George Fredric Franko
Biographic Data
| ID | 5628670 |
|---|---|
| NAME | George Fredric Franko |
| GIVEN NAMES | George Fredric |
| FAMILY NAME | Franko |
| SIGNATURE | FRANKO G F |
| AFFILIATIONS | Hollins University |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 27 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 3 |
Plautus
Plautus’ Mostellaria is one of ancient Rome’s most breezy and amusing comedies. The plot is ridiculously simple: when a father returns home after three years abroad, a clever slave named Tranio devises deceptions to conceal that the son has squandered a fortune partying with pals and purchasing his prized prostitute’s freedom. Tranio convinces the gullible father that his house is haunted, that his son has purchased the neighbor’s house, and that…
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 …
Companion to Plautus
Anicius vortit barbare
This chapter examines the victory games ofered by the Roman imperator L. Anicius Gallus as a reflection of performance aesthetics for theatrical ludi . Anicius’ spectacle celebrates a Plautine aesthetic by subjecting Greek modes and performers to the whims of Roman adaptors and spectators. Like Plautus, Anicius crowds his stage with a boisterous conflation of Greek and Roman elements. Anicius probably presented his spectacle on the Quirinalia, a …
Roman Republican Theatre by Gesine Manuwald (review)
Reviewed by: Roman Republican Theatre by Gesine Manuwald George Fredric Franko Gesine Manuwald. Roman Republican Theatre. Cambridge: Cambridge University Press, 2011. Pp. xii, 390. $105.00. ISBN 978-0-521-11016-7. This book admirably fills a long-standing void by providing a synoptic overview of the “sweeping and imprecise term ‘Roman Republican drama’” with clarity, precision, and scrupulous attention to the constraints of fragmentary evidence. …
Festivals, Producers, Theatrical Spaces, and Records
This chapter considers how festivals, producers, and theatrical spaces influenced Roman comedy in the time of Plautus and Terence (ca. 210-160 BCE). Although the extant scripts and fragments of the comoedia palliata exhibit stylistic unity (Terence excepted), their theatrical contexts varied and evolved as opportunities for dramatic performances increased over time, both with regularly scheduled ludi (festivals in honor of divinities) and occasio…
Gemelos y Sosias
Ensemble Scenes in Plautus
If Greek New Comedy never presented more than three concurrent speakers, then any scene in the Palliata with four or more concurrent speakers contains renovations. Plautus uses ensemble scenes to underscore lively or dramatically significant symposia, eavesdropping, or family reunions and be-trothals, especially at the finale. Terence uses ensemble scenes more pervasively for shorter, calmer, and less significant episodes. The authorship of the G…
Slaves, Masters, and the Art of Authority in Plautine Comedy
Preface ix Abbreviations and Conventions xiii CHAPTER I The Crowded House 3 Double Vision 7 Powerful Pleasures 17 The Art of Authority 29 CHAPTER II The Ties That Bind: Menaechmi 35 Rebellion Meets Reconciliation 40 The Cast of Characters 61 CHAPTER III Love's Labour's Lost: Casina 77 A Rake's (Lack of) Progress 84 Comic Husbands and Wives 115 CHAPTER IV A Kind of Wild Justice: Persa 122 The Three Faces of Toxilus 127 The Limits of Farce 158 CHAP…
The Characterization of Hanno in Plautus' Poenulus
The Characterization of Hanno in Plautus’ Poenulus George Fredric Franko Poenulus commands our attention because it is the one specimen of Roman New Comedy in which the main characters are not Greeks. Although the action takes place in the Aetolian city of Calydon, the young lover Agorastocles, his beloved Adelphasium, her sister Anterastilis, and the title character Hanno are all natives of Carthage. While the first three are represented as if t…
Incest and ridicule in the Poenulus of Plautus
Readers of Plautus’ Poenulus are struck by the generally ‘sympathetic’ portrayal of the title character Hanno, a portrayal somewhat surprising to us since the play was produced shortly after the Second Punic War.1 Contrary to what we might expect, Hanno the Carthaginian is neither villain nor scapegoat, and he even exhibits the Roman virtue of pietas . 2 However, Hanno's portrayal is not wholly positive, for Plautus delineates his character princ…
The Use of Poenus and Carthaginiensis in Early Latin Literature
The Characterization of Hanno in Plautus' Poenulus
The Characterization of Hanno in Plautus’ Poenulus George Fredric Franko Poenulus commands our attention because it is the one specimen of Roman New Comedy in which the main characters are not Greeks. Although the action takes place in the Aetolian city of Calydon, the young lover Agorastocles, his beloved Adelphasium, her sister Anterastilis, and the title character Hanno are all natives of Carthage. While the first three are represented as if t…
The Use of Poenus and Carthaginiensis in Early Latin Literature
Ensemble Scenes in Plautus
If Greek New Comedy never presented more than three concurrent speakers, then any scene in the Palliata with four or more concurrent speakers contains renovations. Plautus uses ensemble scenes to underscore lively or dramatically significant symposia, eavesdropping, or family reunions and be-trothals, especially at the finale. Terence uses ensemble scenes more pervasively for shorter, calmer, and less significant episodes. The authorship of the G…
Incest and ridicule in the Poenulus of Plautus
Readers of Plautus’ Poenulus are struck by the generally ‘sympathetic’ portrayal of the title character Hanno, a portrayal somewhat surprising to us since the play was produced shortly after the Second Punic War.1 Contrary to what we might expect, Hanno the Carthaginian is neither villain nor scapegoat, and he even exhibits the Roman virtue of pietas . 2 However, Hanno's portrayal is not wholly positive, for Plautus delineates his character princ…
The Use of Poenus and Carthaginiensis in Early Latin Literature
Incest and ridicule in the Poenulus of Plautus
Readers of Plautus’ Poenulus are struck by the generally ‘sympathetic’ portrayal of the title character Hanno, a portrayal somewhat surprising to us since the play was produced shortly after the Second Punic War.1 Contrary to what we might expect, Hanno the Carthaginian is neither villain nor scapegoat, and he even exhibits the Roman virtue of pietas . 2 However, Hanno's portrayal is not wholly positive, for Plautus delineates his character princ…
The Characterization of Hanno in Plautus' Poenulus
The Characterization of Hanno in Plautus’ Poenulus George Fredric Franko Poenulus commands our attention because it is the one specimen of Roman New Comedy in which the main characters are not Greeks. Although the action takes place in the Aetolian city of Calydon, the young lover Agorastocles, his beloved Adelphasium, her sister Anterastilis, and the title character Hanno are all natives of Carthage. While the first three are represented as if t…
Slaves, Masters, and the Art of Authority in Plautine Comedy
Preface ix Abbreviations and Conventions xiii CHAPTER I The Crowded House 3 Double Vision 7 Powerful Pleasures 17 The Art of Authority 29 CHAPTER II The Ties That Bind: Menaechmi 35 Rebellion Meets Reconciliation 40 The Cast of Characters 61 CHAPTER III Love's Labour's Lost: Casina 77 A Rake's (Lack of) Progress 84 Comic Husbands and Wives 115 CHAPTER IV A Kind of Wild Justice: Persa 122 The Three Faces of Toxilus 127 The Limits of Farce 158 CHAP…
Gemelos y Sosias
Ensemble Scenes in Plautus
If Greek New Comedy never presented more than three concurrent speakers, then any scene in the Palliata with four or more concurrent speakers contains renovations. Plautus uses ensemble scenes to underscore lively or dramatically significant symposia, eavesdropping, or family reunions and be-trothals, especially at the finale. Terence uses ensemble scenes more pervasively for shorter, calmer, and less significant episodes. The authorship of the G…
Anicius vortit barbare
This chapter examines the victory games ofered by the Roman imperator L. Anicius Gallus as a reflection of performance aesthetics for theatrical ludi . Anicius’ spectacle celebrates a Plautine aesthetic by subjecting Greek modes and performers to the whims of Roman adaptors and spectators. Like Plautus, Anicius crowds his stage with a boisterous conflation of Greek and Roman elements. Anicius probably presented his spectacle on the Quirinalia, a …
Roman Republican Theatre by Gesine Manuwald (review)
Reviewed by: Roman Republican Theatre by Gesine Manuwald George Fredric Franko Gesine Manuwald. Roman Republican Theatre. Cambridge: Cambridge University Press, 2011. Pp. xii, 390. $105.00. ISBN 978-0-521-11016-7. This book admirably fills a long-standing void by providing a synoptic overview of the “sweeping and imprecise term ‘Roman Republican drama’” with clarity, precision, and scrupulous attention to the constraints of fragmentary evidence. …
Festivals, Producers, Theatrical Spaces, and Records
This chapter considers how festivals, producers, and theatrical spaces influenced Roman comedy in the time of Plautus and Terence (ca. 210-160 BCE). Although the extant scripts and fragments of the comoedia palliata exhibit stylistic unity (Terence excepted), their theatrical contexts varied and evolved as opportunities for dramatic performances increased over time, both with regularly scheduled ludi (festivals in honor of divinities) and occasio…
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 …
Companion to Plautus
Plautus
Plautus’ Mostellaria is one of ancient Rome’s most breezy and amusing comedies. The plot is ridiculously simple: when a father returns home after three years abroad, a clever slave named Tranio devises deceptions to conceal that the son has squandered a fortune partying with pals and purchasing his prized prostitute’s freedom. Tranio convinces the gullible father that his house is haunted, that his son has purchased the neighbor’s house, and that…
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