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Oggetto:
Oggetto:

Lingua e letteratura latina II

Oggetto:

Latin language and literature II

Oggetto:

Anno accademico 2019/2020

Codice dell'attività didattica
-
Docente
Prof. Giuseppe Pezzini (Titolare del corso)
Insegnamento integrato
Corso di studi
laurea magistrale in Filologia, Letterature e Storia dell'antichità
Anno
1° anno
Tipologia
Di base
Crediti/Valenza
6
SSD dell'attività didattica
L-FIL-LET/04 - lingua e letteratura latina
Modalità di erogazione
Tradizionale
Lingua di insegnamento
Italiano
Modalità di frequenza
Facoltativa
Tipologia d'esame
Orale
Prerequisiti

Per poter accedere all'esame orale gli studenti iscritti alla laurea magistrale in Filologia, letterature e storia dell'antichità devono superare una ‘Prova scritta per l'accesso alla magistrale’, che consiste nella traduzione di un brano d'autore dal latino all'italiano con l'ausilio del vocabolario. La prova si considera superata se viene ottenuto un giudizio almeno ‘discreto’ (24/30).

In order to enter the oral exam, students enrolled in the Corso di laurea in Filologia, letterature e storia dell'antichità are required to pass a written exam (Prova scritta per l'accesso alla magistrale), which consists in the translation of a prose passage of a classical author from Latin into Italian, with the aid of the dictionary. Students must obtain a grade that is no less than 24/30.

Oggetto:

Sommario insegnamento

Oggetto:

Obiettivi formativi

All'inizio della sua ascesa politica nel Mediterraneo, quando Roma era ancora, dal punto di vista culturale, una città provinciale in un mondo ellenistico, il genere comico divenne uno dei campi in cui la neonata letteratura mosse i suoi primi passi, cercando di stare al passo con i suoi rivali Greci più sofisticati. Plauto e Terenzio si stagliano come le figure più importanti di questo periodo, e le loro opere teatrali formano un corpus solo di poco inferiore a quello dei poemi omerici. Temi chiave che verranno presi in considerazione nell'analisi di questo variegato universo teatrale sono: il contesto performativo, compresa l'interazione tra metro e musica, e la storia editoriale delle opere teatrali; il rapporto con gli originali greci e le sue problematiche; l'influenza di altre tradizioni culturali, come quella italica e ellenistica, e la loro interazione con gli elementi più distintivi della cultura romana; il confronto tra Plauto e Terenzio; i riferimenti ad eventi storici contemporanei, come la vittoria su Cartagine, Pergamo e Grecia; le convenzioni di genere, i personaggi tipici e la loro sovversione. Il corso esaminerà anche la ricezione della commedia arcaica nella letteratura latina successiva e la sua influenza sulla storia del teatro e della cultura occidentale. Il modulo avrà un forte approccio testuale, concentrandosi in particolare su una lettura approfondita dell’ Heauton Timorumenos di Terenzio.

 

L’insegnamento verrà condotto in Inglese.

At the beginning of its political rising in the Mediterranean, when Rome was still, from a cultural point of view, a provincial Hellenistic city, the comic genre became one of the fields in which the new-born literature took its first steps, trying to keep pace with its other more sophisticated rivals. The names of Plautus and Terence emerge from that time and their plays form a corpus which is only slightly smaller than that of the Homeric poems. Key topics that will be considered in the analysis of this variegated theatrical universe are: the performative context, including the interaction between metre and music, and the editorial history of the plays; the relation with the Greek originals and its problems; the influence of other cultural traditions, such as the Italic and the Hellenistic, and their interaction with the more distinctive elements of Roman culture; the comparison between Plautus and Terence; the impact of historical events such as the victory over Cartago, Pergamum and Greece; genre conventions, stock-characters and their subversion. The module will also examine the reception of comedy in later Latin literature, and its influence on the history of western theatre and culture. The module will have a strong text-based approach, focusing in particular on a close reading of Terence Heauton Timorumenos.

 

The teaching will be conducted in English.

Oggetto:

Risultati dell'apprendimento attesi

  1. Una conoscenza approfondita della commedia arcaica Romana, e dell'Heauton Timorumenos di Terenzio in particolare, oltre alla capacità di collocare i testi comici in un più ampio contesto letterario, storico e culturale.
  2. Una conoscenza competente e critica degli studi scientifici moderni sulla Commedia Romana.
  3. La capacità di presentare argomentazioni coerenti, pertinenti e ben ragionati.
  4. Una maggiore competenza della lingua latina, con particolare attenzione ai tratti peculiari del linguaggio e dello stile comico.
  5. Una maggiore dimestichezza nell'uso dell'inglese accademico, sia scritto che parlato.

  1. A detailed knowledge and appreciation of Roman comic texts, and of Terence’ Heauton Timorumenos in particular, alongside the ability to place these texts within a broader generic, literary and cultural context.
  2. Competent and critical use of modern scholarship on the genre of Roman Comedy.
  3. The capacity to present coherent, relevant and well-reasoned arguments.
  4. Increasing facility in Latin language with especial sensitivity to the language of Roman comedy.

Increasing competence in the use of academic English, both listening and speaking

Oggetto:

Modalità di insegnamento

L'insegnamento in aula ha la durata di 36 ore complessive (6 CFU) e consiste in lezioni di 2 ore ciascuna, organizzate per settimana. Ogni settimana verrà dedicata a un particolare tema, che verrà presentato dal docente nella prima parte della lezione. Il resto della lezione sarà dedicata a una lettura integrale dell’ Heauton Timorumenos di Terenzio, che verrà commentato con attenzione a tutti i possibili levelli esegetici (testo, metrica, lingua, temi letterari).

 

Classroom teaching includes a total of 36 hours (6 CFU) and consists of lessons of 2 hours each, three lessons per week. Each week will be dedicated to a particular theme, which will be presented by the lecturer in the first part of the lesson. The rest of the lesson will be dedicated to an integral reading of the Heauton Timorumenos of Terence, which will be commented with attention to all possible exegetical levels (text, metrics, language, literary themes).

Oggetto:

Modalità di verifica dell'apprendimento

Conoscenze e capacità previste saranno verificate, al termine del corso, attraverso un colloquio orale, che prevede almeno due domande sulla parte monografica (traduzione e commento di un passo dell’Heauton Timorumenos) e almeno due domande sulla parte istituzionale.

 

I non frequentanti concorderanno un'integrazione al programma, o un programma alternativo

Knowledge and skills will be verified, at the end of the course, through an oral interview, which includes at least two questions on the monographic part (translation and commentary of a passage from Heauton Timorumenos) and at least two questions on the institutional part.

Non-attendants will agree on an integration to the programme, or an alternative programme.

 

Oggetto:

Attività di supporto

Inserire qua i testi

Insert text here

Oggetto:

Programma

Ogni settimana verrà dedicata a una particolare tematica, introdotta dal docente all’inizio della prima lezione settimanale (lunedì).

 

Ogni settimana gli studenti dovranno preparare una porzione di testo, che verrà letta e commentata nel resto del tempo delle lezioni.

 

Prima settimana (27-29 Aprile):

Tema: Introduction: Contexts and Genre(s)

Testo da preparare: Heaut. 1–174

 

Seconda settimana (4-6 Maggio):

Tema: Genre(s): theatre in Roman Italy; stock characters, plots and scenes

Testo da preparare: Heaut. 175–380

 

Terza settimana (11-13 Maggio):

 Tema: Authors and authorship(s); Plautus and Terence

Testo da preparare: Heaut. 381–561

 

Quarta settimana (18-20 Maggio):

Tema: Adaptation, emulation and innovation: Roman comedy and Greek models

Testo da preparare: Heaut. 562–722

 

Quinta settimana (25-27 Maggio):

Tema: Playing with the audience: theatre and meta-theatre

Testo da preparare: Heaut. 723–873

 

Sesta settimana (1-3 Giugno):

Tema: Explaining the fun: comic theory, ancient and modern

Testo da preparare: Heaut. 874–1067

 

L'esame, orale, verterà su:

 

  1. gli argomenti delle lezioni e dei seminari;

 

  1. il testo completo in Latino dell’Heauton Timorumenos di Terenzio (edizione Kauer and Lindsay OCT 1958)

 

  1. una commedia a scelta di Plauto in italiano (ed. De Melo, Loeb)

    4. Il seguente libro (obbligatoro per tutti)

 

 Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol [1st ed. Princeton 1952].

[PDF sul sito del corso]

 

5.

5.1 Per chi non ha ancora portato la storia letteraria:

 

la storia della letteratura, da preparare su: G. Garbarino, Storia e testi della letteratura latina, vol. unico, Paravia 2001 e successive edizioni (Opera; Nova Opera; Colores) oppure su analogo manuale di liceo, con particolare attenzione ai seguenti autori, di cui vanno letti i brani in antologia:

 

  1. I) dalle origini all'età di Augusto (prima prova nel settore): Livio Andronico, Nevio, Plauto, Ennio, Catone, Terenzio, Lucilio, Lucrezio, Catullo, Cicerone, Cesare, Cornelio Nepote, Sallustio, Varrone, Virgilio, Orazio, Tibullo, Properzio, Ovidio, Livio; II) età imperiale (seconda prova): Seneca padre, Fedro, Curzio Rufo, Seneca, Lucano, Persio, Petronio, Stazio, Marziale, Quintiliano, Plinio il Vecchio, Giovenale, Plinio il Giovane, Svetonio, Tacito, Apuleio, Ausonio, Ammiano Marcellino, Claudiano, Macrobio.

 

5.2 Per chi ha già portato la storia letteraria:

 

>  traduzione di Petronio, Cena Trimalchionis (Sat. 26–78)

(ed. Heseltine: http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A2007.01.0001%3Atext%3DSatyricon%3Asection%3D26)

> lettura di uno dei seguenti saggi:

Fontaine, M. (2010), Funny Words in Plautine Comedy. Oxford. 

Lowe, N.J. (2008), Comedy. Cambridge. 

Marshall, C.W. (2006), The Stagecraft and Performance of Roman Comedy. Cambridge.

Moore, T.J. (1998), The theater of Plautus: Playing to the Audience. Austin.

Segal, E. (1987), Roman Laughter: The Comedy of Plautus, 2nd ed. Oxford.

Sharrock, A. (2009), Reading Roman Comedy: Poetics and Playfulness in Plautus and Terence. Cambridge.

Slater, N.W. (2000), Plautus in Performance. Princeton.

 

 

 

Each week will be dedicated to a particular theme, introduced by the lecturer at the beginning of the first weekly lesson (Monday).

 

Each week students will have to prepare a portion of the text, which will be read and commented on during the rest of the lesson.

 

First week (27-29 April):

Theme: Introduction: Contexts and Genre(s)

Text to prepare: Heaut. 1–174

 

Second week (4-6 May):

Theme: Genre(s): theatre in Roman Italy; stock characters, plots and scenes

Text to prepare: Heaut. 175–380

 

Third week (11-13 May):

 Theme: Authors and authorship(s); Plautus and Terence

Text to prepare: Heaut. 381–561

 

Fourth week (May 18-20):

Theme: Adaptation, emulation and innovation: Roman comedy and its Greek models

Text to prepare: Heaut. 562–722

 

Fifth week (25-27 May):

Theme: Playing with the audience: theatre and meta-theatre

Text to prepare: Heaut. 723-873

 

Week six (June 1-3):

Theme: Explaining the fun: comic theory, ancient and modern

Text to prepare: Heaut. 874-1067

 

The oral exam will require a knowledge of:

 

  1. the topics of the lectures and seminars;

 

  1. the complete Latin text of the Heauton Timorumenos of Terence (Kauer and Lindsay OCT 1958 edition).

 

  1. a comedy by Plautus in Italian translation (of your own choice)

 

  1. the following book (mandatory for all)

 

Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol [1st ed. Princeton 1952].

[available as a PDF]

 

  1.  

 

 

5.1

The history of Latin literature, to be studied on G. Garbarino, Storia e testi della letteratura latina, in one volume, Paravia 2001, or on an analogous high school handbook, with particular attention to the following authors (to be read in the anthology):

I) form the origins to the Augustan age (first exam in L-FIL-LET/04): Livius Andronicus, Naevius, Plautus, Ennius, Cato, Terentius, Lucilius, Lucretius, Catullus, Cicero, Caesar, Cornelius Nepos, Sallustius, Varro, Vergil, Horace, Tibullus, Propertius, Ovid, Livy; II) imperial age (second exam in L-FIL-LET/04): Seneca the elder, Phaedrus, Seneca, Lucan, Persius, Petronius, Statius, Martial, Quintilian, Pliny the elder, Juvenal, Pliny the younger, Svetonius, Tacitus, Apuleius, Ausonius, Ammianus, Claudian, Macrobius.

N.B. Students who have already passed an exam on literary history will replace this point of the programme with both points indicated below:

 

5.2


 

>  Translation of Petronius, Cena Trimalchionis (Sat. 26–78)

ed. Heseltine:

http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A2007.01.0001%3Atext%3DSatyricon%3Asection%3D26

>  Reading of one of the following books:

 

Fontaine, M. (2010), Funny Words in Plautine Comedy. Oxford. 

Lowe, N.J. (2008), Comedy. Cambridge. 

Marshall, C.W. (2006), The Stagecraft and Performance of Roman Comedy. Cambridge.

Moore, T.J. (1998), The theater of Plautus: Playing to the Audience. Austin.

Segal, E. (1987), Roman Laughter: The Comedy of Plautus, 2nd ed. Oxford.

Sharrock, A. (2009), Reading Roman Comedy: Poetics and Playfulness in Plautus and Terence. Cambridge.

Slater, N.W. (2000), Plautus in Performance. Princeton.

 

[all available as PDFs]

 

Testi consigliati e bibliografia

Oggetto:

Il testo di riferimento è l’ Heauton Timorumenos di Terenzio, nell’edizione OCT (Kauer and Lindsay 1958, disponibile online su www.thelatinlibrary.com)

Per l'apparato testuale, si può usare anche l'edizione di Prete (1954), disponibile come PDF sul sito del corso.

 

Introduzioni generali al teatro latino

 

Augoustakis, A. and Traill, A. (eds.) (2013) A Companion to Terence. Oxford.

Barsby, J. (1999), Terence, Eunuchus (Cambridge): 1–32.

Beare, W. (1964) The Roman Stage, 3rd edn. London [1st ed. 1950].

Boyle, A.J. (2006), Roman Tragedy. London.

Conte, G.B. (1994), Latin Literature: a History. Baltimore; London: pp. 13–109

Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol [1st ed. Princeton 1952].

Fontaine, M. and Scafuro, A. C. (eds.) (2014), The Oxford Handbook of Greek and Roman Comedy. Oxford, New York.

Goldberg, S. (1986) Understanding Terence. Princeton.

Goldberg, S.M. (2013) Terence Hecyra. Cambridge: 1–47.

Gratwick, A.S. (1982), ‘Drama’, in Kenney, E. and Clausen, W. (eds.), The Cambridge History of Classical Literature: Vol. 2 Latin Literature (Cambridge), 77–137 .

Gruen, E.S. (2014), ‘Roman Comedy and the Social Scene’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 601–614.

Hunter, R. (1985), The New Comedy of Greece and Rome. Cambridge.

Lowe, N.J. (2008), Comedy. Cambridge.

Manuwald, G. (2010), Roman Drama: A reader. Bristol.

Manuwald, G. (2011), Roman Republican Theatre. Cambridge.

 

 

Testi e traduzioni:

 

Arnott, W.G. (1979–2000), Menander, 3 vols. Cambridge, Mass. and London.

Barsby, J. (2001), Terence, 2 vols. Cambridge, Mass. and London.

De Melo, W.D.C. (2011–12), Plautus, 5 vols. Cambridge, Mass. and London.

Kauer, R. and Lindsay, W.M. (1958), P. Terenti Afri Comoediae, 2nd ed. Oxford.

Lindsay, W.M. (1904), T. Macci Plauti Comoediae, 2 vols. Oxford.

 

 

Bibliografia tematica:

 

Storia del testo, lingua e metrica

 

Bagordo, A. (2001), Beobachtungen zur Sprache des Terenz. Göttingen.

Fortson, B.W. (2008), Language and Rhythm in Plautus. Berlin and New York.

Gratwick, A.S. (1999), Terence The Brothers, 2nd ed. Warmister: pp. 209–237.

De Melo, W.D.C. (2011), ‘The Language of Roman Comedy’, in Clackson, J. (ed.), A Companion to the Latin Language (Oxford), 321–343.

Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol: pp. 331–383.

Haffter, H. (1934), Untersuchungen zur altlateinischen Dichtersprache. Berlin.

Lindsay, W.M. (1922), Early Latin Verse. Oxford.

Reynolds, L. D. (ed.) (1986), Texts and Transmission: a Survey of the Latin Classics, 2nd ed. Oxford: pp. 302–307, 412–420 

Questa, C. (2007), La metrica di Plauto e di Terenzio. Urbino.

Wright, J. (1974), Dancing in Chains: the Stylistic Unity of the Comoedia Palliata. Rome. [esp. chapters 1 and 5, ]

 

Contesti: storia, cultura e società

 

Conte, G.B. (1994), Latin Literature: a History. Baltimore; London: pp. 13–109

Feeney, D. (2016), Beyond Greek: The Beginnings of Latin Literature. Cambridge, Ma. [chapters 4 and 5, ] 

Flower, H.I. (2014), The Cambridge Companion to the Roman Republic, 2nd ed. Cambridge. [chapters 10, 11, 14, available online]

Konstan, D. (1986), Roman Comedy. Ithaca.

Leigh, M. (2004), Comedy and the Rise of Rome. Oxford. [chapters 1 and 5, available online]

Manuwald, G. (2011), Roman Republican Theatre. Cambridge.

Schiesaro, A. (2016), ‘Bacchus in Roman Drama’ in Frangoulidis, S., Harrison, S.J. and Manuwald, G. (2016), Roman Drama and its Contexts. Berlin and Boston: pp. 25–41.

Wiseman, T.P. (1998), Roman Drama and Roman History. Liverpool.

 

Genere: teatro nell’Italia Romana; personaggi tipici, trame, scene.

 

Arnott, W.G. (1975), Menander, Plautus, Terence. Oxford.

Boyle, A.J. (2006), Roman Tragedy. London.

Brown, P.G.M. (2014), ‘The Beginnings of Roman Comedy’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 401–408.

De Melo, W.D.C. (2014), ‘Plautus’s Dramatic Predecessors and Contemporaries in Rome’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 447–461.

Fontaine, M. and Scafuro, A. C. (eds.) (2014), The Oxford Handbook of Greek and Roman Comedy. Oxford, New York. [chapters 17–22, 26–27]

Lowe, N.J. (2008), Comedy. Cambridge.  [ pp. 63–132]

Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol: [pp. 139–304].

 

Autori e autorialità: Plauto vs. Terenzio

 

Per questo argomento la maggior parte della bibliografia citata sopra e sotto è rilevante, ma ancora più rilevante è la conoscenza dei testi primari, assistita da commenti.

 

Cf. in particolare

Fontaine, M. (2014), ‘The Terentian Reformation: From Menander to Alexandria’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 538–554.

Wright, J. (1974), Dancing in Chains: the Stylistic Unity of the Comoedia Palliata. Rome. [esp. chapter 6]

 

Adattamento, emulazione e innovazione: la commedia Romana e i modelli Greci

 

Fontaine, M. (2014), ‘Between Two Paradigms: Plautus’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 516–537.

Fraenkel, E. (2007), Plautine Elements in Plautus, transl. T. Drevikovsky and F. Muecke. Oxford. [ chapters 2 and 6]

Gaiser, K. (1972), ‘Zur Eigenart der römischen Komödie: Plautus and Terenz gegenüber ihren griechischen Vorbildern’, ANRW 1, 1027–1113.

Lefèvre, E. (1994), Terenz' und Menanders Heautontimorumenos. Munich.

Lowe, J.C.B. (1997), ‘Terence's Four-Speaker Scenes’, Phoenix 51, 152–169. [JSTOR]

Lowe, J.C.B. (1983), ‘Terentian Originality in the 'Phormio' and “Hecyra”’, Hermes 111, 431–452. [JSTOR]

Ludwig, W. (1968), ‘The Originality of Terence and His Greek Models’, Greek, Roman, and Byzantine Studies 9, 169–192.

Petrides, A.K. (2014), ‘Plautus between Greek Comedy and Atellan Farce: Assesments and Reassesments’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 424–446 . 

 

Giocare con il pubblico: teatro e meta-teatro

 

Knorr, O. (2007), ‘Metatheatrical humor in the comedies of Terence’, in Kruschwitz, P., Felgentreu, F., and Ehlers, W.-W. (eds.), Terentius Poeta (Munich), 167–174.

Moore, T.J. (1998), The theater of Plautus: Playing to the Audience. Austin. [ pp. 9–107]

Slater, N.W. (2000), Plautus in Performance. Princeton: pp. [139–47, 181–202].

 

Spiegare il divertimento: teoria del comico, antica e moderna

 

Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol: [pp. 305–330].

Fontaine, M. (2010), Funny Words in Plautine Comedy. Oxford.  [ pp. 201–48, available online]

Konstan, D. (2014), ‘Defining the Genre’, in Revermann, M. (ed.), The Cambridge Companion to Greek Comedy (Cambridge), 27–42.

Halliwell, S. (2008), Greek Laughter. Cambridge. [esp. chapter 5 and 8]

Lowe, N.J. (2008), Comedy. Cambridge. [ pp. 1–17]

Rusten, J. (2011), The Birth of Comedy. Baltimore. [pp. 732–7]

Sharrock, A. (2009), Reading Roman Comedy: Poetics and Playfulness in Plautus and Terence. Cambridge. [ pp. 1–21]

Segal, E. (1987), Roman Laughter: The Comedy of Plautus, 2nd ed. Oxford.

Vincent, H. (2013), ‘Fabula stataria: language and humor in Terence’, in Augoustakis, A. and Traill, A. (eds.), A Companion to Terence (Oxford), 69–88.

 

 

Performance e musica

 

Beacham, R.C. (1991), The Roman Theatre and Its Audience. London and New York.

Bexley, E.M. (2014), ‘Plautus and Terence in Performance’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 462–476.

Easterling, P. and Hall, E. (2002), Greek and Roman Actors: Aspects of an Ancient Profession. Cambridge.

Harrison, G. W. M. and Liapis, V. (eds.) (2013), Performance in Greek and Roman Theatre. Leiden, Boston.

Marshall, C.W. (2006), The Stagecraft and Performance of Roman Comedy. Cambridge. [ pp. 2–202]

Moore, T.J. (2012), Music in Roman Comedy. Cambridge. [ pp. 135–209, 237–266] 

Slater, N.W. (2000), Plautus in Performance. Princeton.

http://romancomedyinperformance.blogspot.co.uk

 

 

Fortuna e ricezione

 

Augoustakis, A. and Traill, A. (eds.) (2013), A Companion to Terence. Oxford: pp. 341–481.

Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol. [pp. 396–433].

Frangoulidis, S.2, Harrison, S.J. and Manuwald, G. (2016), Roman Drama and its Contexts. Berlin and Boston: pp. 435–531. [ pp. 435–503]

Hardin, R.F. (2012), ‘The Reception of Plautus in Northern Europe: The Earlier Sixteenth Century’, Viator 43, 333–356.

Manuwald, G. (2011), Roman Republican Theatre. Cambridge: pp. 108–25.

Manuwald, G. (2010), Roman Drama: A reader. Bristol: pp. 177–206.

Turner, A. and Torello-Hill, G. (eds.) (2015), Terence between Late Antiquity and the Age of Printing. Leiden and Boston.

 

 

The reference text is the Heauton Timorumenos of Terenzio, in the OCT edition (Kauer and Lindsay 1958, available online at www.thelatinlibrary.com).

For the apparatus, one can also use the edition of Prete (1954), available as a PDF on the website of the class.

 

 

General Introductions to Roman Drama

 

Augoustakis, A. and Traill, A. (eds.) (2013) A Companion to Terence. Oxford.

Barsby, J. (1999), Terence, Eunuchus (Cambridge): 1–32.

Beare, W. (1964) The Roman Stage, 3rd edn. London [1st ed. 1950].

Boyle, A.J. (2006), Roman Tragedy. London.

Conte, G.B. (1994), Latin Literature: a History. Baltimore; London: pp. 13–109

Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol [1st ed. Princeton 1952].

Fontaine, M. and Scafuro, A. C. (eds.) (2014), The Oxford Handbook of Greek and Roman Comedy. Oxford, New York.

Goldberg, S. (1986) Understanding Terence. Princeton.

Goldberg, S.M. (2013) Terence Hecyra. Cambridge: 1–47.

Gratwick, A.S. (1982), ‘Drama’, in Kenney, E. and Clausen, W. (eds.), The Cambridge History of Classical Literature: Vol. 2 Latin Literature (Cambridge), 77–137 .

Gruen, E.S. (2014), ‘Roman Comedy and the Social Scene’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 601–614.

Hunter, R. (1985), The New Comedy of Greece and Rome. Cambridge.

Lowe, N.J. (2008), Comedy. Cambridge.

Manuwald, G. (2010), Roman Drama: A reader. Bristol.

Manuwald, G. (2011), Roman Republican Theatre. Cambridge.

 

 

Texts and translations:

 

Arnott, W.G. (1979–2000), Menander, 3 vols. Cambridge, Mass. and London.

Barsby, J. (2001), Terence, 2 vols. Cambridge, Mass. and London.

De Melo, W.D.C. (2011–12), Plautus, 5 vols. Cambridge, Mass. and London.

Kauer, R. and Lindsay, W.M. (1958), P. Terenti Afri Comoediae, 2nd ed. Oxford.

Lindsay, W.M. (1904), T. Macci Plauti Comoediae, 2 vols. Oxford.

 

 

Thematic bibliography

 

General: Textual transmission, language and metre

 

Bagordo, A. (2001), Beobachtungen zur Sprache des Terenz. Göttingen.

Fortson, B.W. (2008), Language and Rhythm in Plautus. Berlin and New York.

Gratwick, A.S. (1999), Terence The Brothers, 2nd ed. Warmister: pp. 209–237.

De Melo, W.D.C. (2011), ‘The Language of Roman Comedy’, in Clackson, J. (ed.), A Companion to the Latin Language (Oxford), 321–343.

Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol: pp. 331–383.

Haffter, H. (1934), Untersuchungen zur altlateinischen Dichtersprache. Berlin.

Lindsay, W.M. (1922), Early Latin Verse. Oxford.

Reynolds, L. D. (ed.) (1986), Texts and Transmission: a Survey of the Latin Classics, 2nd ed. Oxford: pp. 302–307, 412–420 

Questa, C. (2007), La metrica di Plauto e di Terenzio. Urbino.

Wright, J. (1974), Dancing in Chains: the Stylistic Unity of the Comoedia Palliata. Rome. [esp. chapters 1 and 5, ]

 

Context(s): history, culture and society

 

Conte, G.B. (1994), Latin Literature: a History. Baltimore; London: pp. 13–109

Feeney, D. (2016), Beyond Greek: The Beginnings of Latin Literature. Cambridge, Ma. [chapters 4 and 5, ] 

Flower, H.I. (2014), The Cambridge Companion to the Roman Republic, 2nd ed. Cambridge. [chapters 10, 11, 14, available online]

Konstan, D. (1986), Roman Comedy. Ithaca.

Leigh, M. (2004), Comedy and the Rise of Rome. Oxford. [chapters 1 and 5, available online]

Manuwald, G. (2011), Roman Republican Theatre. Cambridge.

Schiesaro, A. (2016), ‘Bacchus in Roman Drama’ in Frangoulidis, S., Harrison, S.J. and Manuwald, G. (2016), Roman Drama and its Contexts. Berlin and Boston: pp. 25–41.

Wiseman, T.P. (1998), Roman Drama and Roman History. Liverpool.

 

Genre(s): theatre in Roman Italy; stock characters, plots and scenes.

 

Arnott, W.G. (1975), Menander, Plautus, Terence. Oxford.

Boyle, A.J. (2006), Roman Tragedy. London.

Brown, P.G.M. (2014), ‘The Beginnings of Roman Comedy’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 401–408.

De Melo, W.D.C. (2014), ‘Plautus’s Dramatic Predecessors and Contemporaries in Rome’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 447–461.

Fontaine, M. and Scafuro, A. C. (eds.) (2014), The Oxford Handbook of Greek and Roman Comedy. Oxford, New York. [chapters 17–22, 26–27]

Lowe, N.J. (2008), Comedy. Cambridge.  [ pp. 63–132]

Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol: [pp. 139–304].

 

Authors and Authorship(s): Plautus vs. Terence

 

For this topic most of the bibliography quoted above and below is relevant, but even more relevant is the knowledge of primary texts, assisted by commentaries.

 

Cf. however in particular:

Fontaine, M. (2014), ‘The Terentian Reformation: From Menander to Alexandria’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 538–554.

Wright, J. (1974), Dancing in Chains: the Stylistic Unity of the Comoedia Palliata. Rome. [esp. chapter 6]

 

Adaptation, emulation and innovation: Roman comedy and Greek models

 

Fontaine, M. (2014), ‘Between Two Paradigms: Plautus’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 516–537.

Fraenkel, E. (2007), Plautine Elements in Plautus, transl. T. Drevikovsky and F. Muecke. Oxford. [ chapters 2 and 6]

Gaiser, K. (1972), ‘Zur Eigenart der römischen Komödie: Plautus and Terenz gegenüber ihren griechischen Vorbildern’, ANRW 1, 1027–1113.

Lefèvre, E. (1994), Terenz' und Menanders Heautontimorumenos. Munich.

Lowe, J.C.B. (1997), ‘Terence's Four-Speaker Scenes’, Phoenix 51, 152–169. [JSTOR]

Lowe, J.C.B. (1983), ‘Terentian Originality in the 'Phormio' and “Hecyra”’, Hermes 111, 431–452. [JSTOR]

Ludwig, W. (1968), ‘The Originality of Terence and His Greek Models’, Greek, Roman, and Byzantine Studies 9, 169–192.

Petrides, A.K. (2014), ‘Plautus between Greek Comedy and Atellan Farce: Assesments and Reassesments’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 424–446 . 

 

Playing with the audience: theatre and meta-theatre

 

Knorr, O. (2007), ‘Metatheatrical humor in the comedies of Terence’, in Kruschwitz, P., Felgentreu, F., and Ehlers, W.-W. (eds.), Terentius Poeta (Munich), 167–174.

Moore, T.J. (1998), The theater of Plautus: Playing to the Audience. Austin. [ pp. 9–107]

Slater, N.W. (2000), Plautus in Performance. Princeton: pp. [139–47, 181–202].

 

Explaining the fun: comic theory, ancient and modern

 

Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol: [pp. 305–330].

Fontaine, M. (2010), Funny Words in Plautine Comedy. Oxford.  [ pp. 201–48, available online]

Konstan, D. (2014), ‘Defining the Genre’, in Revermann, M. (ed.), The Cambridge Companion to Greek Comedy (Cambridge), 27–42.

Halliwell, S. (2008), Greek Laughter. Cambridge. [esp. chapter 5 and 8]

Lowe, N.J. (2008), Comedy. Cambridge. [ pp. 1–17]

Rusten, J. (2011), The Birth of Comedy. Baltimore. [pp. 732–7]

Sharrock, A. (2009), Reading Roman Comedy: Poetics and Playfulness in Plautus and Terence. Cambridge. [ pp. 1–21]

Segal, E. (1987), Roman Laughter: The Comedy of Plautus, 2nd ed. Oxford.

Vincent, H. (2013), ‘Fabula stataria: language and humor in Terence’, in Augoustakis, A. and Traill, A. (eds.), A Companion to Terence (Oxford), 69–88.

 

 

Performance and music

 

Beacham, R.C. (1991), The Roman Theatre and Its Audience. London and New York.

Bexley, E.M. (2014), ‘Plautus and Terence in Performance’, in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy (Oxford, New York), 462–476.

Easterling, P. and Hall, E. (2002), Greek and Roman Actors: Aspects of an Ancient Profession. Cambridge.

Harrison, G. W. M. and Liapis, V. (eds.) (2013), Performance in Greek and Roman Theatre. Leiden, Boston.

Marshall, C.W. (2006), The Stagecraft and Performance of Roman Comedy. Cambridge. [ pp. 2–202]

Moore, T.J. (2012), Music in Roman Comedy. Cambridge. [ pp. 135–209, 237–266] 

Slater, N.W. (2000), Plautus in Performance. Princeton.

http://romancomedyinperformance.blogspot.co.uk

 

 

Receptions: ancient, medieval and (post)modern

 

Augoustakis, A. and Traill, A. (eds.) (2013), A Companion to Terence. Oxford: pp. 341–481.

Duckworth, G. (1994), The Nature of Roman Comedy: a Study in Popular Entertainment, 2nd ed. Bristol. [pp. 396–433].

Frangoulidis, S.2, Harrison, S.J. and Manuwald, G. (2016), Roman Drama and its Contexts. Berlin and Boston: pp. 435–531. [ pp. 435–503]

Hardin, R.F. (2012), ‘The Reception of Plautus in Northern Europe: The Earlier Sixteenth Century’, Viator 43, 333–356.

Manuwald, G. (2011), Roman Republican Theatre. Cambridge: pp. 108–25.

Manuwald, G. (2010), Roman Drama: A reader. Bristol: pp. 177–206.

Turner, A. and Torello-Hill, G. (eds.) (2015), Terence between Late Antiquity and the Age of Printing. Leiden and Boston.

 

 



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