共谋正义:库克喜剧演员迪凯奥波利斯

D. Christenson
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引用次数: 0

摘要

摘要:关于阿喀尼亚人服饰的讨论主要集中在狄基奥波利斯对泰勒弗斯的破布的挪用和对拉马库斯的暴力非服饰化上。同样具有元经济学意义的是Dicaeopolis作为法师的角色,当他最终在舞台上做饭时,通过道具而不是服装变化来表现出来。事实上,在整个阿喀尼亚人中,这个戴着石鳖和阳具的主角扮演了一个厨师喜剧演员的角色,他的最终胜利标志着他在节日中戴上了一个himation。烹饪的元哲学在很大程度上描绘了阿迦尼人对阿里斯托芬和狄卡奥波利斯的融合,因为后者促进了τρυγῳ《δία》是一部创新的喜剧作品,值得在电影节上认真聆听并获得胜利。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Concocting Justice: Dicaeopolis the Cook-Comedian
Abstract:Discussion of costume in Acharnians has focused on Dicaeopolis’s appropriation of Telephus’s rags and violent un-costuming of Lamachus. No less metacomically significant is Dicaeopolis’s persona as a mageiros, made explicit by props rather than a costume-change when he eventually cooks onstage. The chiton- and phallus-wearing protagonist in fact throughout Acharnians assumes the persona of a cook-comedian, whose ultimate triumph is marked by his festively donning a himation. The metapoetics of cooking largely figure Acharnians’ melding of Aristophanes and Dicaeopolis, as the latter promotes τρυγῳδία as an innovative blend of comedy deserving a serious hearing and victory at the festival.
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