Erin K Moodie
Biographic Data
| ID | 5635221 |
|---|---|
| NAME | Erin K Moodie |
| GIVEN NAMES | Erin K |
| FAMILY NAME | Moodie |
| SIGNATURE | MOODIE E K |
| AFFILIATIONS | Colgate University |
| ORCID | 0009-0005-4338-5355 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 9 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 1 |
Hermes/Mercury
Hermes/Mercury should be understood as the physical manifestation and divine patron of comedy. The chapter focuses on the portrayal of Hermes in Aristophanes’ Peace and that of Mercury in Plautus’ Amphitryon , and traces each character’s adoption of the abject stance associated with comic heroes, his knowledge of comic conventions, and his general metatheatrical remarks to and about the audience. The god’s association with laughter, performance, …
In Defense of Milphio
The famous "mistranslation" scene of Plautus' Poenulus, in which the clever slave Milphio seems to fail at translating Hanno's Punic remarks, should be interpreted as Milphio's attempt to increase his own onstage status through a series of revisory puns. Rather than indicating Milphio's failure to be clever, Milphio's "mis-translations" are consistent with his pattern of aggressive, revisory punning throughout the comedy. Milphio frequently retro…
Umbricius’ Farewell Tour
Umbricius’ speech, which comprises the majority of Juvenal’s third satire, should be read as the character’s syntaktikon , or farewell speech, to Rome, as it provides a totalizing portrait of the city’s physical and social topography. The theme of fullness, mixture of influences, and the expansion of satire’s generic boundaries allow Juvenal to represent the city, culturally bloated and socially fractured, in verse form while simultaneously reaff…
The Bully as Satirist in Juvenal's Third Satire
The drunken bully of Juvenal's third satire should be read as an alternative satirical voice within the poem, as is illustrated by means of a comparison with the corpus of Roman satire—in particular Horace 2.1 and Juvenal's first book of satires. The identification of the bully as a satirist does explain some of the bully's odd behavior and also accords with satire's propensity for self-mockery and much of the other metapoetic discussion of the g…
Old Men and Metatheatre in Terence
Within the Terentian corpus the senes (‘old men’) Simo (of the Andria ) and Chremes (of the Heauton Timorumenos ) enjoy an extraordinary understanding of the conventions of Roman comedy. While slaves in Plautine comedy certainly exhibit similar knowledge of their genre's conventions, as do the young men who are allied with them (one thinks of Charinus' prologue to the Mercator ), Plautine senes do not usually share in this awareness. This paper f…
Old Men and Metatheatre in Terence
Within the Terentian corpus the senes (‘old men’) Simo (of the Andria ) and Chremes (of the Heauton Timorumenos ) enjoy an extraordinary understanding of the conventions of Roman comedy. While slaves in Plautine comedy certainly exhibit similar knowledge of their genre's conventions, as do the young men who are allied with them (one thinks of Charinus' prologue to the Mercator ), Plautine senes do not usually share in this awareness. This paper f…
The Bully as Satirist in Juvenal's Third Satire
The drunken bully of Juvenal's third satire should be read as an alternative satirical voice within the poem, as is illustrated by means of a comparison with the corpus of Roman satire—in particular Horace 2.1 and Juvenal's first book of satires. The identification of the bully as a satirist does explain some of the bully's odd behavior and also accords with satire's propensity for self-mockery and much of the other metapoetic discussion of the g…
Old Men and Metatheatre in Terence
Within the Terentian corpus the senes (‘old men’) Simo (of the Andria ) and Chremes (of the Heauton Timorumenos ) enjoy an extraordinary understanding of the conventions of Roman comedy. While slaves in Plautine comedy certainly exhibit similar knowledge of their genre's conventions, as do the young men who are allied with them (one thinks of Charinus' prologue to the Mercator ), Plautine senes do not usually share in this awareness. This paper f…
The Bully as Satirist in Juvenal's Third Satire
The drunken bully of Juvenal's third satire should be read as an alternative satirical voice within the poem, as is illustrated by means of a comparison with the corpus of Roman satire—in particular Horace 2.1 and Juvenal's first book of satires. The identification of the bully as a satirist does explain some of the bully's odd behavior and also accords with satire's propensity for self-mockery and much of the other metapoetic discussion of the g…
Umbricius’ Farewell Tour
Umbricius’ speech, which comprises the majority of Juvenal’s third satire, should be read as the character’s syntaktikon , or farewell speech, to Rome, as it provides a totalizing portrait of the city’s physical and social topography. The theme of fullness, mixture of influences, and the expansion of satire’s generic boundaries allow Juvenal to represent the city, culturally bloated and socially fractured, in verse form while simultaneously reaff…
In Defense of Milphio
The famous "mistranslation" scene of Plautus' Poenulus, in which the clever slave Milphio seems to fail at translating Hanno's Punic remarks, should be interpreted as Milphio's attempt to increase his own onstage status through a series of revisory puns. Rather than indicating Milphio's failure to be clever, Milphio's "mis-translations" are consistent with his pattern of aggressive, revisory punning throughout the comedy. Milphio frequently retro…
Hermes/Mercury
Hermes/Mercury should be understood as the physical manifestation and divine patron of comedy. The chapter focuses on the portrayal of Hermes in Aristophanes’ Peace and that of Mercury in Plautus’ Amphitryon , and traces each character’s adoption of the abject stance associated with comic heroes, his knowledge of comic conventions, and his general metatheatrical remarks to and about the audience. The god’s association with laughter, performance, …
Art (5 works) · Literature (5 works) · Classical Antiquity Studies (4 works) · Comedy (3 works) · Philosophy (3 works) · Philosophy (2 works) · Ambiguity (1 work) · Art history (1 work) · Biology (1 work) · Character (mathematics (1 work)