Dimitrios Kanellakis
Biographic Data
| ID | 5666981 |
|---|---|
| NAME | Dimitrios Kanellakis |
| GIVEN NAMES | Dimitrios |
| FAMILY NAME | Kanellakis |
| SIGNATURE | KANELLAKIS D |
| AFFILIATIONS | University of Patras |
| ORCID | 0000-0001-6178-0133 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Milan cake-eaters or Athenian cake-stealers
I argue for the reinterpretation of the comic scene on the bell-krater and for its Athenian origin. Aristophanes’ Wasps seems a likely source (albeit indirect) of inspiration, or a parallel testimony to a common—Athenian—source of inspiration. His Gêras (fr. 129K–A) is also intriguing as a candidate model, but it is too fragmentary to substantiate the hypothesis
Ancient Greek Comedy
This volume, in honour of Angus M. Bowie, collects seventeen original essays on Greek comedy. Its contributors treat questions of origin, genre and artistic expression, interpret individual plays from different angles (literary, historical, performative) and cover aspects of reception from antiquity to the 20th century. Topics that have not received much attention so far, such as the prehistory of Doric comedy or music in Old Comedy, receive a pr…
Ancient Greek Comedy
Types and Functions of Para Prosdokian in Aristophanes – And What About Oxymoron
Aristophanes and the Poetics of Surprise
The purpose of this book is to examine the variety, the mechanisms, and the poetological intention of the effect of surprise in Aristophanic comedy, addressing the phenomenon not as a self-evident or unselfconscious element of comedy as a genre, but as an elaborate system which characterises the style of the specific dramatist. More precisely, the book analyses Aristophanes’ most prominent verbal, thematic, and theatrical modes of surprise from a…
Aristophanes in Greek shadow theatre
After an introduction considering the reception of Aristophanic comedy and the significance of shadow theatre in modern Greek culture, this article explores the possibilities of adapting Aristophanes’ plays to the latter art form. Using Evgenios Spatharis’ shadow performances of Peace (c. 1986) and Frogs (1978) as case studies, I examine the way obscenity is handled and roles are allocated. These adaptations are viewed in relation to the generic …
Aristophanes and the Poetics of Surprise
The purpose of this book is to examine the variety, the mechanisms, and the poetological intention of the effect of surprise in Aristophanic comedy, addressing the phenomenon not as a self-evident or unselfconscious element of comedy as a genre, but as an elaborate system which characterises the style of the specific dramatist. More precisely, the book analyses Aristophanes’ most prominent verbal, thematic, and theatrical modes of surprise from a…
Aristophanes in Greek shadow theatre
After an introduction considering the reception of Aristophanic comedy and the significance of shadow theatre in modern Greek culture, this article explores the possibilities of adapting Aristophanes’ plays to the latter art form. Using Evgenios Spatharis’ shadow performances of Peace (c. 1986) and Frogs (1978) as case studies, I examine the way obscenity is handled and roles are allocated. These adaptations are viewed in relation to the generic …
Ancient Greek Comedy
This volume, in honour of Angus M. Bowie, collects seventeen original essays on Greek comedy. Its contributors treat questions of origin, genre and artistic expression, interpret individual plays from different angles (literary, historical, performative) and cover aspects of reception from antiquity to the 20th century. Topics that have not received much attention so far, such as the prehistory of Doric comedy or music in Old Comedy, receive a pr…
Ancient Greek Comedy
Types and Functions of Para Prosdokian in Aristophanes – And What About Oxymoron
Aristophanes and the Poetics of Surprise
The purpose of this book is to examine the variety, the mechanisms, and the poetological intention of the effect of surprise in Aristophanic comedy, addressing the phenomenon not as a self-evident or unselfconscious element of comedy as a genre, but as an elaborate system which characterises the style of the specific dramatist. More precisely, the book analyses Aristophanes’ most prominent verbal, thematic, and theatrical modes of surprise from a…
Milan cake-eaters or Athenian cake-stealers
I argue for the reinterpretation of the comic scene on the bell-krater and for its Athenian origin. Aristophanes’ Wasps seems a likely source (albeit indirect) of inspiration, or a parallel testimony to a common—Athenian—source of inspiration. His Gêras (fr. 129K–A) is also intriguing as a candidate model, but it is too fragmentary to substantiate the hypothesis
Art (4 works) · Classical Antiquity Studies (4 works) · Literature (4 works) · Comedy (3 works) · Aesthetics (2 works) · Classical literature (2 works) · Classical literature, history and criticism (2 works) · Comics (2 works) · Drama (2 works) · Historical, Religious, and Philosophical Studies (2 works)