Download PDF by Karen Bassi: Acting Like Men: Gender, Drama, and Nostalgia in Ancient

By Karen Bassi

ISBN-10: 0472106252

ISBN-13: 9780472106257

"Greek drama calls for a narrative of origins," writes Karen Bassi in Acting Like Men. leaving behind the quest for ritual and local origins of Greek drama, Bassi argues for a extra secular and not more formalist method of the emergence of theater in historical Greece. Bassi takes a extensive view of Greek drama as a cultural phenomenon, and he or she discusses a large choice of texts and artifacts that come with epic poetry, ancient narrative, philosophical treatises, visible media, and the dramatic texts themselves.
In her dialogue of theaterlike practices and studies, Bassi proposes new conceptual different types for figuring out Greek drama as a cultural establishment, viewing theatrical functionality as a part of what Foucault has known as a discursive formation. Bassi additionally offers a major new research of gender in Greek tradition at huge and in Athenian civic ideology particularly, the place spectatorship on the civic theater used to be a distinguishing function of citizenship, and the place citizenship was once denied women.
Acting Like Men contains specific discussions of message-sending as a kind of scripted speech within the Iliad, of conceal and the theatrical physique of Odysseus within the Odyssey, of tyranny as a theaterlike phenomenon within the narratives of Herodotus, and of Dionysus because the tyrannical and effeminate god of the theater in Euripides' Bacchae and Aristophanes' Frogs. Bassi concludes that the validity of an idealized masculine id in Greek and Athenian tradition is extremely contested within the theater, where--in principle--citizens turn into passive spectators. Thereafter the writer considers Athenian theater and Athenian democracy as jointly reinforcing mimetic regimes.
Acting Like Men will curiosity these attracted to the heritage of the theater, functionality concept, gender and cultural experiences, and feminist methods to historic texts.
Karen Bassi is affiliate Professor of Classics, college of California, Santa Cruz.

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Additional resources for Acting Like Men: Gender, Drama, and Nostalgia in Ancient Greece

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Svenbro's notion of dramatic performance as a vocal rewriting of the text is interesting if a bit confusing, since what is vocalized is not a rewriting but a reiteration of the written text in oral speech. See also Segal 1986. 5. Ion 535e9-536a1. This passage is discussed in more detail later in this chapter. 6. ). 7. Cf. Hanson 1989, 15: "[The] deliberate dependence on face-to-face killing at close range explains another universal object of disdain in Greek literature: those who fight from afar, the lightly equipped skirmisher or peltast, the javelin thrower, the slinger, and above all the archer (Eur.

Acting Like Men 1448b5-6). Thus, while Aristotle's ideal tragic spectators are not as clearly personified as Plato's guardians, they are naturalized in accordance with the proper effect of tragic mimesis. They even make a rather conspicuous appearance, so to speak, when Aristotle implicitly compares them to those spectators whose "weakness" is the source of inferior tragic plots (Lilv LWV 8EULQWV c'w8EvELaV, 1453a34-36). In general terms then, the Poetics is not a corrective to the Republic. 19 What Aristotle does have to say about the overt effect of tragedy on an audience constitutes one of the most controversial passages in the Poetics, namely, his all too brief claim that the catharsis of pity and fear is the benign and therapeutic purpose of tragedy.

Blundell 1992, 157. Acting Like Men These questions bring me back to catharsis. It seems clear that when Aristotle talks about catharsis in his definition of tragedy at Poetics 1449b24-28, he is not talking about an effect on the characters in the play. This interpretation is borne out at 1453bl-7, in which the "someone" [·w;] to whom Aristotle refers is the hearer of the [Oedipus] plot, who, as Segal remarks, stands in for the spectator. 27 The feelings of pity and fear to which that hearer is subject are the same feelings that bring about the proper effect of the tragic performance, that is, catharsis.

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Acting Like Men: Gender, Drama, and Nostalgia in Ancient Greece by Karen Bassi


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