Women and Humor in Classical Greece examines the role of women as producers of joking speech, especially within cults of Demeter. This speech, sometimes known as aischrologia, had considerable weight and vitality within its cultic context. It also shaped literary traditions, notably iambic and Attic old comedy that has traditionally been regarded as entirely male. The misogyny for which ancient iambic is infamous derives in part from an oral world in which women's derisive joking voices reverberated. O'Higgins considers this speech from its mythical origins in the Homeric Hymn to Demeter, through the reactive iambic tradition and into old comedy. She also examines the poems of Sappho and Corinna as literary jokers, responding in part to their own experience of joking women. The book concludes with a fresh appraisal of the three great 'women's' plays of Aristophanes: Lysistrata, Thesmophoriasouzae, and Ecclesiazousae.

This highly acclaimed collection provides a unique look into the public and private lives and legal status of Greek and Roman women of all social classes-from wet nurses, prostitutes, and gladiatrixes to poets, musicians, intellectuals, priestesses, and housewives. The third edition adds new texts to sections throughout the book, vividly describing women's sentiments and circumstances through readings on love, bereavement, and friendship, as well as property rights, breast cancer, female circumcision, and women's roles in ancient religions, including Christianity and pagan cults.

This richly illustrated book is a comprehensive study of visual humour in ancient Greece, emphasising works created in Athens and Boeotia.

La 4e de couverture indique : "the first written history of the pioneering women born between the Renaissance and 1913 who played significant roles in the history of classical scholarship."

Capturing the antic outrageousness and lyrical brilliance of antiquity’s greatest comedies, Aaron Poochigian’s Aristophanes: Four Plays brings these classic dramas to vivid life for a twenty-first century audience. The citizens of ancient Athens enjoyed a freedom of speech as broad as our own. This freedom, parrhesia, the right to say what one pleased, how and when one pleased, and to whom, had no more fervent champion than the brilliant fifth-century comic playwright Aristophanes. His plays, immensely popular with the Athenian public, were frequently crude, even obscene. He ridiculed the great and the good of the city, showing up their hypocrisy and arrogance in ways that went far beyond the standards of good taste, securing the ire (and sometimes the retaliation) of his powerful targets. He showed his contemporaries, and he teaches us now, that when those in power act obscenely, patriotic obscenity is a fitting response. Aristophanes’s satirical masterpieces were also surpassingly virtuosic works of poetry. The metrical variety of his plays has always thrilled readers who can access the original Greek, but until now, English translations have failed to capture their lyrical genius. Aaron Poochigian, the first poet-classicist to tackle these plays in a generation, brings back to life four of Aristophanes’s most entertaining, wickedly crude, and frequently beautiful lyric comedies—the pinnacle of his comic art: · Clouds, a play famous for its caricature of antiquity’s greatest philosopher, Socrates; · Lysistrata, in which a woman convinces her female compatriots to withhold sex from their warmongering lovers unless they negotiate peace; · Birds, in which feathered creatures build a great city and become like gods; · and Women of the Assembly, Aristophones’s most revolutionary play, which inverts the norms of gender and power. Poochigian’s new rendering of these comic masterpieces finally gives contemporary readers a sense of the subversive pleasure Aristophones’s original audiences felt when they were first performed on the Athenian stage.

Ancient Greece and Rome aren't usually remembered for their sense of humor. However, in reality the ancient Greeks and Romans often refused to take themselves seriously. The authors chronicle the more bizarre activities of the ancient world, venturing out as far as Egypt, Babylon, and Scandinavia, ranging everywhere from moochers to quacks to shrews to perhaps the oldest laundromat joke in history.

Some of the best evidence for the early development of literary criticism before Plato and Aristotle comes from Athenian Old Comedy. Playwrights such as Eupolis, Cratinus, Aristophanes and others wrote numerous comedies on literary themes, commented on their own poetry and that of their rivals, and played around with ideas and theories from the contemporary intellectual scene. How can we make use of the evidence of comedy? Why were the comic poets so preoccupied with questions of poetics? What criteria emerge from comedy for the evaluation of literature? What do the ancient comedians' jokes say about their own literary tastes and those of their audience? How do different types of readers in antiquity evaluate texts, and what are the similarities and differences between 'popular' and 'professional' literary criticism? Does Greek comedy have anything serious to say about the authors and texts it criticizes? How can the comedians be related to the later literary-critical tradition represented by Plato, Aristotle and subsequent writers? This book attempts to answer these questions by examining comedy in its social and intellectual context, and by using approaches from modern literary theory to cast light on the ancient material.

This collection attempts to recover the voices of women in antiquity from a variety of perspectives: how they spoke, where they could be heard, and how their speech was adopted in literature and public discourse. Rather than confirming the old model of binary oppositions in which women's speech was viewed as insignificant and subordinate to male discourse, these essays reveal a dynamic and potentially explosive interrelation between women's speech and the realm of literary production, religion, and oratory. The contributors use a variety of methodologies to mine a diverse array of sources, from Homeric epic to fictional letters of the second sophistic period and from actual letters written by women in Hellenistic Egypt to the poetry of Sappho. Throughout, the term "voice" is used in its broadest definition. It includes not only the few remaining genuine women's voices but also the ways in which male authors render women's speech and the social assumptions such representations reflect and reinforce. These essays therefore explore how fictional female voices can serve to negotiate complex social, epistemological, and aesthetic issues. The contributors include Josine Blok, Raffaella Cribiore, Michael Gagarin, Mark Griffith, André Lardinois, Richard Martin, Lisa Maurizio, Laura McClure, D. M. O'Higgins, Patricia Rosenmeyer, Marilyn Skinner, Eva Stehle, and Nancy Worman.

Many of the women whose names are known to history from Classical Athens were metics or immigrants, linked in the literature with assumptions of being ‘sexually exploitable.’ Despite recent scholarship on women in Athens beyond notions of the ‘citizen wife’ and the ‘common prostitute,’ the scholarship on women, both citizen and foreign, is focused almost exclusively on women in the reproductive and sexual economy of the city. This book examines the position of metic women in Classical Athens, to understand the social and economic role of metic women in the city, beyond the sexual labor market. This book contributes to two important aspects of the history of life in 5th century Athens: it explores our knowledge of metics, a little-researched group, and contributes to the study if women in antiquity, which has traditionally divided women socially between citizen-wives and everyone else. This tradition has wrongly situated metic women, because they could not legally be wives, as some variety of whores. Author Rebecca Kennedy critiques the traditional approach to the study of women through an examination of primary literature on non-citizen women in the Classical period. She then constructs new approaches to the study of metic women in Classical Athens that fit the evidence and open up further paths for exploration. This leading-edge volume advances the study of women beyond their sexual status and breaks down the ideological constraints that both Victorians and feminist scholars reacting to them have historically relied upon throughout the study of women in antiquity.