Alan H. Sommerstein
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199554195
- eISBN:
- 9780191720604
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199554195.003.0009
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter attempts, on the basis of certain anomalies in the agon of the surviving (incompletely revised) version of Aristophanes' Clouds, to reconstruct the agon of the original (staged) version ...
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This chapter attempts, on the basis of certain anomalies in the agon of the surviving (incompletely revised) version of Aristophanes' Clouds, to reconstruct the agon of the original (staged) version and the history of the revision. It is argued that in the original play (which was a failure) Strepsiades had not been present during the debate between the Superior and Inferior Logoi; that Aristophanes felt that the failure had been partly due to insufficient cause having been provided for the disaster which subsequently befalls Strepsiades; and that he therefore, in the revision, made Strepsiades hear all about the immorality of the Inferior Logos and then, with full knowledge, put Pheidippides into his hands. When revision was abandoned, however, some final adjustments to the script had yet to be made.Less
This chapter attempts, on the basis of certain anomalies in the agon of the surviving (incompletely revised) version of Aristophanes' Clouds, to reconstruct the agon of the original (staged) version and the history of the revision. It is argued that in the original play (which was a failure) Strepsiades had not been present during the debate between the Superior and Inferior Logoi; that Aristophanes felt that the failure had been partly due to insufficient cause having been provided for the disaster which subsequently befalls Strepsiades; and that he therefore, in the revision, made Strepsiades hear all about the immorality of the Inferior Logos and then, with full knowledge, put Pheidippides into his hands. When revision was abandoned, however, some final adjustments to the script had yet to be made.
Nayan B. Ruparelia
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780262529099
- eISBN:
- 9780262334129
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262529099.001.0001
- Subject:
- Computer Science, Programming
Most of the information available on cloud computing is either highly technical, with details that are irrelevant to non-technologists, or pure marketing hype, in which the cloud is simply used as a ...
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Most of the information available on cloud computing is either highly technical, with details that are irrelevant to non-technologists, or pure marketing hype, in which the cloud is simply used as a selling point. This book, however, explains the cloud from the user's viewpoint. The author explains what the cloud is, when to use it (and when not to), how to select a cloud service, how to integrate it with other technologies, and what the best practices are for using cloud computing. A simple and basic definition of cloud computing from the National Institute of Science and Technology is considered: a model enabling ubiquitous, convenient, on-demand access to a shared pool of configurable computing resources. Thus businesses, individuals and communities can harness information technology resources usually available only to large enterprises. This, as the author demonstrates, represents a paradigm shift for businesses and individuals alike. In additon, the book considers the contractual, legal, financial, security and risk related aspects of adopting and migrating to the cloud. Cloud patterns are examined in terms of five deployment models; and a cloud computing maturity model is derived to align the use of cloud computing with best practices.A unique aspect of the book is that it provides innovative constructs that affect the way cloud computing shall be viewed and used in the future. In particular, it addresses novel concepts for cloud computing: cloud cells, or specialist clouds for specific uses; the personal cloud; the cloud of things and services; and cloud service exchanges.Less
Most of the information available on cloud computing is either highly technical, with details that are irrelevant to non-technologists, or pure marketing hype, in which the cloud is simply used as a selling point. This book, however, explains the cloud from the user's viewpoint. The author explains what the cloud is, when to use it (and when not to), how to select a cloud service, how to integrate it with other technologies, and what the best practices are for using cloud computing. A simple and basic definition of cloud computing from the National Institute of Science and Technology is considered: a model enabling ubiquitous, convenient, on-demand access to a shared pool of configurable computing resources. Thus businesses, individuals and communities can harness information technology resources usually available only to large enterprises. This, as the author demonstrates, represents a paradigm shift for businesses and individuals alike. In additon, the book considers the contractual, legal, financial, security and risk related aspects of adopting and migrating to the cloud. Cloud patterns are examined in terms of five deployment models; and a cloud computing maturity model is derived to align the use of cloud computing with best practices.A unique aspect of the book is that it provides innovative constructs that affect the way cloud computing shall be viewed and used in the future. In particular, it addresses novel concepts for cloud computing: cloud cells, or specialist clouds for specific uses; the personal cloud; the cloud of things and services; and cloud service exchanges.
Mario Telò
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780226309699
- eISBN:
- 9780226309729
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226309729.001.0001
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
Aristophanes, whose eleven surviving plays are all that remain of Old Comedy, has been stereotyped since ancient times as the poet who brought order and stability to this rowdy theatrical genre. But ...
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Aristophanes, whose eleven surviving plays are all that remain of Old Comedy, has been stereotyped since ancient times as the poet who brought order and stability to this rowdy theatrical genre. But how did this image arise, and why were the rivals Cratinus and Eupolis relegated to secondary status and merely fragmentary survival? This book traces Aristophanes’ supremacy, paradoxically, back to the defeat of his Clouds at the Great Dionysia in 423 BCE. Both Wasps (422) and the revised Clouds (419–417), the two plays at the center of this study, depict the earlier Clouds as a failed attempt by Aristophanes, the good son, to heal the comic audience—reflected in the plays in a pair of dysfunctional fathers. Through this narrative of failure, Aristophanes advances a “proto-canonical” discourse that anticipates the contours of the Hellenistic comic canon by elevating his aesthetic mode while delegitimizing his rivals. Aristophanic comedy is cast as a prestigious object, an expression of the supposedly timeless values of dignity and self-control. This discourse, which depends on both internal and external textual connections, is grounded in the distinctive feelings that different comic modes purportedly transmitted to an audience. In Wasps and Clouds the Aristophanic style is figured as a soft, protective cloak meant to shield an audience from debilitating competitors and restore it to paternal responsibility and authority. Aristophanes’ narrative of afflicted fathers and healing sons, of audience and poet, is thus shown to be at the center of the proto-canonical discourse that shaped his eventual dominance.Less
Aristophanes, whose eleven surviving plays are all that remain of Old Comedy, has been stereotyped since ancient times as the poet who brought order and stability to this rowdy theatrical genre. But how did this image arise, and why were the rivals Cratinus and Eupolis relegated to secondary status and merely fragmentary survival? This book traces Aristophanes’ supremacy, paradoxically, back to the defeat of his Clouds at the Great Dionysia in 423 BCE. Both Wasps (422) and the revised Clouds (419–417), the two plays at the center of this study, depict the earlier Clouds as a failed attempt by Aristophanes, the good son, to heal the comic audience—reflected in the plays in a pair of dysfunctional fathers. Through this narrative of failure, Aristophanes advances a “proto-canonical” discourse that anticipates the contours of the Hellenistic comic canon by elevating his aesthetic mode while delegitimizing his rivals. Aristophanic comedy is cast as a prestigious object, an expression of the supposedly timeless values of dignity and self-control. This discourse, which depends on both internal and external textual connections, is grounded in the distinctive feelings that different comic modes purportedly transmitted to an audience. In Wasps and Clouds the Aristophanic style is figured as a soft, protective cloak meant to shield an audience from debilitating competitors and restore it to paternal responsibility and authority. Aristophanes’ narrative of afflicted fathers and healing sons, of audience and poet, is thus shown to be at the center of the proto-canonical discourse that shaped his eventual dominance.
I. A. Ruffell
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199587216
- eISBN:
- 9780191731297
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199587216.003.0006
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter examines the extent, range, and limits of comic self-reflexivity, which has recently been considered under the term ‘metatheatre’. The logical contradictions of such ...
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This chapter examines the extent, range, and limits of comic self-reflexivity, which has recently been considered under the term ‘metatheatre’. The logical contradictions of such self-reference are situated alongside other forms of comic impossibility, and presented not as a form of distancing but as a form of audience involvement and intensification, in a dialogue with other empirical forms of comic impossibility, in which a fictional but grotesque baseline is maintained. Comic self-reference, despite its impossibility, acts as a tether for the audience. Even in less obviously metatheatrical plays (Clouds, Lysistrata, Ecclesiazousai), spikes in comic self-reference are shown to be narrative intensifiers and variations in the extent of self-reference are related to specific, often gendered, ideological demands.Less
This chapter examines the extent, range, and limits of comic self-reflexivity, which has recently been considered under the term ‘metatheatre’. The logical contradictions of such self-reference are situated alongside other forms of comic impossibility, and presented not as a form of distancing but as a form of audience involvement and intensification, in a dialogue with other empirical forms of comic impossibility, in which a fictional but grotesque baseline is maintained. Comic self-reference, despite its impossibility, acts as a tether for the audience. Even in less obviously metatheatrical plays (Clouds, Lysistrata, Ecclesiazousai), spikes in comic self-reference are shown to be narrative intensifiers and variations in the extent of self-reference are related to specific, often gendered, ideological demands.
Ian C. Storey
- Published in print:
- 2003
- Published Online:
- January 2010
- ISBN:
- 9780199259922
- eISBN:
- 9780191717420
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199259922.003.0005
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter discusses several comedies created by Eupolis and provides necessary details about those comedies. It begins by examining the dates when Eupolis accomplished some of his literary works. ...
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This chapter discusses several comedies created by Eupolis and provides necessary details about those comedies. It begins by examining the dates when Eupolis accomplished some of his literary works. It then discusses that a chorus of Goats is part of the familiar tradition of animal choruses in Old Comedy. It examines the structure and content of this chorus. It evaluates the possible similarities between Aiges and Clouds. It also discusses what Eupolis' plays are all about and tries to give dates when these literary works were created. It discusses that a fragment of Eupolis' work may be about an anti-war comedy. It gives a discussion of the Autolykos — another comedy of Eupolis — and its two versions. It argues that the word Baptai, found only in reference to the chorus and title of the play, was created by Eupolis for this play. It also provides discussions on what the play is all about and the date it was created. It examines several literary fragments and concludes that it belongs to Demoi. It provides a tentative reconstruction of Demoi. It notes that Heilotes was probably Eupolis' first comedy but presents an argument that this comedy may not be his.Less
This chapter discusses several comedies created by Eupolis and provides necessary details about those comedies. It begins by examining the dates when Eupolis accomplished some of his literary works. It then discusses that a chorus of Goats is part of the familiar tradition of animal choruses in Old Comedy. It examines the structure and content of this chorus. It evaluates the possible similarities between Aiges and Clouds. It also discusses what Eupolis' plays are all about and tries to give dates when these literary works were created. It discusses that a fragment of Eupolis' work may be about an anti-war comedy. It gives a discussion of the Autolykos — another comedy of Eupolis — and its two versions. It argues that the word Baptai, found only in reference to the chorus and title of the play, was created by Eupolis for this play. It also provides discussions on what the play is all about and the date it was created. It examines several literary fragments and concludes that it belongs to Demoi. It provides a tentative reconstruction of Demoi. It notes that Heilotes was probably Eupolis' first comedy but presents an argument that this comedy may not be his.
ANDREAS WILLI
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780199215102
- eISBN:
- 9780191718915
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199215102.003.0004
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter shows how Aristophanes created in Clouds a distinct ‘scientific discourse’, even though he does not make use of technical language as such. It argues that Aristophanes compensated for ...
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This chapter shows how Aristophanes created in Clouds a distinct ‘scientific discourse’, even though he does not make use of technical language as such. It argues that Aristophanes compensated for the absence of high-profile technical languages by substituting linguistic material taken from, or linked to, the tradition of Presocratic scientific poetry.Less
This chapter shows how Aristophanes created in Clouds a distinct ‘scientific discourse’, even though he does not make use of technical language as such. It argues that Aristophanes compensated for the absence of high-profile technical languages by substituting linguistic material taken from, or linked to, the tradition of Presocratic scientific poetry.
ANDREAS WILLI
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780199215102
- eISBN:
- 9780191718915
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199215102.003.0005
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Given the prominent role of language in sophistic culture, it is not surprising that language in repeatedly thematized in Aristophanes’ comedy Clouds. Throughout the play, there are scenes in which ...
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Given the prominent role of language in sophistic culture, it is not surprising that language in repeatedly thematized in Aristophanes’ comedy Clouds. Throughout the play, there are scenes in which Aristophanes highlights various innovative features of word formation and morphosyntax, so as to create a sophistic ‘atmosphere’. None of these features is exclusive to Clouds, an in some way Aristophanes’ treatment of them seems paradoxical. However, this is only an apparent paradox resulting from a historical situation in which something like a sophistic Zeitgeist influenced Attic Greek as a whole deeply enough to bring along linguistic innovations. While the comic poet preferentially and consciously introduced such innovative features into a comedy depicting the sophistic world, where their growth had originated, he also started using them, unconsciously and like every speaker of Attic, in other unmarked contexts. This chapter first presents and discusses the relevant data for each phenomenon separately. It argues that all of them are symptoms of one general evolutionary trend in classical Attic Greek. It shows that Aristophanes’ impressionistic presentation of these features as ‘sophistic’ agrees well with a typological explanation of the general trend, and that the roots of the trend must be sought in the cultural revolution which Athens witnessed in the second half of the 5th century.Less
Given the prominent role of language in sophistic culture, it is not surprising that language in repeatedly thematized in Aristophanes’ comedy Clouds. Throughout the play, there are scenes in which Aristophanes highlights various innovative features of word formation and morphosyntax, so as to create a sophistic ‘atmosphere’. None of these features is exclusive to Clouds, an in some way Aristophanes’ treatment of them seems paradoxical. However, this is only an apparent paradox resulting from a historical situation in which something like a sophistic Zeitgeist influenced Attic Greek as a whole deeply enough to bring along linguistic innovations. While the comic poet preferentially and consciously introduced such innovative features into a comedy depicting the sophistic world, where their growth had originated, he also started using them, unconsciously and like every speaker of Attic, in other unmarked contexts. This chapter first presents and discusses the relevant data for each phenomenon separately. It argues that all of them are symptoms of one general evolutionary trend in classical Attic Greek. It shows that Aristophanes’ impressionistic presentation of these features as ‘sophistic’ agrees well with a typological explanation of the general trend, and that the roots of the trend must be sought in the cultural revolution which Athens witnessed in the second half of the 5th century.
John Lombardini
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780520291034
- eISBN:
- 9780520964914
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520291034.003.0002
- Subject:
- Classical Studies, Archaeology: Classical
This chapter treats Aristophanes’s depiction of Socrates in Clouds, focusing in particular on Socrates’s use of mockery. It argues that the play depicts an anxiety concerning the threat Socrates ...
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This chapter treats Aristophanes’s depiction of Socrates in Clouds, focusing in particular on Socrates’s use of mockery. It argues that the play depicts an anxiety concerning the threat Socrates poses to the operation of a democratic notion of authority in classical Athens. Drawing on the work of Josiah Ober and Danielle Allen, as well as on the contemporary theoretical treatment of authority by Jeffrey Stout, a notion of democratic authority is sketched that emphasizes the authorization each democratic citizen possesses to hold his or her fellow citizens to account. It is then argued that the Socratic mockery on display in Clouds subverts this notion of democratic authority by ridiculing those who do not possess Socrates’s intellectual sophistication as unfit to hold him accountable. It is this notion of superiority, coupled with a mockery of his intellectual inferiors, which Strepsiades learns from Socrates and deploys against his creditors.Less
This chapter treats Aristophanes’s depiction of Socrates in Clouds, focusing in particular on Socrates’s use of mockery. It argues that the play depicts an anxiety concerning the threat Socrates poses to the operation of a democratic notion of authority in classical Athens. Drawing on the work of Josiah Ober and Danielle Allen, as well as on the contemporary theoretical treatment of authority by Jeffrey Stout, a notion of democratic authority is sketched that emphasizes the authorization each democratic citizen possesses to hold his or her fellow citizens to account. It is then argued that the Socratic mockery on display in Clouds subverts this notion of democratic authority by ridiculing those who do not possess Socrates’s intellectual sophistication as unfit to hold him accountable. It is this notion of superiority, coupled with a mockery of his intellectual inferiors, which Strepsiades learns from Socrates and deploys against his creditors.
George Burrows
- Published in print:
- 2019
- Published Online:
- July 2019
- ISBN:
- 9780199335589
- eISBN:
- 9780190948047
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199335589.001.0001
- Subject:
- Music, History, American
This is the first book-length study of the recordings of Andy Kirk and His Clouds of Joy. This all-black band found nationwide fame in the later 1930s and came to exemplify the Kansas City style of ...
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This is the first book-length study of the recordings of Andy Kirk and His Clouds of Joy. This all-black band found nationwide fame in the later 1930s and came to exemplify the Kansas City style of jazz through the records they made between 1929 and 1946. That body of work, however, serves to raise fundamental questions about the long-standing relationship between jazz music and the critical discourses about race that shaped it. This book considers how Kirk and his band appropriated musical styles in a way that was akin to the manipulation of masks in black forms of blackface performance: it signified race as much as it subverted racist conceptions of style. The band’s composer-pianist, Mary Lou Williams, and their singer Pha Terrell are reconceived within that context, and the band’s recordings are framed for their significance in understanding the way such black musicians influenced racial-musical negotiations over what and how they performed and recorded. The book brings together analytical tools from musicology with other perspectives that aim to show how intersecting discourses about race and musical styles are embedded in and expressed by the musical materials heard on the records. The difference between the band’s live and recorded performances establishes the place of audiences, especially dancing ones, in shaping jazz as a practice and conception, and it opens avenues for further investigation of the way practices of performance and recording have shaped understanding of what jazz music is and the racialized conceptions that underpin it.Less
This is the first book-length study of the recordings of Andy Kirk and His Clouds of Joy. This all-black band found nationwide fame in the later 1930s and came to exemplify the Kansas City style of jazz through the records they made between 1929 and 1946. That body of work, however, serves to raise fundamental questions about the long-standing relationship between jazz music and the critical discourses about race that shaped it. This book considers how Kirk and his band appropriated musical styles in a way that was akin to the manipulation of masks in black forms of blackface performance: it signified race as much as it subverted racist conceptions of style. The band’s composer-pianist, Mary Lou Williams, and their singer Pha Terrell are reconceived within that context, and the band’s recordings are framed for their significance in understanding the way such black musicians influenced racial-musical negotiations over what and how they performed and recorded. The book brings together analytical tools from musicology with other perspectives that aim to show how intersecting discourses about race and musical styles are embedded in and expressed by the musical materials heard on the records. The difference between the band’s live and recorded performances establishes the place of audiences, especially dancing ones, in shaping jazz as a practice and conception, and it opens avenues for further investigation of the way practices of performance and recording have shaped understanding of what jazz music is and the racialized conceptions that underpin it.
Mario Telò
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780226309699
- eISBN:
- 9780226309729
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226309729.003.0004
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter shows an ominous side to the finale of Wasps: the false, quasi-tragic liberation of Cratinus’s mode, usually interpreted as genuinely comic. The chapter starts with the account of ...
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This chapter shows an ominous side to the finale of Wasps: the false, quasi-tragic liberation of Cratinus’s mode, usually interpreted as genuinely comic. The chapter starts with the account of Philocleon’s disastrous performance at an aristocratic symposium and violent arrival onstage, exploring how his misuse of Aesop exposes Cratinus’s generic errancy. In the final scene, the dance contest between Philocleon and a mediocre tragedian’s sons suggests a paradoxical assimilation of Cratinean comedy to tragedy. Amid a complex of alignments involving Aristophanic comedy, Aesopic fable, iambos, and tragedy, the mad father Philocleon’s enthrallment to the ragged affect of Cratinean comedy (in opposition to the Aristophanic and Aesopic) demonstrates the failure of his son Bdelycleon’s—and Aristophanes’—rehabilitative efforts. Yet after the rejection of the therapeutic binding of the first Clouds, the unhappy ending awaiting the audience as well as Philocleon portends a grim future for the momentarily triumphant Cratinean mode—a literary-critical demotion in a contest of aesthetics. Productive of a discourse of generic affect, Aristophanes’ narrative of failure will make the father’s (and audience’s) rejection a mere setback on the path to a canonical embrace.Less
This chapter shows an ominous side to the finale of Wasps: the false, quasi-tragic liberation of Cratinus’s mode, usually interpreted as genuinely comic. The chapter starts with the account of Philocleon’s disastrous performance at an aristocratic symposium and violent arrival onstage, exploring how his misuse of Aesop exposes Cratinus’s generic errancy. In the final scene, the dance contest between Philocleon and a mediocre tragedian’s sons suggests a paradoxical assimilation of Cratinean comedy to tragedy. Amid a complex of alignments involving Aristophanic comedy, Aesopic fable, iambos, and tragedy, the mad father Philocleon’s enthrallment to the ragged affect of Cratinean comedy (in opposition to the Aristophanic and Aesopic) demonstrates the failure of his son Bdelycleon’s—and Aristophanes’—rehabilitative efforts. Yet after the rejection of the therapeutic binding of the first Clouds, the unhappy ending awaiting the audience as well as Philocleon portends a grim future for the momentarily triumphant Cratinean mode—a literary-critical demotion in a contest of aesthetics. Productive of a discourse of generic affect, Aristophanes’ narrative of failure will make the father’s (and audience’s) rejection a mere setback on the path to a canonical embrace.
Mario Telò
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780226309699
- eISBN:
- 9780226309729
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226309729.003.0005
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter suggests that the revised Clouds (419–417 BCE) extends the narrative of the failure of the first version in 423 by deploying against the rival Eupolis the same delegitimating strategies ...
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This chapter suggests that the revised Clouds (419–417 BCE) extends the narrative of the failure of the first version in 423 by deploying against the rival Eupolis the same delegitimating strategies used in Wasps against Cratinus. The chapter starts by considering how Aristophanes appropriates Electra’s defense of paternal authority to transform the conflict of comic modes in Wasps into opposing types of filial relationship: the child committed to avenging a wronged father versus the spoiled son who brings only ruin. The chapter also draws out affinities between Eupolis and Socrates, the anti-paternal teacher.The revised Clouds seems to depict an audience that the bad son Eupolis has deprived of Aristophanes’ protective cloak—just as Socrates steals the cloak of the comic father Strepsiades. Read through the intratextuality of parabasis and plot, Strepsiades’ destruction of Socrates’ school suggests the audience’s revenge for this loss, a turning of the implied violence of vulgar comedy against its practitioners in an incendiary moment of redemptive recognition that anticipates Aristophanes’ eventual supremacy in the comic canon.Less
This chapter suggests that the revised Clouds (419–417 BCE) extends the narrative of the failure of the first version in 423 by deploying against the rival Eupolis the same delegitimating strategies used in Wasps against Cratinus. The chapter starts by considering how Aristophanes appropriates Electra’s defense of paternal authority to transform the conflict of comic modes in Wasps into opposing types of filial relationship: the child committed to avenging a wronged father versus the spoiled son who brings only ruin. The chapter also draws out affinities between Eupolis and Socrates, the anti-paternal teacher.The revised Clouds seems to depict an audience that the bad son Eupolis has deprived of Aristophanes’ protective cloak—just as Socrates steals the cloak of the comic father Strepsiades. Read through the intratextuality of parabasis and plot, Strepsiades’ destruction of Socrates’ school suggests the audience’s revenge for this loss, a turning of the implied violence of vulgar comedy against its practitioners in an incendiary moment of redemptive recognition that anticipates Aristophanes’ eventual supremacy in the comic canon.
Todd Decker
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199759378
- eISBN:
- 9780199979554
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199759378.003.0007
- Subject:
- Music, History, American, Popular
This chapter considers Show Boat in the post-World War II era by way of the 1946 Broadway revival and two film versions made by Metro-Goldwyn-Mayer in Hollywood (extended excerpts in Till the Clouds ...
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This chapter considers Show Boat in the post-World War II era by way of the 1946 Broadway revival and two film versions made by Metro-Goldwyn-Mayer in Hollywood (extended excerpts in Till the Clouds Roll By and the 1951 Technicolor version). The Broadway production remade two black dance numbers by featuring black concert dancers Pearl Primus and LaVerne French. These changes benefitted the careers of a generation of black dancers, including Alvin Ailey. MGM underemphasized the show's black content, using “Ol' Man River” to feature Frank Sinatra and reshaping the role of Julie around screen goddess Ava Gardner. The 1951 film remains the most drastic revision of the show, truncating its historical reach and eliminating black performance as a central element of the story.Less
This chapter considers Show Boat in the post-World War II era by way of the 1946 Broadway revival and two film versions made by Metro-Goldwyn-Mayer in Hollywood (extended excerpts in Till the Clouds Roll By and the 1951 Technicolor version). The Broadway production remade two black dance numbers by featuring black concert dancers Pearl Primus and LaVerne French. These changes benefitted the careers of a generation of black dancers, including Alvin Ailey. MGM underemphasized the show's black content, using “Ol' Man River” to feature Frank Sinatra and reshaping the role of Julie around screen goddess Ava Gardner. The 1951 film remains the most drastic revision of the show, truncating its historical reach and eliminating black performance as a central element of the story.
Ciaran Brady
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199668038
- eISBN:
- 9780191748677
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199668038.003.0005
- Subject:
- History, British and Irish Modern History, Cultural History
This chapter offers a fundamental reinterpretation of Froude’s fictional writings of the later 1840s: Shadows of the Clouds (1847) and The Nemesis of Faith (1849). Critically dismantling the view ...
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This chapter offers a fundamental reinterpretation of Froude’s fictional writings of the later 1840s: Shadows of the Clouds (1847) and The Nemesis of Faith (1849). Critically dismantling the view that they were merely fictionalized confessions, it supplies an entirely different context for a rereading which lies in the considerable body of critical work (all of it now neglected) which preceded and accompanied his literary experiments—notably, his studies of Spinoza, Goethe, and Tieck, and his several reviews for the Oxford and Cambridge Review. Arising from this a thematic analysis of Froude’s fiction is supplied, following his own critical technique, which emphasizes its audacious experimentation with multiple and undependable narratives, shifting time sequences and alternative endings, and its even more bold confrontation of the problem of individual moral responsibility in regard to natural sexual desire.Less
This chapter offers a fundamental reinterpretation of Froude’s fictional writings of the later 1840s: Shadows of the Clouds (1847) and The Nemesis of Faith (1849). Critically dismantling the view that they were merely fictionalized confessions, it supplies an entirely different context for a rereading which lies in the considerable body of critical work (all of it now neglected) which preceded and accompanied his literary experiments—notably, his studies of Spinoza, Goethe, and Tieck, and his several reviews for the Oxford and Cambridge Review. Arising from this a thematic analysis of Froude’s fiction is supplied, following his own critical technique, which emphasizes its audacious experimentation with multiple and undependable narratives, shifting time sequences and alternative endings, and its even more bold confrontation of the problem of individual moral responsibility in regard to natural sexual desire.
THOMAS K. HUBBARD
- Published in print:
- 2003
- Published Online:
- March 2012
- ISBN:
- 9780520223813
- eISBN:
- 9780520936508
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520223813.003.0004
- Subject:
- Classical Studies, Archaeology: Classical
Attic (Athenian) comedy is particularly useful for the study of homosexuality in virtue of its characteristic explicitness in sexual matters. Moreover, it provides insight into what may have been ...
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Attic (Athenian) comedy is particularly useful for the study of homosexuality in virtue of its characteristic explicitness in sexual matters. Moreover, it provides insight into what may have been prevailing popular attitudes toward the practice. Attic comedy is generally divided into three phases: Old (486–400 B.C.E.), Middle (400–325 B.C.E.), and New (after 325 B.C.E.). The most complete description of traditional man-boy pederasty comes in Clouds. Comparatively little has been written concerning homosexuality in Greek comedy. Fragments from Knights, Clouds, Wasps, Birds, Thesmophoria Women, Frogs, Wealth, Triple Phallus, The All-Seeing Ones, The Dippers, Spittle, Kitchen or All-Night Revel, The Mede, Sappho, Sleep, Helen, Phaedrus, Dithyramb, Odysseus, Fisherwoman, and Theseus are presented.Less
Attic (Athenian) comedy is particularly useful for the study of homosexuality in virtue of its characteristic explicitness in sexual matters. Moreover, it provides insight into what may have been prevailing popular attitudes toward the practice. Attic comedy is generally divided into three phases: Old (486–400 B.C.E.), Middle (400–325 B.C.E.), and New (after 325 B.C.E.). The most complete description of traditional man-boy pederasty comes in Clouds. Comparatively little has been written concerning homosexuality in Greek comedy. Fragments from Knights, Clouds, Wasps, Birds, Thesmophoria Women, Frogs, Wealth, Triple Phallus, The All-Seeing Ones, The Dippers, Spittle, Kitchen or All-Night Revel, The Mede, Sappho, Sleep, Helen, Phaedrus, Dithyramb, Odysseus, Fisherwoman, and Theseus are presented.
Nayan B. Ruparelia
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780262529099
- eISBN:
- 9780262334129
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262529099.003.0011
- Subject:
- Computer Science, Programming
Cloud computing is an enabling technology for automation and abstraction. This places it in a unique position to effect paradigm shifts related to your work, society, and life. This chapter discusses ...
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Cloud computing is an enabling technology for automation and abstraction. This places it in a unique position to effect paradigm shifts related to your work, society, and life. This chapter discusses some emerging technologies and trends related to cloud computing; they are the catalysts of change for the future technology landscape. Some of these trends, as with predictions in general, may not all come to pass. Nevertheless, extrapolations are made to consider the future outlook in terms of the following: Internet of Things and Services; Cloud of Things and Services; Personal Clouds; Cloud Service Exchange.Less
Cloud computing is an enabling technology for automation and abstraction. This places it in a unique position to effect paradigm shifts related to your work, society, and life. This chapter discusses some emerging technologies and trends related to cloud computing; they are the catalysts of change for the future technology landscape. Some of these trends, as with predictions in general, may not all come to pass. Nevertheless, extrapolations are made to consider the future outlook in terms of the following: Internet of Things and Services; Cloud of Things and Services; Personal Clouds; Cloud Service Exchange.
Mario Telò
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780226309699
- eISBN:
- 9780226309729
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226309729.003.0001
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
Starting with a literary anecdote from Aelian that tellingly rewrites the audience response to Aristophanes’ defeated Clouds in 423 BCE, the chapter introduces the book’s overarching concerns: ...
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Starting with a literary anecdote from Aelian that tellingly rewrites the audience response to Aristophanes’ defeated Clouds in 423 BCE, the chapter introduces the book’s overarching concerns: dramatic reception, the canon, and aesthetics—the character (including psychological and even physical effects) of the connection between play and audience, or more precisely how it is constructed. The discussion begins with the payoff of this construction, namely critical elevation culminating in canonical hegemony, before laying out the methodology, grounded in intratextual and intertextual readings, by which Aristophanes’ aesthetic discourse may be discerned. The chapter concludes with a preliminary examination of this aesthetic discourse, showing how Knights previews themes of the narrative mapped out in Wasps and the second Clouds.Less
Starting with a literary anecdote from Aelian that tellingly rewrites the audience response to Aristophanes’ defeated Clouds in 423 BCE, the chapter introduces the book’s overarching concerns: dramatic reception, the canon, and aesthetics—the character (including psychological and even physical effects) of the connection between play and audience, or more precisely how it is constructed. The discussion begins with the payoff of this construction, namely critical elevation culminating in canonical hegemony, before laying out the methodology, grounded in intratextual and intertextual readings, by which Aristophanes’ aesthetic discourse may be discerned. The chapter concludes with a preliminary examination of this aesthetic discourse, showing how Knights previews themes of the narrative mapped out in Wasps and the second Clouds.
Mario Telò
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780226309699
- eISBN:
- 9780226309729
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226309729.003.0002
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter argues that the father-son battle of Wasps grounds the sense experience of dramatic reception in the materiality of textiles by reimagining the defeat of Clouds in423 as a choice between ...
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This chapter argues that the father-son battle of Wasps grounds the sense experience of dramatic reception in the materiality of textiles by reimagining the defeat of Clouds in423 as a choice between Cratinus’s threadbare, deceptively liberating cloak (the tribōn) and Aristophanes’ thick, capacious formal wrap (the chlaina). While the tribōn exposes the play’s wandering father to cold and fevers, the chlaina offered by his son promises the warm, soft texture of a garment with protective and curative force—the affective quality imputed to the performance of the first Clouds. Based on multiple intratextual connections of parabasis and plot, this analysis helps gauge the essential, paradoxical role that Wasps’ narrative of failure plays in granting Aristophanes supremacy in the ancient comic canon.Less
This chapter argues that the father-son battle of Wasps grounds the sense experience of dramatic reception in the materiality of textiles by reimagining the defeat of Clouds in423 as a choice between Cratinus’s threadbare, deceptively liberating cloak (the tribōn) and Aristophanes’ thick, capacious formal wrap (the chlaina). While the tribōn exposes the play’s wandering father to cold and fevers, the chlaina offered by his son promises the warm, soft texture of a garment with protective and curative force—the affective quality imputed to the performance of the first Clouds. Based on multiple intratextual connections of parabasis and plot, this analysis helps gauge the essential, paradoxical role that Wasps’ narrative of failure plays in granting Aristophanes supremacy in the ancient comic canon.
Mario Telò
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780226309699
- eISBN:
- 9780226309729
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226309729.003.0003
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter reads the prologue of Aristophanes’ Wasps against Euripides’ Hippolytus—and later scenes involving the mad father Philocleon against the melancholic antics of Niobe and Bellerophon, two ...
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This chapter reads the prologue of Aristophanes’ Wasps against Euripides’ Hippolytus—and later scenes involving the mad father Philocleon against the melancholic antics of Niobe and Bellerophon, two other characters from tragedy. Through these intertextual connections, the comic audience’s impure judgment in rejecting Clouds is attributed to the tragic psychology of Cratinus’s plays. While, through mimesis, Cratinean comedy’s ragged affective force, which has a textile analogue in Philocleon’s rough tribôn, estranges spectators from home and thus themselves, the warm Aristophanic chlaina, like the protective structure of home, does the opposite. Through this textile and architectural imagery, the paternal son Bdelycleon’s efforts to heal the tragic emotions of his father take on a canonical effect of closure, suggesting emotional, narrative, and generic binding.Less
This chapter reads the prologue of Aristophanes’ Wasps against Euripides’ Hippolytus—and later scenes involving the mad father Philocleon against the melancholic antics of Niobe and Bellerophon, two other characters from tragedy. Through these intertextual connections, the comic audience’s impure judgment in rejecting Clouds is attributed to the tragic psychology of Cratinus’s plays. While, through mimesis, Cratinean comedy’s ragged affective force, which has a textile analogue in Philocleon’s rough tribôn, estranges spectators from home and thus themselves, the warm Aristophanic chlaina, like the protective structure of home, does the opposite. Through this textile and architectural imagery, the paternal son Bdelycleon’s efforts to heal the tragic emotions of his father take on a canonical effect of closure, suggesting emotional, narrative, and generic binding.
Alan K. Rode
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780813173917
- eISBN:
- 9780813174808
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813173917.003.0023
- Subject:
- Film, Television and Radio, Film
After an initial account of Captains of the Clouds, this chapter provides a detailed description about the making of Yankee Doodle Dandy (1942).The legendary show business powerhouse George M. Cohan ...
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After an initial account of Captains of the Clouds, this chapter provides a detailed description about the making of Yankee Doodle Dandy (1942).The legendary show business powerhouse George M. Cohan agreed to let Warner Bros. produce an idealized musical film of his life, but he had to be convinced to inject any type of drama into the screenplay. James Cagney had returned to the studio in 1938 with greatly increased power. With some misgivings, Cagney accepted the Cohan role in Yankee Doodle Dandy (partially for political reasons) and worked seamlessly with Curtiz to create a memorable film.First-person accounts by Joan Leslie and Rosemary DeCamp enliven the depiction of a synergistic production led by a dedicated Curtiz.Behind the scenes, the intermittent wrangling that pitted Cagney and his brother William (who was associate producer) against the screenwriter Robert Buckner, Jack Warner, and Wallis ended when Cagney gave notice that he was vacating his Warner contract after the picture was finished. Yankee Doodle Dandy was a humongous hit for the studio and Curtiz, who considered it the “pinochle” of his career.Less
After an initial account of Captains of the Clouds, this chapter provides a detailed description about the making of Yankee Doodle Dandy (1942).The legendary show business powerhouse George M. Cohan agreed to let Warner Bros. produce an idealized musical film of his life, but he had to be convinced to inject any type of drama into the screenplay. James Cagney had returned to the studio in 1938 with greatly increased power. With some misgivings, Cagney accepted the Cohan role in Yankee Doodle Dandy (partially for political reasons) and worked seamlessly with Curtiz to create a memorable film.First-person accounts by Joan Leslie and Rosemary DeCamp enliven the depiction of a synergistic production led by a dedicated Curtiz.Behind the scenes, the intermittent wrangling that pitted Cagney and his brother William (who was associate producer) against the screenwriter Robert Buckner, Jack Warner, and Wallis ended when Cagney gave notice that he was vacating his Warner contract after the picture was finished. Yankee Doodle Dandy was a humongous hit for the studio and Curtiz, who considered it the “pinochle” of his career.
Michael Sragow
- Published in print:
- 2013
- Published Online:
- January 2015
- ISBN:
- 9780813144412
- eISBN:
- 9780813145235
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813144412.003.0007
- Subject:
- Film, Television and Radio, Film
Fleming joined United Artists and shot its first major picture. Soon after, he developed a friendship with Theodore Reed, who often worked with Fairbanks. In 1919, Fleming made his directorial debut ...
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Fleming joined United Artists and shot its first major picture. Soon after, he developed a friendship with Theodore Reed, who often worked with Fairbanks. In 1919, Fleming made his directorial debut with When the Clouds Roll By, a comedy with fantasy and adventure elements that starred Fairbanks. This chapter gives a detailed summary and analysis of that film. Kathleen Clifford was the female lead, and she and Fleming had a four-year relationship. Fleming’s next movie, The Mollycoddle (1920), which also starred Fairbanks, is also discussed here at length. Fleming’s technical mastery of film and good professional relationship with his actors soon made him a sought after director.Less
Fleming joined United Artists and shot its first major picture. Soon after, he developed a friendship with Theodore Reed, who often worked with Fairbanks. In 1919, Fleming made his directorial debut with When the Clouds Roll By, a comedy with fantasy and adventure elements that starred Fairbanks. This chapter gives a detailed summary and analysis of that film. Kathleen Clifford was the female lead, and she and Fleming had a four-year relationship. Fleming’s next movie, The Mollycoddle (1920), which also starred Fairbanks, is also discussed here at length. Fleming’s technical mastery of film and good professional relationship with his actors soon made him a sought after director.
