Michaël Fontaine
Biographic Data
| ID | 5629340 |
|---|---|
| NAME | Michaël Fontaine |
| GIVEN NAMES | Michaël |
| FAMILY NAME | Fontaine |
| SIGNATURE | FONTAINE M |
| AFFILIATIONS | Cornell University |
| ORCID | 0000-0002-0997-1888 |
| VERIFIED | Yes |
| TOTAL WORKS | 22 |
| TOTAL CITATIONS | 84 |
| WORKS AS AUTHOR | 20 |
| WORKS AS EDITOR | 2 |
| FIRST PUBLICATION YEAR | 1992 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 2 |
Plautus and the English Renaissance of Comedy
An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button
Freudian Bullseyes in Classical Perspective
Is the Story of Susanna and the Elders Based on a Greek New Comedy
Joannes Burmeister
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 [...]
Between Two Paradigms
This chapter discusses the twenty-one Roman comedies of T. Maccius Plautus in the light of two predominantly competing modern paradigms, here called the "Saturnalian" and the "Hellenistic." Following a conventional list of Plautus's titles, Greek models, and date or festival occasions where known, discussion turns to the nature of Latin comoedia, which is not merely an adaptation (vorsio, "version") of Greek New Comedy but a highly musical adapta…
The reception of Greek comedy in Rome
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 Cranberry-Morpheme Joke in Plautus (Menaechmi 295)
Dynamics of Appropriation in Roman Comedy
The Oxford Handbook of Greek and Roman Comedy
"The Oxford Handbook of Greek and Roman Comedy marks the first comprehensive introduction and reference work for the unified study of ancient comedy. From the birth of comedy in Greece to its end in Rome, from the Hellenistic diffusion of performances after the death of Menander to its sympotic, artistic, scholarly, and literary receptions in the later Roman Empire, no topic is neglected. The result offers Hellenists an excellent overview of the …
Equivocation and Other Ambiguities
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…
Funny Words in Plautine Comedy
Plautus, Rome's earliest extant poet, was acclaimed by ancient critics above all for his mastery of language and his felicitous jokes; and yet in modern times relatively little attention has been devoted to elucidating these elements fully. Here, Fontaine reassesses some of the premises and nature of Plautus' comedies
Plautus, Truculentus 78
Freudian Slips in Plautus
This paper examines the "Freudian" dimensions of two instances of psycholinguistic performance error in Plautus' comedies, viz., a slip of the tongue in Rudens 422 and a tip-of-the-tongue situation in Trinummus 906–22. In each case, I argue, the error serves as a vehicle for puns and ironic jokes. So understood, novel implications for interpretation, staging, and possible modes of delivery are suggested. An appendix discusses the text of Trinummu…
Parasitus colax (Terence, Eunuchus 30)
Propertius 3.4, 1.1, and the Aeneid incipit
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Sete perguntas a Walter Benjamin
Funny Words in Plautine Comedy
Plautus, Rome's earliest extant poet, was acclaimed by ancient critics above all for his mastery of language and his felicitous jokes; and yet in modern times relatively little attention has been devoted to elucidating these elements fully. Here, Fontaine reassesses some of the premises and nature of Plautus' comedies
The Oxford Handbook of Greek and Roman Comedy
"The Oxford Handbook of Greek and Roman Comedy marks the first comprehensive introduction and reference work for the unified study of ancient comedy. From the birth of comedy in Greece to its end in Rome, from the Hellenistic diffusion of performances after the death of Menander to its sympotic, artistic, scholarly, and literary receptions in the later Roman Empire, no topic is neglected. The result offers Hellenists an excellent overview of the …
Sete perguntas a Walter Benjamin
Propertius 3.4, 1.1, and the Aeneid incipit
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.
Freudian Slips in Plautus
This paper examines the "Freudian" dimensions of two instances of psycholinguistic performance error in Plautus' comedies, viz., a slip of the tongue in Rudens 422 and a tip-of-the-tongue situation in Trinummus 906–22. In each case, I argue, the error serves as a vehicle for puns and ironic jokes. So understood, novel implications for interpretation, staging, and possible modes of delivery are suggested. An appendix discusses the text of Trinummu…
Parasitus colax (Terence, Eunuchus 30)
Plautus, Truculentus 78
Equivocation and Other Ambiguities
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…
Funny Words in Plautine Comedy
Plautus, Rome's earliest extant poet, was acclaimed by ancient critics above all for his mastery of language and his felicitous jokes; and yet in modern times relatively little attention has been devoted to elucidating these elements fully. Here, Fontaine reassesses some of the premises and nature of Plautus' comedies
Dynamics of Appropriation in Roman Comedy
The Oxford Handbook of Greek and Roman Comedy
"The Oxford Handbook of Greek and Roman Comedy marks the first comprehensive introduction and reference work for the unified study of ancient comedy. From the birth of comedy in Greece to its end in Rome, from the Hellenistic diffusion of performances after the death of Menander to its sympotic, artistic, scholarly, and literary receptions in the later Roman Empire, no topic is neglected. The result offers Hellenists an excellent overview of the …
Between Two Paradigms
This chapter discusses the twenty-one Roman comedies of T. Maccius Plautus in the light of two predominantly competing modern paradigms, here called the "Saturnalian" and the "Hellenistic." Following a conventional list of Plautus's titles, Greek models, and date or festival occasions where known, discussion turns to the nature of Latin comoedia, which is not merely an adaptation (vorsio, "version") of Greek New Comedy but a highly musical adapta…
The reception of Greek comedy in Rome
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 Cranberry-Morpheme Joke in Plautus (Menaechmi 295)
Joannes Burmeister
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 [...]
Freudian Bullseyes in Classical Perspective
Is the Story of Susanna and the Elders Based on a Greek New Comedy
Plautus and the English Renaissance of Comedy
An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button
Art (15 works) · Classical Antiquity Studies (14 works) · Literature (12 works) · Philosophy (12 works) · Comedy (9 works) · Linguistics (7 works) · History (6 works) · Computer Science (5 works) · Historical and Literary Studies (5 works) · Philosophy (5 works)