T. MACCI PLAVTI AVLVLARIA. PERSONAE. LAR FAMILIARIS PROLOGVS EVCLIO SENEX STAPHYLA ANVS EVNOMIA MATRONA MEGADORVS SENEX. The following translation originally appeared on a website hosted by the University of Richmond. As that site is no longer online, I have resurrected the text here. Amphitruo - Asinaria - Aulularia - Bacch - Tito Maccio Plauto. January 3, | Author: Francesca Brunello DOWNLOAD PDF - MB. Share Embed Donate.

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Request PDF on ResearchGate | On Dec 30, , David Antonio Roa Nova and others published Verbos deponentes en la Aulularia de Plauto. AULULARIA DI PLAUTO PDF DOWNLOAD - miles gloriosus aulularia qui hinc ad forum abiit, gloriosus, impudens, stercoreus, plenus. Download Aulularia-Miles gloriosus-Mostellaria Testo latino a fronte PDF: Download Aulularia-Miles PLAUTO, MOSTELLARIA O COMEDIA DEL FANTASMA.

Storia linguistica dell'Italia unita. Bari: Laterza. Sabatini, Alma, Raccomandazioni per un uso non sessista della lingua italiana. Per la scuola e reditoria scolastica. Roma: Presidenza del Consiglio dei Ministri. I1 sessismo e la lingua italiana. New York: Oxford University Press, Reviewed by Timothy B. Book reviews evade taboo or offensive thoughts and language. For example, we say 'Joe passed away' instead of 'Joe died'. Euphemisms are the shields referred to in the book's title.

The term dysphemism, much less frequently used, concerns abusive language selected to insult or offend, rather than using more neutral words. An example of the weapon function of language would be saying 'he is a prick' instead of saying 'he is rude'. Allan and Burridge, trained in linguistics and teaching at Monash University in Australia, have assembled a broad and detailed analysis of folk culture's inventive use of euphemisms and dysphemisms.

Amphitruo - Asinaria - Aulularia - Bacch - Tito Maccio Plauto

The work is broad in the sense that it covers several different topics or referential domains. Examples of these domains are: death, men- struation, mental illness, militarese, profanity and tabooed body parts.

It is detailed with a consistent and serious linguistic analysis of this colorful language and the contexts in which it occurs. The linguistic analysis covers naming, connotation, conversational maxims, metaphor and speech acts just to name a few of these phenomena.

As for the content and scope of the work, the book has ten chapters and a glossary, where many technical terms used in language research are explained. Each chapter finishes with a more than adequate summary of the topics and issues therein. There are over works cited in the reference section. Although not explicitly designed as such, the book seems to divide into three different sections, as discussed next.

The background and introduction to the work includes the preface along with chapters 1 and 2, thus beginning with the basics. The first chapter provides definitions and classifications of euphemisms, dysphemisms, euphe- mistic dysphemisms and dysphemistic euphemisms. The second chapter exam- ines how euphemisms are used in naming and addressing other people. One reservation in this section is that while euphemisms are explained early on and clearly, dysphemisms are not examined until page A concept called 'x- phemism' may elude some readers.

It refers to a union of euphemistic and dysphemistic references, such that the x-phemism shit means the same thing as feces but each is used in different contexts. Without a doubt the central section of the book is the most interesting and justifies the download of it, especially for those interested in the psychological and sociological dynamics involved with taboo word use.

Chapter 3 looks at taboos on references to body emissions or effluvia, especially those related to menstruation and word taboos that are gender related. The fourth chapter focuses on taboos related to sexual activity and those associated with body parts and products. Chapter 5 examines the language of abuse, ranging from profanity to obscenity then racism. There are several noteworthy and unique presentations in the book. The inclusion of data from many informants, who live in widely different cultures, Book reviews has certainly contributed to the richness of the material covered.

Allan and Burridge have also chosen to include references from Middle Dutch medical texts to explore the past use of euphemism in discussions about the human body and its functions. Not only does this feature expand the discussion into another non-English context but it documents how euphemisms for taboos were employed hundreds of years ago.

Any reader who has savored the content of these old medical texts will appreciate their presence here. The focus on gender-related language is quite current and pertinent, as is a later analysis of the language used to describe diseases. The authors' comparison of leprosy, syphilis and AIDS and how society reacted to and defined these diseases is particularly illuminating.

There are some minor additions that would enhance the discussion in the central section. The topic of disgust is very intriguing and a survey assessing people's reactions and interpretations of items of disgust e.

However, the work of Rozin e. Rozin and Fallon has been overlooked and should be included if a later version of the book is published. Furthermore, the authors provide linguistic evidence by comparing different sentences to demonstrate that some words and references are more offensive than others.

They claim by comparing sentences that shit is more dysphemistic than either prick or twat. This linguistic analysis may be sufficient for some readers but to strengthen the claim that words differ in their degree of offensiveness, they could have cited the wealth of data available in the social and behavioral sciences to provide empirical evidence of how people are offended by these terms of abuse see Jay for example.

Moore, M.

Fontaine, and J. I also thank A. Cain, I. Davidson, G.

Nathan, and K. Smolak for sending me copies of their articles, not easily accessible to me at the time. While I occasionally provide my own, for the most part I use the only existing English translation, G.

Mathisen is still in progress. Lana, Analisi del Querolus Turin: G. Giappicheli, deals with less but offers proportionally more. Among older works, see a decent analysis of the Querolus by R. Also useful is M. Parasitic Conventions Before dissecting the last Roman parasite, I will briefly touch upon the traditional comic treatment of this role. For studies on the Querolus prior to , one may consult the annotated bibliography by D.

Lassandro and E. Giese, De parasiti persona capita selecta Berlin: R. Trenkel, A recent survey of the Roman comic parasite is, e. For a quick summary, see C. Adrados, vol. Legrand, New Greek Comedy, tr.

According to some convincing arguments, parasitos is a fourth-century label for the comic 10 Dish to Cash, Cash to Ash remained, inseparable. The image of this poor creature was a spineless hanger-on, an adulator with no scruples, eager to do anything to achieve his goal: the goal is, as the name suggests, free food.

In a word, the parasite was at his best as a voracious clown. Sykophants were swindlers and blackmailers, abusers of legal procedures who flourished in Classical Athens8 and were quite likely to appear, in a certain form, as stock characters in Greek comedy. Parasites carried out these frauds exclusively on behalf of their sponsors, in order to win their favor, and John Lofberg makes a solid type earlier known as kolax, the flatterer, and the two terms from that point on were not easily distinguishable: see W.

For the distinction between the two terms, see the discussion in Damon, The Mask of the Parasite, 13— See also the arguments of P. For a novel etymology of the term colax in Roman comedy, see M. Hornblower, A. Spawforth Oxford: OUP, A thorough analysis of the sykophant-parasite connection is J.

See also essays of R. Cartledge, P. Millett, and S.

Open Library

Todd Cambridge: CUP, This multifunctionality should be kept in mind for the inquiry about Mandrogerus. For Phormio see W. In Mandrogerus, I argue, for the first time one can see the parasite behaving almost like a human, albeit in the imaginary universe of comedy. Old miser Euclio hid a huge pile of gold in a funerary urn and set off on a journey without telling his son Querolus about the treasure.

Having found himself on a deathbed abroad, Euclio shared his secret with a recent acquaintance, the parasite Mandrogerus, offering him a half of the treasure if he informs Querolus of the existence and the location of the gold. Together with two of his accomplices, Sycophanta and Sardanapallus, he finds Querolus and manages to get access to the urn by simulating fortunetelling and divine inspiration. The impostors take away the urn — explaining that it contains evil fate — and flee.

The urn, however, appears to contain nothing but ashes. Dashed into pieces, the urn reveals the gold hidden beneath the ashes. Mandrogerus now takes his last chance and returns, boldly demanding a share of the gold initially apportioned to him by Euclio.

So far he is at least unconventional inasmuch as he is devoid of what is seen as one of the most useful assets of his role. The novelties of this parasite are, therefore, even more noteworthy: Mandrogerus, as it turns out, is an atypical parasite in several respects and his unconventional appearance is precisely the foundation of the entire dramaturgical arrangement of the Querolus. In the pages that follow I shall attempt to analyze the instances where Mandrogerus displays his unconventionality.

From Dish to Cash The first practical break with the parasitic conventions in the Querolus is the transformation of the gluttony topos. How much greater is my talent and my profit, for I hunt men in the sight of all!

And what men? Why, particularly the rich, the powerful, and the cultured. There lies near a certain pot, and the breeze has wafted its scent to me across the seas.


Away, you mixers of sauces! Away, you concoctions of cooks! Away, you recipes of Apicius! The secrets of this pot were known to Euclio alone.

Why are you surprised? It is gold that I follow; it is gold that sends its odour across seas and lands. Quanto mihi maius est ingenium et lucrum, qui homines uenor publice. Sed quos homines! Diuites et potentes et litteratos maxime!

Mandrogerus ego sum parasitorum omnium longe praestantissimus. Aula quaedam hic iacet cuius odorem mihi trans maria uentus detulit. Cedant iuris conditores, cedant omnia cocorum ingenia, cedant Apici fercula! Huius ollae condimentum solus sciuit Euclio. Quid miramini? Aurum est quod sequor: hoc est quod ultra maria et terras olet emphasis mine. A new target, real and palpable, is now a substitute for the conventional, or better, the symbolic one.

The parasite himself takes care to reveal his intentions, seemingly contrary to the expectations of the audience. Whether the audience was really meant to be surprised or this was just a generic formula perhaps already conventional by that time, his declaration is striking. Mandrogerus is not a gluttonous and harmless sponger, a ridiculous cartoon clown drooling over a piece of bread on the floor: he is a downright thief, motivated by age-old human desire.

Nominally still hungry for food, this parasite is in fact hungry for gold. From a wider perspective, however, I suggest that such an evolution was only natural. Namely, the comic topos of parasitic hunger must have been utterly worn out by the time the Querolus was composed. However, during the action of the play, he is only referred to by names implying criminal activities: thief, impostor, and sacrileger. Apart from being called furcifer The most telling, however, is the frequency of the terms denoting his deeds, namely, fraus 3.

Mathisen and D. Shanzer Aldershot: Ashgate, , — In the Querolus, this essentially animal instinct is — at last — raised to the level of understandable human aspiration for material prosperity. Yet even if one imagines that financial profit may have been an implied objective of a parasitic profession all along, this is the first time it is said out loud in a comic context.

Gold, that Fragrant Object of Desire It is most amusing to inspect in detail how the author presented this evolution. As I intend to exemplify, he was fully aware of the comic conventions he transparently adapted, generating an effective parody of traditional parasitic requirements.

Concretely, allusions to food and gluttony in association with gold occur constantly in the Querolus. Immediately follows the reference to cooks and food. Thus, the line huius ollae conditum solus sciuit Euclio My breath is caught in my throat.

I never knew before this that gold could have such a rank smell. It ought to have a stench like this for moneylenders. So, what do the ashes smell like? Expense and grief, the sort of smell a wretched funeral demands.

These ashes would seem to have had honorable treatment if they still have such a worthy smell. Furthermore, the gold reeks precisely and only because they lament over its absence and the malodor is the materialization of their regret.

Formally speaking, in their misperception they would be able to smell nothing but the remains of a cremated cadaver, and their conversation thus proceeds in that direction. In a sense most interesting in understanding the puns in the Querolus, namely, that of a dish suitable for keeping ashes, it is found, e.Nimium lubenter edi sermonem tuom.

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