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Slaves, masters, and the art of authority in Plautine comedy

Author: Kathleen McCarthy
Publisher: Princeton, N.J. : Princeton University Press ; Chichester : UPCCP, 2004.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Database:WorldCat
Summary:
What pleasures did Plautus' heroic tricksters provide their original audience? How should we understand the compelling mix of rebellion and social conservatism that Plautus offers? Through a close reading of four plays representing the full range of his work (Menaechmi, Casina, Persa, and Captivi), Kathleen McCarthy develops an innovative model of Plautine comedy and its social effects. She concentrates on how the  Read more...
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Genre/Form: Electronic books
Additional Physical Format: Print version:
McCarthy, Kathleen, 1962-
Slaves, masters, and the art of authority in Plautine comedy.
Princeton, N.J. : Princeton University Press ; Chichester : UPCCP, 2004
(OCoLC)53871582
Named Person: Titus Maccius Plautus
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Kathleen McCarthy
ISBN: 9781400824700 1400824702
OCLC Number: 551426333
Notes: Originally published: 2000.
Description: 1 online resource (xi, 231 p.)
Contents: Preface; Abbreviations and Conventions; CHAPTER I: The Crowded House; CHAPTER II: The Ties That Bind: Menaechmi; CHAPTER III: Love's Labour's Lost: Casina; CHAPTER IV: A Kind of Wild Justice: Persa; CHAPTER V: Truth Is the Best Disguise: Captivi; CONCLUSION: The Slave's Image in the Master's Mind; Works Cited; Index of Plautine Passages; General Index.
Responsibility: Kathleen McCarthy.

Abstract:

What pleasures did Plautus' heroic tricksters provide their original audience? How should we understand the compelling mix of rebellion and social conservatism that Plautus offers? Through a close reading of four plays representing the full range of his work (Menaechmi, Casina, Persa, and Captivi), Kathleen McCarthy develops an innovative model of Plautine comedy and its social effects. She concentrates on how the plays are shaped by the interaction of two comic modes: the socially conservative mode of naturalism and the potentially subversive mode of farce. It is precisely this balance of the.

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