Details

<p>Notes on contributors</p> <p>Introduction; A 2020 VISION OF PLAUTUS</p> <p>1.The State of Roman Theater, c. 200 BCE<br /><i>Timothy J. Moore</i></p> <p>2.Plautus and Greek Drama<br /><i>Sebastiana Nervegna</i></p> <p>3.Stages and Stagecraft<br /><i>Anne H. Groton</i></p> <p>4.Actors and Audience<br /><i>Isabella Tardin Cardoso</i></p> <p><i>5.nouo modo</i> <i>nouom aliquid inuentum</i>: Plautine Priorities –<br /><i>David Christenson</i></p> <p>6.Plays of Mistaken Identity<br /><i>Costas Panayotakis</i></p> <p>7.Plautus and the Marriage Plot<br /><i>Sharon L. James</i></p> <p>8.Stock Characters and Stereotypes<br /><i>Shawn O'Bryhim</i></p> <p>9. The Servus Callidus in Charge: Plays of Deception<br /><i>Ferdinand Stürner</i></p> <p>10.To Hell and Back: Comedy, Cult, and the House of the Meretrix<br /><i>Catherine Connors</i></p> <p>11.The Wife in Charge, the Husband Humiliated:Stock Characters in Evolution<br /><i>Barbara K. Gold</i></p> <p>12.Archetypal Character Studies: Masculinity and Power<br /><i>Anne Feltovich</i></p> <p>13.Plotting the Romance: Plautus’ <i>Rudens</i>, <i>Cistellaria</i>, and <i>Poenulus<br />Stavros Frangoulidis</i></p> <p>14.Tragicomedy and Paratragedy. Plautusʼs <i>Amphitruo, Captivi, and Rudens<br />Walter Stockert</i></p> <p>15.The Language of Plautus<br /><i>Peter Barrios-Lech</i></p> <p>16.Metatheater and Improvisation in Plautus<br /><i>Christopher Bungard</i></p> <p>17.Music and Meter in Plautus<br /><i>T. H. M. Gellar-Goad</i></p> <p>18.Comic Technique in Plautus’s <i>Asinaria</i> and <i>Casina<br />Martin Dinter</i></p> <p>19.Plautus and the Topography of his World<br /><i>Sophia Papaioannou</i></p> <p>20.Warfare and Imperialism in and around Plautus<br /><i>Paul J. Burton</i></p> <p>21.Religion in and around Plautus<br /><i>Seth A. Jeppesen</i></p> <p>22.Gender and Sexuality in Plautus<br /><i>Serena S. Witzke</i></p> <p>23.Owners and Slaves in and around Plautus<br /><i>Amy Richlin</i></p> <p>24.Slave Labor in Plautus<br /><i>Roberta Stewart</i></p> <p>25.Plautus and his Dramatic Successors in the Republican Period<br /><i>Gesine Manuwald</i></p> <p>26.<i>Alii rhetorica tongent</i>: Plautus and Public Speech<br /><i>Emilia A. Barbiero</i></p> <p>27.The Textual Tradition of Plautus<br /><i>Rolando Ferri</i></p> <p>28.The Medieval Reception of Plautus’s <i>Aulularia: Querolus</i> and Vitalis Blesensis<br /><i>Antony Augoustakis</i></p> <p>29.From Ferrara to Venice: Plautus in Vernacular and Early Italian Comedy (1486-1530)<br /><i>Gianni Guastella</i></p> <p>30.Plautus in Early Modern England<br /><i>George Fredric Franko</i></p> <p>31.Reception Today: Theater and  Movies<br /><i>Rodrigo T. Gonçalves</i></p> <p>32.Trends in Plautus Translation<br /><i>James Tatum</i></p>

<p><b>George Fredric Franko</b> is Professor of Classical Studies at Hollins University, where he holds the Berry Professorship in Liberal Arts. He has published on a variety of topics and has directed productions of Plautus in Latin.</p> <p><b>Dorota Dutsch</b> is Associate Professor of Classics at the University of California, Santa Barbara. She holds a PhD from McGill University. Her interests include Roman comedy, classical reception, and gender studies.</p>

<p>A COMPANION TO <b>PLAUTUS</b></p> <p><b>An important addition to contemporary scholarship on Plautus and Plautine comedy, including new essays and fresh insights from leading scholars</b></p> <p><i>A Companion to Plautus</i> is a collection of original essays on the celebrated Old Latin period playwright. A brilliant comic poet, Plautus moved beyond writing Latin versions of Greek plays to create a uniquely Roman cultural experience worthy of contemporary scholarship. Contributions by a team of international scholars explore the theatrical background of Roman comedy, the theory and practice of Plautus' dramatic composition, the relation of Plautus' works to Roman social history, and his influence on later dramatists through the centuries.</p> <p>Responding to renewed modern interest in Plautine studies, the<i> Companion</i> reassesses Plautus' works—plays that are meant to be viewed and experienced—to reveal new meaning and contemporary relevance. Thematically-organized chapters offer multiple perspectives on individual plays and enable readers to gain a deeper understanding of Plautus' reflection of, and influence on Roman society. Topics include metatheater and improvisation in Plautus, the textual tradition of Plautus, trends in Plautus translation, and modern reception in theater and movies. Exploring the place of Plautus and Plautine comedy in the Western comic tradition, the <i>Companion:</i></p> <ul> <li>Addresses the most recent trends in the study of Roman comedy</li> <li>Discusses religion, imperialism, slavery, war, class, gender, and sexuality in Plautus' work</li> <li>Highlights recent scholarship on representation of socially vulnerable characters</li> <li>Relates Plautus' work to Roman stages, actors, audience, and culture</li> <li>Examines the plot construction, characterization, and comic techniques in Plautus' scripts</li> </ul> <p>Part of the acclaimed <i>Blackwell Companions to the Ancient World</i> series, <i>A Companion to Plautus</i> is an important resource for scholars, instructors, and students of both ancient and modern drama, comparative literature, classics, and history, particularly Roman history.</p>

US