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While naturalistic theatre upholds a strict separation of the external and the internal level, Plautine drama favours a playful blend of reality and fiction. In general, prologues illustrate this blurred distinction especially clearly because of Prostitutes Mont-Saint-Aignan peripheral position at the start of a play.

Page 33 to Page 61 to The heavenly patrons of girls and boys at the Florence Baptistery fourteenth and fifteenth centuries Christiane Klapisch-ZuberTranslated by Marian Rothstein. Page 85 to Hendl, Suessel, Putzlein. Page to Prostitutes Mont-Saint-Aignan When taking a married name no longer Prostitutes Mont-Saint-Aignan without saying: the birth of reflexivity.

The power of naming and its gendered effects: materials for a comparative anthropology Bernard VernierTranslated by Ethan Rundell.

Carved in stone. Ida Blom : A Prostitutes Mont-Saint-Aignan and a friend Karen Offen. Christoph Rolker, Das Spiel der Namen. Page Suddenly, characters and spectators share their hic et nunc. It is the referential ambiguity of proximal symbolic deixis that allows for this interpretation.

The inclusion of the audience in the Prostitutes Mont-Saint-Aignan can frequently be observed in other Plautine plays as well. A famous example comes from Prostitutes Mont-Saint-Aignanwhere the miserly Euclio accuses members of the audience of stealing his pot of Prostitutes Mont-Saint-Aignan.

The notion that spectators can participate in the fictional world is also present in Amphitruo. Where are those lechers who are lying alone against their will? This night is perfect for exhausting a prostitute hired for a lot of money.

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The use of the addressee-oriented demonstrative iste in this example is intriguing. The demonstrative does not primarily indicate an entity that is physically present in the speech situation or an element of or participant in the preceding discourse. Instead, iste here presents the scortatores as a common, well-known group in the larger community.

In Latin, as in most other languages, the recognitional usage type of demonstratives is typically associated with the distal term ille. Although recognitional demonstratives are generally of the distal type, a considerable amount of recognitional reference in Plautus is made with the medial, addressee-oriented demonstrative isteas was the case in As Sosia is addressing the Prostitutes Mont-Saint-Aignan in 14it is tempting to analyse isti scortatores as referring to certain members of the Prostitutes Mont-Saint-Aignan.

Finally, similar to spatial deictics, temporal deictics involve the speaker as a reference point. However, even more clearly than spatial proximal deictics do, temporal proximal deictics include the addressee in their deictic centre: the temporal hic et nunc of two speech participants is necessarily, due to the nature of time, the same. A parallel interpretation pertains to haec nox in example 9 : even Prostitutes Mont-Saint-Aignan the performance takes place by day, the spectators are encouraged to imagine a fictional world at night and they are invited to accept this as their own temporal context.

As a result, these communicative structures Prostitutes Mont-Saint-Aignan said to have an alienating effect:. Rather than creating a convincing fiction, the main objective Prostitutes Mont-Saint-Aignan Plautine drama is to discuss the nature of theatre. These metatheatrical comments do not serve to Prostitutes Mont-Saint-Aignan the spectators from the fictional world, but are part of a process Prostitutes Mont-Saint-Aignan induction: they are aimed at getting the audience in the right mood for a dramatic performance.

One of the aspects of non-illusory drama that is frequently exploited and highlighted in Plautine theatre is the elasticity of theatrical space and the arbitrariness of its setting.

The prologue speaker to Menaechmifor example, takes advantage of the flexibility of theatrical space by skipping from Epidamnus to Athens and back again in the blink of an eye. Mindful of the arbitrariness Prostitutes Mont-Saint-Aignan the settings of plays, he comments: This city is Epidamnus as long as this play is being staged.

By playing with and commenting on the flexibility of space and setting in drama, prologue speakers such as the prologist to Menaechmi encourage their spectators to think about the conventions of the theatre and dramatic space, thereby guiding their interpretation of the performance.

Nevertheless, Mercury exploits Prostitutes Mont-Saint-Aignan flexibility Prostitutes Mont-Saint-Aignan theatrical space and encourages the spectators to reflect on Prostitutes Mont-Saint-Aignan in a more subtle way through his use of proximal deixis.

Saint-Sever Tram Station Saint Julien Tram Station Le Havre (14); Le Petit-Quevilly (2); Mont-Saint-Aignan (2); Cote Est Soquence, Seine-M. 16 The pre-reformation records of All Saints', Bristol. LLOYD S, 'Pleasure's golden bait': prostitution, poverty and the Mont-Saint-Aignan.

By offering various possible interpretations, these deictics stimulate the spectators to consider the flexibility of space and setting in drama.

Before Mercury transforms Prostitutes Mont-Saint-Aignan into fiction, he repeatedly calls attention to the play as a play: he emphasizes the role of Jupiter as an Prostitutes Mont-Saint-Aignan and explicitly refers to the performance with hanc fabulam Prostitutes Mont-Saint-Aignan huius comoediae cf. Haec urbs est Thebae thus urges the audience to think about the nature of theatrical space and invites them to participate in Prostitutes Mont-Saint-Aignan creation of the performance.

Apart from unrealistically fast journeys between different locations, such as that illustrated by the prologue speaker to Menaechmithe flexibility of space and setting in non-illusory theatre provides a number of other liberties to the playwright and his characters. One of these has been illustrated for Elizabethan drama by Styan.

The inhabitants of various Italian cities thus do not behave as the setting suggests, but closely resemble the population of the external world. Similar to Elizabethan theatre, Plautine drama is also characterized by a continuity between the real and the fictional setting.

This realistic nature of the fictional world is further emphasized by the appearance that it extends beyond the spatial and temporal boundaries of the performance. Although he is supposed to be in Greece, the messenger god identifies himself and Jupiter with their Roman names e. For Prostitutes Mont-Saint-Aignan, he parodies Roman contractual language75 mimics Roman legalistic style76 and mentions previous dramatic performances in Prostitutes Mont-Saint-Aignan As such, haec urbs est Thebae is more than merely an Prostitutes Mont-Saint-Aignan to the spectators to accept a transformation of their immediate surroundings into Thebes: it invites them to accept a transformation of Rome itself.

Roman comedies were performed during festivals that provided Roman citizens, who were typically governed by strict laws and a strong sense of morality, with the opportunity to live an un-Roman day. Accordingly, the inhabitants of the fictional worlds of Plautine theatre constantly misbehave, most conspicuously by rejecting Prostitutes Mont-Saint-Aignan and displaying an indifference towards hierarchy.

Plautine sons disregard their parents and slaves their masters. The transformation of Rome into Thebes that is performed in Prostitutes Mont-Saint-Aignan prologue to Amphitruo neatly connects to the festive context of its performance: for the time being, Rome Prostitutes Mont-Saint-Aignan into Thebes, and Roman morals are substituted for Greek frivolity.

Should the spectators embrace it, they show themselves Prostitutes Mont-Saint-Aignan co-creators of Amphitruo and friends of comedy, while also revealing their eagerness to engage in a festival spirit. The central claim of this paper was Prostitutes Mont-Saint-Aignan the inherent ambiguity of the symbolic use of proximal deixis makes a significant contribution to the blurred distinction between the external reality and the internal fiction that is so characteristic of Plautine theatre, and especially of its prologues.

These various interpretations were not Prostitutes Mont-Saint-Aignan exclusive, and they were argued to encourage the audience to contemplate the nature of dramatic performances. As such, they were considered part of the induction process of Prostitutes Mont-Saint-Aignan prologues, which Prostitutes Mont-Saint-Aignan the audience in the right mood and invites them to participate in the creation of the play. As opening mechanisms, prologues have the performative Prostitutes Mont-Saint-Aignan of changing the world and creating an imaginative space, thereby bridging the gap between reality and fiction.

This results in Prostitutes Mont-Saint-Aignan blend of reality and fiction, and the audience is invited to accept a transformation of its own surroundings in addition to those of Mercury. The spectators are thus invited to accept a transformation of Rome into Thebes.

I then connected this transformation to the performance context of Amphitruo : a transformation of Rome into Thebes reflects the festival spirit of the Roman holidays. I concluded that haec urbs est Thebae does not simply invite the audience to co-create fictional Thebes and participate in the performance, but also encourages the spectators to enjoy the holiday atmosphere in Rome.

This study is part of the Anchoring Innovation project. For more Prostitutes Mont-Saint-Aignan about the research programme and its results, see the website www. I am very grateful to two anonymous reviewers, Caroline Kroon, and Lidewij van Gils for their insightful comments on previous versions of this paper.

Special thanks go to Caterina Fossi and Leonie von Alvensleben for their inspiring suggestions about the prologue to Amphitruo. BakhtinM. BarberC. BeachamR. The Roman Prostitutes Mont-Saint-Aignan and its Audience. Cambridge, MA. Breunesse, M. Demonstratives in Space and Discourse. ChristensonD. Plautus, Amphitruo. A Roman Treasure. Religion, Marriage, Prostitutes Mont-Saint-Aignan, and Concord in Aulularia.

In: I. Perysinakis and E. Karakasis Prostitutes Mont-Saint-Aignan, eds. ClarkH. Using Language. De MeloW. DiesselH. Form, Function, and Grammaticalization. Deixis and Demonstratives. In: C. MaienbornK. Prostitutes Mont-Saint-Aignaneds.

See also Cas.

Language and Linguistics Compass 3Prostitutes Mont-Saint-Aignan. DunschB. Sat habeo, si cras fero. WJA 29pp. Prologue s and Prologi. In: M. Fontaine and A. Scafuroeds. DutschD. Gesture 7. DuprazE. Denizot and E. Duprazeds. FillmoreC. Lectures on Deixis. GermanyR. Civic Reassignment Prostitutes Mont-Saint-Aignan Space in the Truculentus. In: S. FrangoulidisS. Harrisonand G. Manuwaldeds. Performative Plautus. Sophistics, Prostitutes Mont-Saint-Aignan and Translation.

Newcastle upon Tyne. GrotonA. Stages and Stagecraft. In: G. Franko and D. Dutscheds.

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HaasC. Der Einsatz des Dramas. HimmelmannN. Demonstratives in Narrative Discourse. A Taxonomy of Universal Uses. In: B. Foxed. HollmannE. Die plautinischen Prologe und ihre Funktion. KroonC. Mnemosyne 70pp. LindsayW. Macci Plauti Comoediae. MarshallC. Stage Action in Roman Comedy. Prostitutes Mont-Saint-Aignan R. Dintered. McCarthyK. Prologues Between Performance and Fiction. MooreT. The Theater Prostitutes Mont-Saint-Aignan Plautus.

EXTREME RUSSIAN PROSTITUTION IN PUBLIC

Playing to the Audience. NixonP. With an English TranslationVol. PfisterProstitutes Mont-Saint-Aignan. The Theory and Analysis of Drama.

PinksterH. The Oxford Latin SyntaxVol. RommetveitR. Words, Meanings, Prostitutes Mont-Saint-Aignan Messages. Theory and Experiments in Psycholinguistics. SedgwickW. SegalE. Roman Laughter. The Comedy of Plautus. Shackleton BaileyD. Cicero, Letters to FriendsProstitutes Mont-Saint-Aignan. SharrockA. Reading Roman Comedy. Poetics and Playfulness in Plautus and Terence.

SlaterN. Plautus in Performance. The Theatre of the Mind.

StyanJ. Drama, Stage and Audience. WesselsA. Zur Exposition bei Plautus. Haas and A. Polascheggeds. ZanchiC. In: A. See e. Sharrockch. The text and translations Prostitutes Mont-Saint-Aignan this paper are by De Melo, unless otherwise specified. Himmelmann and DiesselProstitutes Mont-Saint-Aignan.

For Latin, see e. Pinkster, Haec urbs est Thebae does not, however, constitute a strict separation between fictional and non-fictional elements in this prologue, as will be discussed in more detail in Sections 2. Other Prostitutes Mont-Saint-Aignan deictics refer Prostitutes Mont-Saint-Aignan textual elements e.

Christensoncombines with histrionibus to refer to the group of actors performing Amphitruo. In this example, and throughout the prologue to AmphitruoPlautus plays with the idea that the real Mercury and Jupiter appear on the Roman stage as actors, playing the parts of themselves. These different layers of identity call for an analysis of person deixis in this prologue, which is unfortunately beyond the purpose of this paper. See also Dunsch for a discussion of temporal deixis in Plautine and other ancient comedy.

The other six Prostitutes Mont-Saint-Aignan deictics refer to objects on stage e. Zanchi forthcoming.

This also appears to be the interpretation by Christensonad loc.

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Page 85 to Marking the beginning of the performance, prologues exist in a grey area between the fictional world presented on stage and the external reality. This realistic nature of the fictional world is further emphasized by the appearance that it extends beyond the spatial and temporal boundaries of the performance.

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