Costume in the Comedies of Aristophanes by Gwendolyn Compton-Engle

By Gwendolyn Compton-Engle

This e-book bargains an interpretation of the dealing with of gown within the performs of the fifth-century comedian poet Aristophanes. Drawing on either textual and fabric facts from the fourth- and fifth-century Greek global, it examines 3 layers of dress: the bodysuit worn via the actors, the characters' outfits, and the extra layering of cover. A bankruptcy can also be dedicated to the artistic costumes of the comedian refrain. Going past describing what costumes gave the impression of, the e-book focuses in its place at the dynamics of dress because it is manipulated by way of characters within the functionality of performs. The e-book argues that dress is used competitively, as characters deal with each one other's costumes and poets vie for prestige utilizing gown. This argument is trained through functionality reports and by way of analyses of gender and the physique.

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Paris, Musée du Louvre N3408; M9. © RMN-Grand Palais/Art Resource, NY. Photo: Hervé Lewandowski. motivations. 59 Nike has a comic mask but a normal female physique. Her arms are bare female arms, with no wrinkled somation indicated. 61 The women’s relationship to the slapstick action in the main field of the krater is difficult to assess, as is that of the fully wrapped and nongrotesque young man at right. In the case of the comic “nymphs,” as with Nike in Figure 11, it is as though an element of the noncomic iconography, in this case beautiful young nymphs, is retained and stands juxtaposed with the ugly masks.

RMN-Grand Palais/Art Resource, NY. Photo: Hervé Lewandowski. motivations. 59 Nike has a comic mask but a normal female physique. Her arms are bare female arms, with no wrinkled somation indicated. 61 The women’s relationship to the slapstick action in the main field of the krater is difficult to assess, as is that of the fully wrapped and nongrotesque young man at right. In the case of the comic “nymphs,” as with Nike in Figure 11, it is as though an element of the noncomic iconography, in this case beautiful young nymphs, is retained and stands juxtaposed with the ugly masks.

Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. 19 20 (a) Costume i n the Comedies o f A r isto p han es (b) (c) (d) 3. Chorus of padded dancers.  350–325. Athens, Agora S 1025 and 1586. Photograph courtesy of the American School of Classical Studies at Athens: Agora Excavations. 4. Chorus of padded dancers.  350–325. Athens, Agora S 2098. Photograph courtesy of the American School of Classical Studies at Athens: Agora Excavations. evident in Figure 1) or rolled up (as is more common in terracotta figurines and evident in Figure 2).

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