Miles Gloriosa: From Plautus’ Comedy to the Lesbian Crime Novel
DOI:
https://doi.org/10.24197/sa161t43Keywords:
Plautus, miles gloriosus, Classical Reception, lesbian crime fiction, hard-boiled fictionAbstract
This article analyses the survival and transformation of Plautus’ miles gloriosus character in contemporary lesbian detective fiction written in Spanish. Drawing on the framework of Classical Reception Studies, it examines how comic elements, character types, and parodic mechanisms characteristic of the Roman comedy have found their way into modern popular genres —particularly noir and hard-boiled detective novel— and have been reconfigured through a feminist and lesbian lens. The article demonstrates that lesbian detectives assume features of the miles (boasting, verbal excess, marginality, the eroticization of power) to subvert them through humour, sisterhood, dialogue, and a redefinition of narrative agency grounded from a feminist viewpoint, thereby displacing the heterosexual narrative typical of the traditional crime novel.
Downloads
References
ADORNO, Teodor W. y Max HORKHEIMER (1998), Dialéctica de la Ilustración, Madrid, Trotta (= 1969).
BAKOGIANNI, Anastasia (2016), “What is so ‘classical’ about Classical Reception? Theories, Methodologies and Future Prospects”, Codex 4.1, 96-113. DOI: https://doi.org/10.25187/codex.v4i1.3339.
BARRIOS-LECH, Peter (2016), Linguistic Interaction in Roman Comedy, Cambridge, Cambridge University Press. DOI: https://doi.org/10.1017/CBO9781316416983.
BERTINI, Ferruccio (1997), Plauto e dintorni, Roma-Bari, Laterza.
BETZ, Phyllis (2006), Lesbian Detective Fiction: Woman as Auctor, Subject and Reader, Jefferson, Carolina del Norte, McFarland & Company, Incorporated Publishers.
BOIX, Armando (1999), “Los Pulp magazines en Norteamérica”. Disponible en https://www.ciencia-ficcion.com/opinion/op00199.htm (fecha de consulta 25.05.2026).
BOURDIEU, Pierre (1983), Poder, Derecho y Clases Sociales, Bilbao, Desclée de Brouwer.
BROWN, Alison (2001), “Lucretius and the Epicureans in the Social and Political Context of Renaissance Florence”, I Tatti Studies: Essays in the Renaissance 9, 11-62. DOI: https://doi.org/10.2307/4603719.
BURNETT, Colin (2024), “A Poetics of the Popular Film Series: How the James Bond Films Tell Continuing Stories Differently”, Journal of Narrative Theory 45.1, 1-36. DOI: https://doi.org/10.1353/jnt.2024.a929260.
CAWELTI, John G. (1969), “The Concept of Formula in the Study of Popular Literature”, The Journal of Popular Culture 3.3, 381-390. DOI: https://doi.org/10.1111/j.0022-3840.1969.0303_381.x.
CHIARINI, Gioachino (1979), La recita. Plauto. La farsa. La festa, Bolonia, Pàtron.
COLEN, Emma (2025), “Guide to the classics: Aristotle’s Poetics is a bible for screenwriters – but it’s often misread”, The Conversation. Disponible en https://theconversation.com/guide-to-the-classics-aristotles-poetics-is-a-bible-for-screenwriters-but-its-often-misread-235636 (fecha de consulta 17.02.2026).
DAVID, Isabelle (2008), La fabrique du personnage plautinien, le rôle du masque et de la gestuelle, Université Toulouse II, Le Mirail.
DUCKWORTH, George E. (1952), The Nature of Roman Comedy, Princeton, Princeton University Press.
DYER, Richard (1979), Stars, Londres, British Film Institute.
ECO, Umberto (1964), Apocalípticos e integrados, Barcelona, Lumen.
FARWELL, Marilyn R. (1996), Heterosexual Plots and Lesbian Narratives, Nueva York-Londres, New York Press. Disponible en: https://www.jstor.org/stable/j.ctt9qfsfz (fecha de consulta 20.02.2026).
FAURE-RIBREAU, Marion (2012), Pour la beauté du jeu. La construction des personnages dans la comédie romaine (Plaute, Térence), París, Les Belles Lettres.
FLORENCHIE, Amélie (2018), “Cincuenta sombras de novelas rosas”, Pasavento. Revista de Estudios Hispánicos 6.1, 101-112. DOI: https://doi.org/10.37536/preh.2018.6.1.805.
GARCIA-HERNANDEZ, Benjamín (2001), Gemelos y Sosias. La comedia de doble en Plauto, Shakespeare y Molière, Madrid, Ediciones Clásicas.
GARCÍA-HERNÁNDEZ, Benjamín, Carmen GONZÁLEZ VÁZQUEZ y Rosario LÓPEZ GREGORIS (2014), “La recepción de Plauto y Terencio en la literatura española”, en S. Douglas OLSON (ed.), Ancient Comedy and Reception: Essays in Honor of Jeffrey Henderson, Berlín, De Gruyter, 606-653. DOI: https://doi.org/10.1515/9781614511250.606.
GRIG, Luzy (2017), Popular Culture in the Ancient World, Cambridge, Cambridge University Press. DOI: https://doi.org/10.1017/9781139871402.
HARDWICK, Lorna (2011), “Fuzzy Connections: Classical Texts and Modern Poetry in English”, en Jan PARKER y Timothy MATHEWS (eds.), Tradition, Translation, Trauma: The Classic and the Modern, Oxford, Oxford University Press, 39-60. DOI: https://doi.org/10.1093/acprof:osobl/9780199554591.003.0004.
HARDWICK, Lorna y Christopher STRAY (eds.) (2008), A Companion to Classical Receptions, Malden-Oxford, Blackwell. DOI: https://doi.org/10.1002/9780470696507.
LÓPEZ GREGORIS, Rosario (2006), “Plauto y la originalidad”, Minerva. Revista de Filología Clásica 19, 111-130. Disponible en: https://revistas.uva.es/index.php/minerva/es/article/view/2710 (fecha de consulta 28.05.2026).
LÓPEZ GREGORIS, Rosario (2018), “George Clooney, un miles moderno. Análisis de la figura del miles en la película Burn after Reading (Hermanos Coen, 2008)”, en Giorgia BANDINI y Caterina PENTERICCI (eds.), Personaggi in scena. Il miles, Roma, Carocci Editor, 77-96.
LÓPEZ GREGORIS, Rosario (ed.) (2021), Mujer y violencia en el teatro antiguo: arquetipos de Grecia y Roma, Madrid, Catarata.
LÓPEZ GREGORIS, Rosario (2025), “Maternidad, género, clase y edad en la comedia latina. Una propuesta de método”, en Rosa M.ª MARINA SÁEZ, Almudena DOMÍNGUEZ ARRANZ y Adrián GORDON ZAN (eds.), Proyectando la diversidad familiar desde la Antigüedad, Bicester, Archaeopress Publishing, 127-142. DOI: https://doi.org/10.2307/jj.39281116.14.
LÓPEZ GREGORIS, Rosario y Luis UNCETA GÓMEZ (2011), “Comedia romana y ficción televisiva: Plauto y la Sitcom”, Secuencias 33, 93-110. Handle: http://hdl.handle.net/10486/675177.
LÓPEZ LÓPEZ, Matías (1991), Los personajes de la comedia plautina: nombre y función, Lérida, Pagès Editores.
MÁRQUEZ LÓPEZ, Eva (2003), Recepción e influencia del Teatro de Plauto en la literatura española, Tesis inédita leída en la Universidad de la Rioja.
MARTÍN RODRÍGUEZ, Antonio María (2012), “Amores inadecuados en la comedia plautina y su pervivencia en los nuevos géneros dramáticos de la cultura de masas”, en Rosario LÓPEZ GREGORIS (ed.), Estudios sobre teatro romano: el mundo de los sentimientos y su expresión, Zaragoza, Pórtico, 523-554.
MARTÍN RODRÍGUEZ, Antonio María (2023), “Modalidades de recepción plautina en los productos dramáticos audiovisuales: recepción directa, mediada y subterránea”, Symbolae Philologorum Posnaniensium 32.2, 103-119. DOI: https://doi.org/10.14746/sppgl.2023.XXXIII.2.6.
MARTÍN RODRÍGUEZ, Antonio María (2025), “Avatares de la ‘amada inadecuada’ plautina en algunas series televisivas españolas”, International Journal of the Classical Reception 32, 174-197. DOI: https://doi.org/10.1007/s12138-024-00688-8.
MARTINDALE, Charles (1993), Redeeming the Text: Latin Poetry and the Hermeneutics of Reception, Cambridge, Cambridge University Press.
MAURICE, Lisa (2009), “Ocean’s 12 as Plautine Comedy”, Syllecta Classica 20, 135-170. DOI: https://doi.org/10.1353/syl.2010.0004.
MCCARTHY, Kathleen (2000), Slaves, Masters, and the Art of Authority in Plautine Comedy, Princeton, Princeton University Press. DOI: https://doi.org/10.1515/9781400824700.
OXFORD, Jeffrey (2010), “Petra Delicado: A Hard-Boiled Police Investigator”, South Central Review 27.1-2 (Spring & Summer), 91-104. DOI: https://doi.org/10.1353/scr.0.0072.
PARATORE, Ettore (1957), Storia del teatro latino, Milán, Francesco Vallardi.
PARKER, Holt N. (2011), “Toward a Definition of Popular Culture”, History and Theory 50, 147-70. DOI: https://doi.org/10.1111/j.1468-2303.2011.00574.x.
PÉREZ GÓMEZ, Leonor (2017), “Miles y milites en la comedia de Plauto: un rol en busca de personaje”, Florentia Iliberritana 28, 187-198.
PERTUSA, Inmaculada (2010), “Emma García, detective privada lesbiana: la parodia posmoderna de lo detectivesco de Isabel Franc”, Revista Canadiense de Estudios Hispánicos 35.1, 185-203. Disponible en https://www.jstor.org/stable/23055674 (fecha de consulta 10.01.2026).
PERTUSA, Inmaculada (2014), “Nuevas detectives lesbianas para un nuevo milenio”, en Teresa FERNÁNDEZ ULLOA (ed.), Otherness in Hispanic Culture, Cambridge, Cambridge Scholars Publishing, 105-121.
POCIÑA PÉREZ, Andrés y Aurora LÓPEZ LÓPEZ (2005), “Sobre la pervivencia de Plauto en los teatros europeos”, Fortunatae 16, 225-235.
QUESTA, Cesare (1982), “Maschere e funzioni nelle comedie de Plauto”, Materiali e Discussioni 8, 9-64. DOI: https://doi.org/10.2307/40235780.
RICHLIN, Amy (2017), Slave Theater in the Roman Republic. Plautus and Popular Comedy, Cambridge, Cambridge University Press. DOI: https://doi.org/10.1017/9781316585467.
THOMPSON-CASADO, Kathleen (2004), “On the Case of the Spanish Female Sleuth”, en Shelley GOLDSLAND y Nickianne MOODY (eds.), The Popular in Contemporary Spanish Texts, Newark, University of Delaware Press, 136-150.
UNCETA GÓMEZ, Luis (2018), “Gli studi sulla (s)cortesia linguistica in latino. Possibilità di analisi e proposte per il futuro”, Studi e Saggi Linguistici 56.2, 9-37. Handle: http://hdl.handle.net/10486/706019.
UNCETA GÓMEZ, Luis (2019), “Conceptualization of Linguistic Politeness in Latin: The Emic Perspective”, Journal of Historical Pragmatics 20.2, 286-312. DOI: https://doi.org/10.1075/jhp.00033.gom.
VOGT-SPIRA, Gregor (1998), “Plauto fra teatro greco e superamento della farsa italica. Proposta di un modello triadico”, Quaderni Urbinati di Cultura Classica 58, 111-135. DOI: https://doi.org/10.2307/2054653.
YANG, Chung-Ying (2010), “Petra Delicado y la (de)construcción del género y de la identidad”, Hispania 93.4, 594-604. DOI: https://doi.org/10.1353/hpn.2010.a407174.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Rosario López Gregoris

This work is licensed under a Creative Commons Attribution 4.0 International License.
The articles published at Minerva. Revista de Filología Clásica will have a Creative Commons Attribution 4.0 International License (CC BY 4.0).
The journal allows the authors to retain publishing rights. Authors may reprint their articles in other media without having to request authorization, provided they indicate that the article was originally published in Minerva. Revista de Filología Clásica.
