C W Marshall
Biographic Data
| ID | 808180 |
|---|---|
| NAME | C W Marshall |
| GIVEN NAMES | C W |
| FAMILY NAME | Marshall |
| SIGNATURE | MARSHALL C W |
| AFFILIATIONS | University of British Columbia |
| ORCID | 0000-0001-6669-3231 |
| VERIFIED | Yes |
| TOTAL WORKS | 52 |
| TOTAL CITATIONS | 49 |
| AUTHOR COUNT | 46 |
| EDITOR COUNT | 6 |
| FIRST PUBLICATION YEAR | 1909 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 3 |
Greek Drama, Modern Stages
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Ennius Beyond Epic
Books—Dream—Stories: Neil Gaiman's The Sandman and Ovid's Metamorphoses
This article compares the elaborate structures of Ovid's Metamorphoses and Neil Gaiman's The Sandman, arguing that the skills required to read one can be transferred to the other. The Sandman is indebted to many earlier sources, including Ovid. Detailed examples from The Sandman, including floral metamorphoses of blood and the connections between ravens and 1970s horror comics, illuminate the poetic practice of Ovid in his epic
Mime, Approximately
Mime, Approximately" demonstrates the challenges of defining mime. It isolates mime's distinct features as a performance genre, traces its development from classical Greece until the late Roman empire, and challenges the distinction between "literary" and "popular" mime. Abstract: « Mime, approximately » explore les difficultés posées par le mime. Le chapitre isole les caractéristiques spécifiques du mime en tant qu'art du spectacle, retrace son …
Republicans Listen to Rap, Too: Tupac’s Engagement with Black Conservatism
In the 25-plus years since his death, Tupac Shakur’s legacy has been reimagined as one of a fighter of social injustice and revolutionary whose discography ushered in an era of more “conscious” rap. The consensus scholarly and popular re-imagining of Shakur’s legacy as that of a progressive social justice advocate in the nearly 30 years since his death downplays or altogether overlooks his occasional alignment with conservative ideas. But this re…
Plautus: Menaechmi
This new volume in the Bloomsbury Ancient Comedy Companions series is perfect for students coming to one of Plautus’ most whimsical, provocative, and influential plays for the first time, and a useful first point of reference for scholars less familiar with Roman comedy. Menaechmi is a tale of identical twin brothers who are separated as young children and reconnect as adults following a series of misadventures due to mistaken identity. A glutton…
Plautus: Mostellaria
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…
Plautus: Curculio
This is the first book-length study of Plautus’ shortest surviving comedy, Curculio, a play in which the tricksy brown-nosed title character (“The Weevil”) bamboozles a shady banker and a pious pimp to secure the freedom of the enslaved girl his patron has fallen for while keeping her out of the clutches of a megalomaniacal soldier. It all takes place in the Greek city Epidaurus, the most important site for the worship of the healing god Aesculap…
Slavery and Sexuality in Classical Antiquity
Menander: Epitrepontes
This book introduces readers who may have no previous knowledge of Menander’s comedies to Epitrepontes (The Arbitration), arguably the most exquisitely crafted of his better-preserved plays. It explains what we know about the play, how we know it, and how far we can tentatively fill in the gaps in our knowledge. Sommerstein analyses the nature of the dramatic genre (Athenian New Comedy) to which Epitrepontes belongs. He assesses the plot and the …
Latin Poetry and Its Reception: Essays for Susanna Braund
This volume offers 18 new studies reflecting the latest scholarship on Latin verse, explored both in its original context and in subsequent contexts as it has been translated and re-imagined. All chapters reflect the wide research interests of Prof. Susanna Braund, to whom the volume is dedicated. Latin Poetry and Its Reception assembles a blend of senior scholars and new voices in Latin literary studies. It makes important contributions to the u…
Aristophanes: Frogs
A comedy about tragedy and a play about playmaking, Aristophanes’ Frogs (405 BCE) is perhaps the most popular of ancient comedies. This new introduction guides students through the play, its themes and contemporary contexts, and its reception history. Frogs offers sustained engagement with the Athenian literary scene, with the politics of Athens at the end of the Peloponnesian War, and with the religious understanding of the fifth-century city. I…
Greek Drama V: Studies in the Theatre of the Fifth and Fourth Centuries bce
Drawing together new research from emerging and senior scholars, this selection of papers from the decennial Greek Drama V conference (Vancouver, 2017) explores the works of the ancient Greek playwrights and showcases new methodologies with which to study them. Sixteen chapters from a field of international contributors examine a range of topics, from the politics of the ancient theatre, to the role of the chorus, to the earliest history of the r…
The melody of Homeric performance
This chapter proposes that the mechanics of the bard’s musical technique can be partly recovered. Elements of the solution presented have been articulated before, though without the interpretative frame of oral composition in performance. The chapter explains the musical technique of the aoidos as a literary entity within the Iliad and the Odyssey, and as an historical entity in the oral tradition that ultimately produced these poems in early Iro…
Greek Tragedy After the Fifth Century: A Survey from ca. 400 BC to AD 400 ed. by Vayos Liapis and Antonis K. Petrides
Reviewed by: Greek Tragedy After the Fifth Century: A Survey from ca. 400 BC to AD 400 ed. by Vayos Liapis and Antonis K. Petrides C. W. Marshall Vayos Liapis and Antonis K. Petrides. Greek Tragedy After the Fifth Century: A Survey from ca. 400 BC to AD 400. Cambridge: Cambridge University Press, 2019. Pp. xiv, 415. $125.00. ISBN 978-1-107-03855-4. This is an important and thoughtful collection that offers a clear overview of the development of G…
Terence: Andria
Though Andria launched Terence’s career as a dramatist at Rome, it has attracted comparatively little attention from modern critics. The play nevertheless presents students of Roman comedy with all the features that came to characterize Terence’s particular version of traditional comedy, and it raises all the interpretive questions that have dogged the study of Terence for generations. The first two, comparatively brief chapters of this study ske…
Stage Action in Roman Comedy
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The Music of Tragedy: Performance and Imagination in Euripidean Theater by Naomi A. Weiss
400 PHOENIX æsow, he argues, is both more consistent with the rest of the play and more rhetorically satisfying. Regarding issues of translation, Finglass focuses on both syntax and semantics. He pays careful attention to the valence of particles and offers extensive lists of parallels for vocabulary, usage, idiomatic expressions, and various tropes and motifs. While parallels from other tragedies are cited most commonly, Finglass consults a huge…
Golden Boys (Poxy. 79.5209)
POxy. 79.5209 presents a contract for one boy wrestler to lose to another at the Great Antinoeia in 267 ce. Details of the contract reveal the financial and professional investments that adult men could have in boy athletes. The contract demonstrates the men's interest in ensuring that the match has the appearance of a hard-fought contest. This chapter argues that a hometown victory in an eiselastic event for one of the athletes, Marcus Aurelius …
Aeschylus: Libation Bearers
Libation Bearers is the ‘middle’ play in the only extant tragic trilogy to survive from antiquity, Aeschylus’Oresteia, first produced in 458 BCE. This introduction to the play will be useful for anyone reading it in the original or translation. Drawing on his wide experience of teaching about performance in the ancient world, C. W. helps readers understand how the play was experienced by its ancient audience. His discussion explores the impact of…
Narrative Transitions in Ovid’s Metamorphoses 9
The Structure and Performance of Euripides' Helen
Using Euripides' play Helen as the main point of reference, C. W. Marshall's detailed study expands our understanding of Athenian tragedy and provides new interpretations of how Euripides created meaning in performance. Marshall focuses on dramatic structure to show how assumptions held by the ancient audience shaped meaning in Helen and to demonstrate how Euripides' play draws extensively on the satyr play Proteus, which was part of Aeschylus' O…
Structure and Performance of Euripides' Helen
Dramatic technique and Athenian comedy
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The Works of Seneca the Younger and Their Dates
Comic technique and the fourth actor
A recent article on ‘The Number of Speaking Actors in Old Comedy’ by D. M. MacDowell has argued that to perform the plays of Aristophanes required the use of four, but never five, speaking actors.1 Systematically argued, MacDowell presents a cogent case against Henderson (xli–xliv), who has suggested that at times five actors were permitted. MacDowell also presents some very sensible observations on the nature of any prescription which might limi…
The City as Comedy: Society and Representation in Athenian Drama
These thirteen essays combine classical scholars' interest in theatrical production with a growing interdisciplinary inquiry into the urban contexts of literary production. Taking as their departure point the annual comic competitions at the Athenian dramatic festivals, the contributors examine how the polis--as a place, a political entity, a specific social organization, and a set of ideological representations--was enacted on stage from the mid…
Quis Hic Loquitur: Plautine Delivery and the “Double Aside”
A Companion to Greek Tragedy (review)
Reviewed by: A Companion to Greek Tragedy C.W. Marshall Justina Gregory, ed. A Companion to Greek Tragedy. Blackwell Companions to the Ancient World. Maldon, MA: Blackwell Publishing, 2005. Pp. xviii + 552. $186.99. ISBN 978-1-4051-0770-9 (cloth). The thirty-one papers in this collection form the richest single-volume introduction to an aspect of the ancient world that I have read. The range of contributions is immense, and each paper could be us…
Slaves, Masters, and the Art of Authority in Plautine Comedy
A Gander at the Goose Play
A Gander at the Goose Play C. W. Marshall (bio) The close examination in recent years of red-figure vases from South Italy by classical theatre historians has led to a number of significant realizations concerning the so-called "phlyax" plays.1 In particular, the clear identification of one vase, the Würzburg Telephus,2 with a scene from Aristophanes' Thesmophoriazusae (a play initially produced in 411 BC), has confirmed that the phlyax scenes, o…
Report on Examination of Severn Water, Worcester, 1909
The Geography of Power: Its Sources and Transmission: Discussion
The So-Called False Digamma in Bacchylides Ode 5. 75
Euripides: Heraclidae
Comic technique and the fourth actor
A recent article on ‘The Number of Speaking Actors in Old Comedy’ by D. M. MacDowell has argued that to perform the plays of Aristophanes required the use of four, but never five, speaking actors.1 Systematically argued, MacDowell presents a cogent case against Henderson (xli–xliv), who has suggested that at times five actors were permitted. MacDowell also presents some very sensible observations on the nature of any prescription which might limi…
Euripides: "Fabulae." Vol. 3. Helena, Phoenissae, Orestes, Bacchae, Iphigenia Aulidensis, Rhesus
Euripides: Suppliant Women; Electra; Heracles
Quis Hic Loquitur: Plautine Delivery and the “Double Aside”
The City as Comedy: Society and Representation in Athenian Drama
These thirteen essays combine classical scholars' interest in theatrical production with a growing interdisciplinary inquiry into the urban contexts of literary production. Taking as their departure point the annual comic competitions at the Athenian dramatic festivals, the contributors examine how the polis--as a place, a political entity, a specific social organization, and a set of ideological representations--was enacted on stage from the mid…
Seneca in Performance
The plays of Seneca the Younger, minister and philosopher under Nero, are today increasingly studied, appreciated - and performed. Here, in a collection of papers from an international cast, scholars explore both established questions, such as the playwright's subtleties of characterisation, his relation to contemporary Roman spectacle and art - and the problems arising in translating him to modern text or stage.
Crossing the Stages: The Production, Performance and Reception of Ancient Theatre
The Next Time Agamemnon Died
A Gander at the Goose Play
A Gander at the Goose Play C. W. Marshall (bio) The close examination in recent years of red-figure vases from South Italy by classical theatre historians has led to a number of significant realizations concerning the so-called "phlyax" plays.1 In particular, the clear identification of one vase, the Würzburg Telephus,2 with a scene from Aristophanes' Thesmophoriazusae (a play initially produced in 411 BC), has confirmed that the phlyax scenes, o…
What's so Funny about Ancient Comedy
Slaves, Masters, and the Art of Authority in Plautine Comedy
Greek and Roman Actors: Aspects of an Ancient Profession
The Art of the Actor: 1. The singing actors of antiquity Edith Hall 2. The musicians among the actors Peter Wilson 3. The use of the body by actors in tragedy and satyr-play Kostas Valakas 4. Towards a reconstruction of performance style Richard Green 5. Kallippides on the floor-sweepings: the limits of realism in classical acting and performance styles Eric Csapo 6. Looking for the actor's art in Aristotle G. M. Sifakis 7. Acting, action and wor…
Satyr Drama: Tragedy at Play
The Stagecraft and Performance of Roman Comedy
A comprehensive survey of Roman theatrical production, this book examines all aspects of Roman performance practice, and provides fresh insights on the comedies of Plautus and Terence. Following an introductory chapter on the experience of Roman comedy from the perspective of Roman actors and the Roman audience, addressing among other things the economic concerns of putting on a play in the Roman republic, subsequent chapters provide detailed stu…
How to Write a Messenger Speech (Sophocles, Electra 680–763)
A Companion to Greek Tragedy (review)
Reviewed by: A Companion to Greek Tragedy C.W. Marshall Justina Gregory, ed. A Companion to Greek Tragedy. Blackwell Companions to the Ancient World. Maldon, MA: Blackwell Publishing, 2005. Pp. xviii + 552. $186.99. ISBN 978-1-4051-0770-9 (cloth). The thirty-one papers in this collection form the richest single-volume introduction to an aspect of the ancient world that I have read. The range of contributions is immense, and each paper could be us…
Euripides, Iphigenia in Tauris 1391–7
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New Directions in Ancient Pantomime (review)
Reviewed by: New Directions in Ancient Pantomime C. W. Marshall Edith Hall and Rosie Wyles (eds.). New Directions in Ancient Pantomime. New York: Oxford University Press, 2008. Pp. xvii, 481. $140.00. ISBN 978-0-19-92353-6. For at least five centuries from its introduction in Augustan Rome, pantomime was the preeminent performance genre of the Roman empire. Long languishing in obscurity and misunderstanding, a flurry of publications in 2007–2008 …
Sex slaves in New Comedy
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Three Actors in Old Comedy, Again
This chapter provides an overview of previous scholarship and a new assessment of the nature of the evidence, and revisits the practice of role doubling in Aristophanes, with a particular focus on Aristophanes' Birds . This provides new insight into the demands placed on actors in comedy in the fifth century, and helps articulate what is at stake in considering these questions. The application of the Three-Actor Rule to tragic texts produces surp…
Slaves and Slavery in Ancient Greek Comic Drama
How did audiences of ancient Greek comedy react to the spectacle of masters and slaves? If they were expected to laugh at a slave threatened with a beating by his master at one moment but laugh with him when they bantered familiarly at the next, what does this tell us about ancient Greek slavery? This volume presents ten essays by leading specialists in ancient Greek literature, culture and history, exploring the changing roles and representation…
Art (39 works) · Classical Antiquity Studies (37 works) · Literature (26 works) · History (22 works) · Comedy (18 works) · Philosophy (12 works) · Computer Science (10 works) · Law (9 works) · Visual arts (9 works) · Historical, Religious, and Philosophical Studies (8 works)