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‘ Breaking the Fourth Wall in Ancient Comedy: New Insights from the Social Sciences’ Department of Classics Kenyon College February 11, 2011
Welcome to Roman comedy… ,[object Object],[object Object]
where the ‘fourth wall’ can be quite permeable… ,[object Object]
and some of the characters seem to know… ,[object Object],[object Object],[object Object]
exactly what they’re doing! ,[object Object]
An Overview ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
The Major Comic Poets ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
An Overview ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Stock Characters of Roman Comedy ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
SW Corner of the Palatine Hill, Rome (from Goldberg 1998)
Temple of Magna Mater, Palatine Hill, Rome (from Goldberg 1998)
Mosaic depicting comic actor playing slave role, 1 st  c. CE—National Archaeological Museum, Naples
Mosaic depicting comic masks of the 2 nd  c. CE—Capitoline Museum, Rome
Comic costuming, as imagined in a 12 th -century manuscript found in Tours
What I Do ,[object Object],[object Object],[object Object]
Categories of Pretense Disruption ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Stock Characters (High to Low) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Characters in Plautus’  Pseudolus ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Category 1: Audience Address (1)  ,[object Object],[object Object]
Category 1: Audience Address (2) ,[object Object]
Category 1:  Audience Address (3) ,[object Object],[object Object]
Category 1:  Audience Address (4) ,[object Object],[object Object]
Category 2:  Audience Awareness ,[object Object],[object Object],[object Object]
Category 3: Explicitly Theatrical Language ,[object Object],[object Object]
Category 4:  Semi-theatrical Language ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Category 4:  Semi-theatrical Language, Poets and Plays ,[object Object],[object Object]
Category 4: Semi-theatrical language, Games ,[object Object],[object Object],[object Object],[object Object]
Category 4: Semi-theatrical Language, Acting ,[object Object],[object Object],[object Object],[object Object],[object Object]
Pretense Disruption in Plautus
Contributions from the Social and Behavioral Sciences ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Social Anthropologists ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Weapons of the Weak ,[object Object]
Powers of the Weak ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Indirect Resistance amongst Roman Slaves ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Social Psychologists ,[object Object],[object Object],[object Object],[object Object],[object Object]
What does this tell us about comedy, ancient and modern? ,[object Object],[object Object],[object Object],[object Object],[object Object]
Selected Bibliography ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

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E. K. Moodie Kenyon Talk, 2/11

  • 1. ‘ Breaking the Fourth Wall in Ancient Comedy: New Insights from the Social Sciences’ Department of Classics Kenyon College February 11, 2011
  • 2.
  • 3.
  • 4.
  • 5.
  • 6.
  • 7.
  • 8.
  • 9.
  • 10. SW Corner of the Palatine Hill, Rome (from Goldberg 1998)
  • 11. Temple of Magna Mater, Palatine Hill, Rome (from Goldberg 1998)
  • 12. Mosaic depicting comic actor playing slave role, 1 st c. CE—National Archaeological Museum, Naples
  • 13. Mosaic depicting comic masks of the 2 nd c. CE—Capitoline Museum, Rome
  • 14. Comic costuming, as imagined in a 12 th -century manuscript found in Tours
  • 15.
  • 16.
  • 17.
  • 18.
  • 19.
  • 20.
  • 21.
  • 22.
  • 23.
  • 24.
  • 25.
  • 26.
  • 27.
  • 28.
  • 30.
  • 31.
  • 32.
  • 33.
  • 34.
  • 35.
  • 36.
  • 37.
  • 38.
  • 39.

Notas del editor

  1. fragment of a polychrome mosaic depicting a comic actor playing a slave; Roman, first century CE
Naples, National Archaeological Museum. Credits: Barbara McManus, 2003
  2. polychrome mosaic depicting comic masks of a young woman and a slave
Roman, age of Hadrian, second century CE
Rome, Palazzo Nuovo (Capitoline Museums). Credits: Barbara McManus, 2003
  3. http://www.enluminures.culture.fr/documentation/enlumine/fr/rechexperte_00.htm