Abstract
Abstract This paper analyses the use of proximal deixis in Mercury’s prologue to Plautus’ Amphitruo. The study revolves around the referential ambiguity that characterizes proximal deictics such as here and this city, arguing that it contributes significantly to the blurred distinction between reality and fiction that is typical for Plautine theatre, and for his prologues in particular. The paper shows (1) that proximal deictics play a crucial role in Mercury’s creation of and transition into the fictional world; (2) that their unique referential features during audience address enable Mercury to transform the spectators’ surroundings in addition to his own; and (3) that their use underlines the similarity between Rome and fictional Thebes, which is subsequently connected to the Greek setting of Plautus’ plays and their performance during Roman festivals. Moreover, the paper claims that Mercury partly relies on proximal deixis for the inductive effect of his prologue.
Highlights
During a dramatic performance, an attentive audience perceives two distinct worlds simultaneously: the external, real world of the spectators via free accessBreunesse themselves and the internal, fictional world of the characters
The study revolves around the referential ambiguity that characterizes proximal deictics such as here and this city, arguing that it contributes significantly to the blurred distinction between reality and fiction that is typical for Plautine theatre, and for his prologues in particular
The paper shows [1] that proximal deictics play a crucial role in Mercury’s creation of and transition into the fictional world; [2] that their unique referential features during audience address enable Mercury to transform the spectators’ surroundings in addition to his own; and [3] that their use underlines the similarity between Rome and fictional Thebes, which is subsequently connected to the Greek setting of Plautus’ plays and their performance during Roman festivals
Summary
An attentive audience perceives two distinct worlds (or levels) simultaneously: the external, real world of the spectators via free accessBreunesse themselves and the internal, fictional world of the characters. The paper shows [1] that proximal deictics play a crucial role in Mercury’s creation of and transition into the fictional world; [2] that their unique referential features during audience address enable Mercury to transform the spectators’ surroundings in addition to his own; and [3] that their use underlines the similarity between Rome and fictional Thebes, which is subsequently connected to the Greek setting of Plautus’ plays and their performance during Roman festivals.
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
