Phallology, phlyakes , iconography and Aristophanes
Bibliographic Data
| ID | 9307799 |
|---|---|
| Authors | Oliver Taplin (Northeast Catholic College, corresponding author) |
| Year | 1987 |
| Volume | 33 |
| Pages | 92-104 |
| Publication date | 1987-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Proceedings of the Cambridge Philological Society (JOURNAL) |
| Journal identifiers | ISSN: 0068-6735 • E-ISSN: 2053-5899 |
| Publisher | Cambridge University Press (PUBLISHER • US) |
| DOI | 10.1017/s0068673500004946 |
| OpenAlex | W2317302992 |
| Language | EN |
| Citations received | 24 |
| References cited | 3 |
Two highly unusual vase paintings, which may be more or less direct representations of Aristophanes, have been first published recently. They have received little attention to date, and yet both bring with them intriguing problems, which are not, in my opinion, resolved in the original publications. This double accession is all the more remarkable since up till now there has been so little that might be claimed to illustrate pictorially the golden age of Old Comedy (say 435 to 390 B.C), however loosely or tightly the debatable term ‘illustration’ is used (see note 24). The best known has probably been the attic oenochoe with a squat, near-naked figure prancing on a low stage before an audience of two. He is usually taken to be burlesquing Perseus; but presumably his stage model, if indeed the genre is comedy at all, did not really perform naked and without mask. Closer to representation of actual performance may be the four unglazed oenochoai with polychrome decoration from towards the end of the fifth century, found in the Athenian Agora in 1954. For example the two porters, who are alleged to be carrying a large Dionysiac loaf, and who may be slaves or members of a chorus, have masks which are fairly grotesque, but their bodies are not particularly so (unless the one on the left is supposed to have a long but sketchy phallus pointing diagonally down?)
Agora · Art · Chorus · Comedy · Iconography · Literature · Painting · Politics · Representation (politics · Visual arts · Ancient Mediterranean Archaeology and History · Classical Antiquity Studies · Computer Science · Historical, Religious, and Philosophical Studies · History · Law
Laughter
Fourth-century comedy before Menander
Performing gender in Greek Old and New Comedy
Epicharmus and early Sicilian comedy
The rivals of Aristophanes and Menander
Character types
Comedy and Athenian festival culture
Snapshots of Aristophanes and Menander
Comedy and Athenian law
Attic comedy in the rhetorical and moralising traditions
The politics of Greek comedy
Dramatic technique and Athenian comedy
Contexts of reception in antiquity
The reception of Greek comedy in Rome
The Greek ‘comic hero’
Theiconography of comedy
Divinity and religious practice
Sicilian Theatres with Paraskenia Scene Buildings
Performing Greek Comedy
The Cambridge Companion to Greek Comedy
A Gander at the Goose Play
Sex in the Ancient World from A to Z
Without Timotheus, Much of Our Melopoiia Would not Exist; But without Phrynis, There Wouldn’t Have Been Timotheus’
The ‘Perseus Dance’ Vase Revisited
| Unique citing works | 24 |
|---|---|
| Citations per year | 0,96 |
| Citation span | 2001 - 2021 (21) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 24 |