Emmanuela Bakola – författare

Cratinus, one of the lost great poets of fifth-century Athenian comedy, had a formative influence on the comic genre, including Aristophanes himself. Using a methodologically innovative approach, Emmanuela Bakola studies the surviving fragments of Cratinus'' plays and offers a thorough analysis of the multifaceted art of this poet and his place in the history of comedy. Issues which she addresses include the creation of a poetic personality within a performativetradition of fierce interpoetic rivalry; the play at the boundaries of the comic genre and the interaction with satyr drama and tragedy, especially Aeschylus; stagecraft and dramaturgy; comic plot-construction and characterization; the author''s reflection on his immediate political, social andintellectual context. As well as providing insight into Cratinus, her book enriches our understanding of fifth-century Athenian comedy in a dynamic evolving environment.

Cratinus, one of the lost great poets of fifth-century Athenian comedy, had a formative influence on the comic genre, including Aristophanes himself. Using a methodologically innovative approach, Emmanuela Bakola studies the surviving fragments of Cratinus'' plays and offers a thorough analysis of the multifaceted art of this poet and his place in the history of comedy. Issues which she addresses include the creation of a poetic personality within a performativetradition of fierce interpoetic rivalry; the play at the boundaries of the comic genre and the interaction with satyr drama and tragedy, especially Aeschylus; stagecraft and dramaturgy; comic plot-construction and characterization; the author''s reflection on his immediate political, social andintellectual context. As well as providing insight into Cratinus, her book enriches our understanding of fifth-century Athenian comedy in a dynamic evolving environment.

Cratinus, one of the lost great poets of fifth-century Athenian comedy, had a formative influence on the comic genre, including Aristophanes himself. Using a methodologically innovative approach, Emmanuela Bakola studies the surviving fragments of Cratinus' plays and offers a thorough analysis of the multifaceted art of this poet and his place in the history of comedy. Issues which she addresses include the creation of a poetic personality within a performative tradition of fierce interpoetic rivalry; the play at the boundaries of the comic genre and the interaction with satyr drama and tragedy, especially Aeschylus; stagecraft and dramaturgy; comic plot-construction and characterization; the author's reflection on his immediate political, social and intellectual context. As well as providing insight into Cratinus, her book enriches our understanding of fifth-century Athenian comedy in a dynamic evolving environment.

Recent scholarship has acknowledged that the intertextual discourse of ancient comedy with previous and contemporary literary traditions is not limited to tragedy. This book is a timely response to the more sophisticated and theory-grounded way of viewing comedy's interactions with its cultural and intellectual context. It shows that in the process of its self-definition, comedy emerges as voracious and multifarious with a wide spectrum of literary, sub-literary and paraliterary traditions, the engagement with which emerges as central to its projected literary identity and, subsequently, to the reception of the genre itself. Comedy's self-definition through generic discourse far transcends the (narrowly conceived) 'high-low' division of genres. This book explores ancient comedy's interactions with Homeric and Hesiodic epic, iambos, lyric, tragedy, the fable tradition, the ritual performances of the Greek polis, and its reception in Platonic writings and Alexandrian scholarship, within a unified interpretative framework.