranean
A body of theory has developed about the role and function of memory in creating and maintaining cultural identity. Yet there has been no consideration of the rich Mediterranean and Near Eastern traditions of laments for fallen cities in commemorating or resolving communal trauma. This volume offers new insights into the trope of the fallen city in folk-song and a variety of literary genres. These commemorations reveal memories modified by divers…
Fall of Cities in the Mediterranean
Mourning a city “empty of men”
A summary 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 Handbook to Classical Reception in Eastern and Central Europe
Handbook to Classical Reception in Eastern and Central Europe
Mothers and Whores
A summary 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 Companion to Plautus
"This reference resource will offer a comprehensive survey of the plays of Rome's most popular dramatist. The surviving scripts of Titus Maccius Plautus (along with those of his successor Terence) provide the primary source of the Western Comic theatrical tradition for the Middle Ages, Renaissance, modern era, and today's newer media of movies and television sitcoms. The Companion will explore the distinctive features of Plautus' dramaturgy, how …
Between Utopia and History
Chapter I draws on Lucian’s Portraits to envision composite iconic figures that readers construct from other literary portraits. Ten “snapshots” provide raw material for such composite images of Pythagorean women. The snapshots are drawn from Pythagorean acousmata ; Plato’s dialogues, and the writings of Aristoxenus, Dicaearchus, Neanthes, and Timaeus of Tauromenium. These extracts cited in the works of Imperial writers are shaped by several comp…
Theophylact Simocatta, Theano to Eurydice
Zanetto 3 Θεανὼ Εὐρυδίκῃ Ὁ φυσικός σοι κόσμος παρῴχηκε , καὶ ῥυτίδων ἐγγὺς ἡ εὐπρέπεια · σὺ δὲ παραχαράττειν ἐπιχειρεῖς τὴν ἀλήθειαν ἐπιπλάστῳ κόσμῳ τοὺς ἐραστὰς φενακίζουσα . πειθάρχει τῷ χρόνῳ , γραΐδιον · οὐ γὰρ εὐπρεπεῖς οἱ λειμῶνες ἐν μετοπώρῳ τοῖς ἄνθεσι . ...
Letters of Advice
S III 160, 162; T 115–16; Hercher 607 Μέλισσα Κλεαρέτα [χαίρειν ]. 1. Αὐτομάτως ἐμὶν φαίνῃ πλέονα τῶν καλῶν ἔχεν · τὸ γὰρ ἐσπουδασμένως ἐθέλεν τὺ ἀκοῦσαι περὶ γυναικὸς εὐκοσμί - ας καλὰν ἐλπίδα διδοῖ ὅτι μέλλεις πολιοῦσθαι κατ ’ ἀρε -...
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