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Bibliografia
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Keywords
GREEK THEATRE, ATTIC COMEDY, ATTIC TRAGEDY, CHARACTERS, PHILOSOPHICAL DIALOGUE, RHETORIC, ALEXANDRIAN EPOS

Tragic and Comic in Attic Drama and Beyond: Intersections and Paratheatrical Developments.

Università degli Studi di Cagliari
Abstract
This research intends to examine and define in a deeper and more accurate form - together with their peculiar dramatic structures and forms - some aspects of expressive processes of the comic and the tragic in Attic drama (characters, narrative structures, figures of speech, stylistic levels). This will be achieved devoting special attention to their parallel development, and to those boundaries, in part already studied by our research units in the past few years, where the linguistic registers of both genres overlap or share common devices, so that the genres themselves gradually blunt more and more their specific differences in the course of classical and post-classical periods.
We intend also to consider the development and adjustment, resulting in a more and more refined interlacing, that these two definite and specific languages undergo in works ranging from classical to Hellenistic and Roman periods (philosophic dialogue, Alexandrian epos, romance), which are, in a way, an original and unexpected development of 'seeds' grown within the Attic drama itself, from which they draw patterns and processes capable of catching the attention of the audience and of eliciting an emotional response from it or even, sometimes, a smile or a laughter.

Principal Investigator
Patrizia Mureddu Università degli Studi di CAGLIARI
Research Objectives
Within the next two years, this project intends to obtain the following results:
a) to focus the attention on some specific features of the language and forms of the tragic, with particular reference to Euripidean tragedy;
b) to lay out a picture of the development the comic takes in Greece and the forms it assumes, from Old Comedy down to Menander’s comedy and beyond;
c) to identify, specially through the analysis of paratragedy and tragicomedy, the most relevant ambivalences of expression in dramatic language;
d) to identify the tragic/comic peculiarities which literary forms like Plato’s and Lucian’s philosophic dialogues as well as rhetorical works or novels of the Hellenistic and Roman period can be shown to have borrowed from Attic drama;
e) to create a repertory of the characters belonging to the classical and post-classical (Hellenistic, Roman) drama, in order to facilitate the task of identifying cases of parody, quotation, allusion, intertextuality, re-use;
f) to reformulate and answer questions pertaining to textual criticism or problems of exegetic nature, to examine thoroughly the evidence of indirect textual transmission, together with various aspects of staging;
g) to print a certain number of editions, translations, commentaries of tragedies, comedies, fragmentary works.

Timescale
24 months
National and international background
This programme continues and broadens a previous PRIN project, by the title "Tragic, Comic, Paratragic, Tragicomic, Satyric: Languages and Strategies of Communication in Greek Drama", planned by the group of research in 2003-04. In the following description of the present research plan, therefore, we shall not leave out the results reached by the various local units: these can be considered the grounds on which the same themes, together with new related subjects and questions, will be analysed from a new point of view.
In the last two centuries a lot of works have been produced on the essence of the tragic and its different forms; but only in relatively recent times attention has been devoted to the peculiarities of the tragic lexis, to the language (or ‘languages’) of tragedy, to its ‘ethic’ function, namely its effectiveness in character-drawing (Dawe, Goldhill, Gill, Zeitlin, etc.). In this field the local unit of Cagliari produced some significant results, specially in the analysis of Aeschylean lexis, in which facts and processes of metrical-syntactical ‘localization’ were pointed out arguing that they were in keeping with a way of writing which depended on the constraints of the aural context of the dramatic performance - in which the expressive and characterizing dimension of the anacoluthon as a figure of speech was also emphasized.
Less systematic thoughts have been reserved to the essence of the comic in archaic and classical Greek >>>