George Franko | Hollins University (original) (raw)
Papers by George Franko
American Journal of Philology, 2004
... characters were mutes, then we have no visual evidence for four concurrent speakers in a scen... more ... characters were mutes, then we have no visual evidence for four concurrent speakers in a scene (Webster 1995, 2). Third, the remarks of Martial (6.6), Horace (AP 192), and Diomedes (GL 1.490-91, quoted below) suggest that a rule of three speakers in Greek drama was, if not ...
American Journal of Philology, 1996
Much of what we know of Greco-Roman comedy comes from the surviving works of just four playwright... more Much of what we know of Greco-Roman comedy comes from the surviving works of just four playwrights���the Greeks Aristophanes and Menander and the Romans Plautus and Terence. To introduce these authors and their work to students and general readers, this book offers a new, accessible translation of a representative play by each playwright, accompanied by a general introduction to the author's life and times, a scholarly article on a prominent theme in the play, and a bibliography of selected readings about the play and ...
Ross 1985:187 derives this interpretative strategy from a statement of William Blake comparing li... more Ross 1985:187 derives this interpretative strategy from a statement of William Blake comparing literary and visual arts: "Not a line is drawn without intention ... as Poetry admits not a Letter that is insignificant." 'Hornsby 1970:7 observes that 85 of the 116 similes in the poem draw upon the natural world but does not examine seasonal similes as a group. Although Briggs' study of similes in Georgics and the Aeneid focuses on bees, snakes, storms, and other natural features, it does not explore seasonal allusions. Lombardo 2005:xii.
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Homer thrice alludes to the Trojan horse near the Iliad's end: Epeios knocks out an unwary op... more Homer thrice alludes to the Trojan horse near the Iliad's end: Epeios knocks out an unwary opponent (23.68-91); Priam commands his people to haul lumber into the city without fear of ambush (24.778-9); the poem's final word suggests Troy's inability to survive without Hector hippodamos.
Performance in Greek and Roman Theatre, 2013
This chapter examines the victory games ofered by the Roman imperator L. Anicius Gallus as a refl... more This chapter examines the victory games ofered by the Roman imperator L. Anicius Gallus as a reflection of performance aesthetics for theatrical ludi . Anicius’ spectacle celebrates a Plautine aesthetic by subjecting Greek modes and performers to the whims of Roman adaptors and spectators. Like Plautus, Anicius crowds his stage with a boisterous conflation of Greek and Roman elements. Anicius probably presented his spectacle on the Quirinalia, a Feast of Fools that could inspire and authorize the mayhem. Our account of Anicius’ games only survives through the Greek gaze of Polybius and a subsequent filter of Athenaeus. Polybius, blinkered by “inappropriate expectations,” condemns the show as an embarrassing debacle, and critical reception has often adopted his perspective in considering them “a paradigm of Roman boorishness.” Terence might have agreed, for his plays represent an attenuating reaction to the bombastic Plautine and Anician adaptations of Greek theatrical culture. Keywords:aesthetics; Greek; L. Anicius Gallus; Plautus; Roman performers
Oxford Handbooks Online, 2013
International Journal of the Classical Tradition, 2009
The Classical Quarterly, 1995
Readers of Plautus’ Poenulus are struck by the generally ‘sympathetic’ portrayal of the title cha... more Readers of Plautus’ Poenulus are struck by the generally ‘sympathetic’ portrayal of the title character Hanno, a portrayal somewhat surprising to us since the play was produced shortly after the Second Punic War.1 Contrary to what we might expect, Hanno the Carthaginian is neither villain nor scapegoat, and he even exhibits the Roman virtue of pietas.2 However, Hanno's portrayal is not wholly positive, for Plautus delineates his character principally by endowing him with the negative stereotypes of Punic physiognomy, dress, speech, and behaviour familiar to his Roman audience.3…
Augoustakis/A companion to Terence, 2013
Transactions of the American Philological Association ( …, 1995
... and fidelis in those lines meant something greater to the Roman audience than a simple downpa... more ... and fidelis in those lines meant something greater to the Roman audience than a simple downpayment; the audience must have understoodfides in "fac fidelis sis fideli, cave fide fluxam geras" not in the morally neutral sense of "guaran-161 Page 8. George Fredric Franko ...
The Classical Bulletin, 2009
American Journal of Philology, 2004
... characters were mutes, then we have no visual evidence for four concurrent speakers in a scen... more ... characters were mutes, then we have no visual evidence for four concurrent speakers in a scene (Webster 1995, 2). Third, the remarks of Martial (6.6), Horace (AP 192), and Diomedes (GL 1.490-91, quoted below) suggest that a rule of three speakers in Greek drama was, if not ...
American Journal of Philology, 1996
Much of what we know of Greco-Roman comedy comes from the surviving works of just four playwright... more Much of what we know of Greco-Roman comedy comes from the surviving works of just four playwrights���the Greeks Aristophanes and Menander and the Romans Plautus and Terence. To introduce these authors and their work to students and general readers, this book offers a new, accessible translation of a representative play by each playwright, accompanied by a general introduction to the author's life and times, a scholarly article on a prominent theme in the play, and a bibliography of selected readings about the play and ...
Ross 1985:187 derives this interpretative strategy from a statement of William Blake comparing li... more Ross 1985:187 derives this interpretative strategy from a statement of William Blake comparing literary and visual arts: "Not a line is drawn without intention ... as Poetry admits not a Letter that is insignificant." 'Hornsby 1970:7 observes that 85 of the 116 similes in the poem draw upon the natural world but does not examine seasonal similes as a group. Although Briggs' study of similes in Georgics and the Aeneid focuses on bees, snakes, storms, and other natural features, it does not explore seasonal allusions. Lombardo 2005:xii.
[
Homer thrice alludes to the Trojan horse near the Iliad's end: Epeios knocks out an unwary op... more Homer thrice alludes to the Trojan horse near the Iliad's end: Epeios knocks out an unwary opponent (23.68-91); Priam commands his people to haul lumber into the city without fear of ambush (24.778-9); the poem's final word suggests Troy's inability to survive without Hector hippodamos.
Performance in Greek and Roman Theatre, 2013
This chapter examines the victory games ofered by the Roman imperator L. Anicius Gallus as a refl... more This chapter examines the victory games ofered by the Roman imperator L. Anicius Gallus as a reflection of performance aesthetics for theatrical ludi . Anicius’ spectacle celebrates a Plautine aesthetic by subjecting Greek modes and performers to the whims of Roman adaptors and spectators. Like Plautus, Anicius crowds his stage with a boisterous conflation of Greek and Roman elements. Anicius probably presented his spectacle on the Quirinalia, a Feast of Fools that could inspire and authorize the mayhem. Our account of Anicius’ games only survives through the Greek gaze of Polybius and a subsequent filter of Athenaeus. Polybius, blinkered by “inappropriate expectations,” condemns the show as an embarrassing debacle, and critical reception has often adopted his perspective in considering them “a paradigm of Roman boorishness.” Terence might have agreed, for his plays represent an attenuating reaction to the bombastic Plautine and Anician adaptations of Greek theatrical culture. Keywords:aesthetics; Greek; L. Anicius Gallus; Plautus; Roman performers
Oxford Handbooks Online, 2013
International Journal of the Classical Tradition, 2009
The Classical Quarterly, 1995
Readers of Plautus’ Poenulus are struck by the generally ‘sympathetic’ portrayal of the title cha... more Readers of Plautus’ Poenulus are struck by the generally ‘sympathetic’ portrayal of the title character Hanno, a portrayal somewhat surprising to us since the play was produced shortly after the Second Punic War.1 Contrary to what we might expect, Hanno the Carthaginian is neither villain nor scapegoat, and he even exhibits the Roman virtue of pietas.2 However, Hanno's portrayal is not wholly positive, for Plautus delineates his character principally by endowing him with the negative stereotypes of Punic physiognomy, dress, speech, and behaviour familiar to his Roman audience.3…
Augoustakis/A companion to Terence, 2013
Transactions of the American Philological Association ( …, 1995
... and fidelis in those lines meant something greater to the Roman audience than a simple downpa... more ... and fidelis in those lines meant something greater to the Roman audience than a simple downpayment; the audience must have understoodfides in "fac fidelis sis fideli, cave fide fluxam geras" not in the morally neutral sense of "guaran-161 Page 8. George Fredric Franko ...
The Classical Bulletin, 2009