Aristophanes: Lysistrata

Cover\nHalftitle page\nSeries page\nTitle page\nCopyright page\nContents\nDedication\nIllustrations\nTimeline of Ancient Events\nIntroduction\n1 Lysistrata in Context: Old Comedy and Athens in 411 bce\n	(a) Aristophanes and Old Comedy\n	(b) Contemporary Athens: The Peloponnesian War and the events of 411 bce\n	(c) Lysistrata ’s long view: The Persian Wars and inter-state relations in the fifth century bce\n	(d) Women in classical Athens\n	(e) Staging Lysistrata in 411 bce\n2 The Action of the Play\n	(a) Introduction\n	(b) Plotting for peace: The sex strike and sedition (1–253)\n	(c) Fire and water: The choruses collide (254–386)\n	(d) Women on top: The Magistrate scene (387–614)\n	(e) Pride and pathos: A choral stand-off (615–705)\n	(f) The women waver: The strike plot and choral debate (706–828)\n	(g) The seduction scene: Cinesias and Myrrhine (829–953)\n	(h) The men feel the tension (954–1014)\n	(i) Reconciliation (1014–1215)\n	(j) Drunken festivities and celebrations (1216–1321)\n3 People, Places and Politics\n	(a) Lysistrata: Leader, priestess, wife, warrior, goddess\n	(b) Sparta and the Spartans\n	(c) Seriously funny? Lysistrata and politics\n4 Laughter, Language and Logic\n	(a) Making Athens laugh: Lysistrata’s humour\n	(b) The language of Lysistrata: Idiom, obscenity and gender\n	(c) Lysistrata’s comic logic: Fantasy, discontinuity and plo\n5 Lysistrata in the Modern World\n	(a) Introduction\n	(b) Translating Lysistrata in Victorian Britain: Skirting around obscenity\n	(c) Sexy, sexist and suffragette Lysistratas: Early adaptations on the European stage\n	(d) Embracing and avoiding controversy in mid-twentieth-century America: Broadway, Hollywood and the censor\n	(e) Lysistrata hits the big time: Sex and sexual politics in the spotlight in the late twentieth and early twenty-first centuries\n	(f) Lysistrata the pacificist\n	(g) Lysistrata against the Iraq War: The Lysistrata Project (2003) and its afterlife\n	(h) Making headlines in the twenty-first century: Lysistrata in the press, at the opera, on Broadway and on the big screen\n	(i) Conclusion: Lysistrata’s long-term allure\nNotes\nFurther Reading and Works Cited\nIndex