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A Credible Way of Doing Things Like ...

Jerue, Ben.

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A Credible Way of Doing Things Like in Comedy: Popular Culture in Roman Rhetoric and Oratory.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	A Credible Way of Doing Things Like in Comedy: Popular Culture in Roman Rhetoric and Oratory./
作者:	Jerue, Ben.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	341 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-12(E), Section: A.
Contained By:	Dissertation Abstracts International77-12A(E).
標題:	Classical literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10155135
ISBN:	9781369102208

A Credible Way of Doing Things Like in Comedy: Popular Culture in Roman Rhetoric and Oratory.
Jerue, Ben.

A Credible Way of Doing Things Like in Comedy: Popular Culture in Roman Rhetoric and Oratory. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 341 p.

Source: Dissertation Abstracts International, Volume: 77-12(E), Section: A.

Thesis (Ph.D.)--Yale University, 2016.

Through a series of studies on the diverse oeuvres of Cicero and Dionysius of Halicarnassus "A Credible Way of Doing Things Like in Comedy" illuminates the social and political uses of comedy in late Republican political life and the burgeoning intellectual communities found throughout Rome. Comedy, performed publically and widely read privately, was undoubtedly a cornerstone of what we would call Roman popular culture Modern scholars tend to see Roman Comedy as something merely funny or unsophisticated and hence only as an occasional model for elite speakers and writers: since Cicero wrote some notoriously funny speeches, such as In defense of Caelius, the influence of comedy on oratorical style and structure is thought to be overtly marked. Ancient discussions of Comedy, however, point us in a different direction: rather than humor, a sort of "realism" is ancient Comedy's most salient feature. This realism highlights pressing psychological and epistemological questions, while also providing tools to resolve social and familial crises. If comedy is a mirror of life, as Cicero claimed, it is one that throws confusion and misunderstanding into the limelight. Accordingly, this dissertation deemphasizes the funny and farcical, analyzing instead the subtle strategies of characterization, emplotment, and argument in Ciceronian oratory that are ultimately derived from the comic stage. Approached in this way, Comedy ceases to be an occasional model for elite public discourse, and instead becomes something that deeply structures public communicatory and judicial practices at Rome, precisely because the genre's conventions and logic are engrained in citizens' minds.

ISBN: 9781369102208Subjects--Topical Terms:

595959
Classical literature.

A Credible Way of Doing Things Like in Comedy: Popular Culture in Roman Rhetoric and Oratory.
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500 $a Source: Dissertation Abstracts International, Volume: 77-12(E), Section: A.
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520 $a Through a series of studies on the diverse oeuvres of Cicero and Dionysius of Halicarnassus "A Credible Way of Doing Things Like in Comedy" illuminates the social and political uses of comedy in late Republican political life and the burgeoning intellectual communities found throughout Rome. Comedy, performed publically and widely read privately, was undoubtedly a cornerstone of what we would call Roman popular culture Modern scholars tend to see Roman Comedy as something merely funny or unsophisticated and hence only as an occasional model for elite speakers and writers: since Cicero wrote some notoriously funny speeches, such as In defense of Caelius, the influence of comedy on oratorical style and structure is thought to be overtly marked. Ancient discussions of Comedy, however, point us in a different direction: rather than humor, a sort of "realism" is ancient Comedy's most salient feature. This realism highlights pressing psychological and epistemological questions, while also providing tools to resolve social and familial crises. If comedy is a mirror of life, as Cicero claimed, it is one that throws confusion and misunderstanding into the limelight. Accordingly, this dissertation deemphasizes the funny and farcical, analyzing instead the subtle strategies of characterization, emplotment, and argument in Ciceronian oratory that are ultimately derived from the comic stage. Approached in this way, Comedy ceases to be an occasional model for elite public discourse, and instead becomes something that deeply structures public communicatory and judicial practices at Rome, precisely because the genre's conventions and logic are engrained in citizens' minds.
520 $a The final chapter, in which the focus turns to Cicero's younger contemporary Dionysius, inverts this direction of communication: here Comedy is examined as a mode for conducting rhetorical and social criticism from below. As an immigrant and outsider with limited rights and resources in Rome, Dionysius tapped into comedy's sustained interest in confused identities in order to write in a deeply ambiguous way which allowed this marginal Greek figure to engage competing and clashing ideologies in the wake of civil strife and world war. What has struck many scholars as a type of sloppiness or lack of rigor in this immigrant critic and historian becomes a sort of handbook on how to make it as a little fish in a rather scary pond.
520 $a Taken together, the analyses of these two authors' works argue that particular aspects of popular culture exert a profound influence on elite discourses, and challenge models of Roman culture that emphasize a unidirectional relationship from elite to mass. The chapter on Dionysius challenges a prevalent assumption in the scholarship that socially marginal authors principally sought to impose their ideologies on the Roman elite. In contrast, I argue that these shifty and marginal figures set out to pursue a policy of ambiguity that could cater to a range of competing views held by the political and provincial elite.
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