This portrait proceeds from the hypothesis that an actress should be studied as a distinct subject and that, in this sense, Giacinta Pezzana is representative because of her artistic choices and feminism, resting on friendship among women. In this article the author proposes a theoretical biography in nuce, which identifies the contexts and the problematical issues of Pezzana’s history, in the interweaving of the public and personal spheres, favouring the use of epistolary sources. Her lifetime witnessed the coexistence of the (...) Grande attore tradition, issues of Naturalism, Duse’s revolutionary art and industrial standardization. Pezzana stood out for her ethical sense and strong emphasis on expressivity, which disposed her to populist developments. Hence, her interest in popular and experimental theatre, renewable through linguistic and dramaturgic inventions. This brings about a double identity as writer and actress and an original twofold repertoire: the warhorses – such as Zola’s Teresa Raquin – and the ‘intellectual luxuries’, such as the Serate Dantesche, where she appears as a precursor of one-woman-shows. (shrink)

This article examines the role and reputation of Ellen Terry, the most eminent British Shakespearean actress of the late-Victorian period, and the extent to which she interrogated her function on the eminently spectacular stage of London’s Lyceum theatre. The article contends that in her writing – her autobiography, annotations of playscripts and lectures – Terry self-consciously and deliberately repositions herself as a Shakespeare commentator, and hence as one no longer subject to the temporal and visual limitations of the spectacular stage.

In 1847, Johanne Luise Heiberg, a thirty-year old Danish actress and friend of Søren Kierkegaard, performed the role of Juliet in Shakespeare’s Romeo and Juliet in the Copenhagen theatre. She had played Juliet once before, aged 16, and it was this first performance which helped to launch her prestigious career. The 1847 performance prompted Kierkegaard to write an article for the newspaper Fædrelandet , called 'The Crisis and a Crisis in the Life of an Actress' under the name of Inter (...) et Inter. Its publication contradicted Kierkegaard’s resolve to cease his literary authorship and to write directly under his own name as a religious author. This essay shows what was at stake for Kierkegaard in publishing 'The Crisis and a Crisis in the Life of an Actress' and its pivotal status for him both as a writer and a Christian. Both ‘crises’ of the title refer to a metamorphosis as a return to ‘the beginning’ effected through a series of elliptical characters: the actress, Juliet, Inter et Inter, Kierkegaard himself and the reader. Kierkegaard’s commentary on Frau Heiberg’s performance of Juliet brings together categories of repetition and anxiety in order to understand how “the metamorphosis of the actress” is effected as a return to the 'beginning', mirroring Kierkegaard's own transition from 'literary' to 'religious' writer and ultimately reflecting back on the reader’s own condition as existing individual. (shrink)

This article argues that eighteenth-century theatrical reviews and biographical descriptions equate the physical decline of the aging actress with the loss of her identity. It analyses disappearing selfhood through an investigation of the intersection of gender and age in William Hazlitt’s essays on retiring players: namely, “Miss O’Neill’s Retirement,” “Mr. Kemble’s Retirement,” and “Mrs. Siddons’ Lady Macbeth.” In these essays, Hazlitt suggests that the actress only maintains her public identity through an early departure from the stage. This is enforced by (...) societal understandings of normative and desirable femininity as youthful. To emphasize the feminine loss that accompanied aging, Hazlitt and his contemporaries would often juxtapose a player’s physical body with those of younger players, as well as with the memory—or ghost—of its own younger form. (shrink)

First published in 1848, Christian Discourses is a quartet of pieces written and arranged in contrasting styles. Parts One and Three, "The Cares of the Pagans" and "Thoughts That Wound from Behind--for Upbuilding," serve as a polemical overture to Kierkegaard's collision with the established order of Christendom. Yet Parts Two and Four, "Joyful Notes in the Strife of Suffering" and "Discourses at the Communion on Fridays," are reassuring affirmations of the joy and blessedness of Christian life in a world of (...) adversity and suffering. Written in ordinary language, the work combines simplicity and inwardness with reflection and presents crucial Christian concepts and presuppositions with unusual clarity. Kierkegaard continued in the pattern that he began with his first pseudonymous esthetic work, Either/Or, by pairing Christian Discourses with The Crisis, an unsigned esthetic essay on contemporary Danish actress Joanne Luise Heiberg. (shrink)

Despite the shifting ideologies of gender of the seventeenth century, the arrival of the first actresses caused deep social anxiety: theatre gave women a voice to air grievances and to contest, through their own bodies, traditional gender roles. This paper studies two of the best-known actresses, Nell Gwyn and Anne Bracegirdle, and the different public personae they created to negotiate their presence in this all-male world. In spite of their differing strategies, both women gained fame and profit in (...) the male-dominated theatrical marketplace, confirming them as the ultimate “gender benders,” who appropriated the male role of family’s supporter and bread-winner. (shrink)

During the last two decades, many thinkers on Iranian cinema have had many things to say about censorship, especially the issue of the veil imposed on women’s gender by the authorities in Iran. In this paper, I will describe Hamid Dabashi’s narrative as related to the concept of “truth” to show further that the veil issue has reached a new phase in Iran. Although much of what Dabashi defines as the absented body of women in his article “Body less faces: (...) Mutilating modernity and abstracting women in an ‘Islamic cinema’” may still hold, I believe his over-arching narrative doesn’t contribute enough to our understanding of the new relations among the authorities and actresses’ Fashion styles on red carpets. This paper’s method is connected with cultural and visual studies through Roland Barthes’ semiotics. I first focus on Hamid Dabashi’s conception of “truth” and how he believes “truth” is related to Islamic ideology and embodied in Iranian post-revolutionary cinema to further (through analysing photos of Iranian actresses’ clothing who attend festivals) conclude that Iranian women try to adopt new resistances in choosing their costumes compared to the early two decades of post-revolutionary Iran. The presence of Iranian women in festivals especially regarding what they wear has established a new interwoven relationship with authorities which has somewhat not been surveyed properly. By surveying the photos of their fashion and style I conclude that they are in constant negotiation with authorities through what they rebelliously wear. (shrink)

The first English translation of three essays on contemporary drama penned by Kierkegaard in the mid-1840's. The most substantial essay, "The Crisis and a Crisis in the Life of an Actress," takes as its point of departure Johanna Luise Heiberg's performance as Juliet in a production staged at the Royal Theatre on January 23, 1847. Some 19 years earlier Fru Heiberg had played the same role on the same stage as a girl of fifteen, and Kierkegaard's essay considers some of (...) the ironies and tensions of this juxtaposition. The 56 page introduction by Stephen Crites is perceptive and consistently illuminating as a portrait of the life situation out of which the essays grew. The translation is readable while preserving a thoroughly Kierkegaardian flavor, and the notes are revealing and to the point. Altogether, this volume might be taken as a model of how to present Kierkegaard's minor works in English.—J. T. (shrink)

Malgré l’avènement de la figure de l’acteur créateur au tournant des XIXe et XXe siècles, les procédés de copie, d’imitation et de réactivation constituent une part non négligeable des outils convoqués dans les exercices spécifiques au jeu. Cette persistance, qui trouve son origine dans le Paradoxe sur le comédien de Diderot, se lit et se décline tout au long de l’histoire des théories du jeu, dans le recours fréquent à un modèle, dont le type varie (nature ou réel, arts plastiques, (...) personnage théâtral, performance). C’est cette double continuité, celle des procédés de copie et du modèle dans les théories du jeu auxquelles s’adossent des pratiques et dont découlent des modes de fabrication, qui a nourri une expérimentation pédagogique pratique au sein de La Manufacture – Haute École des Arts de la Scène de Lausanne. Les ateliers élaborés pour les étudiant.e.s consistant à mettre en œuvre ces trois opérations, à leur proposer une histoire sensible, c’est-à-dire éprouvée, du jeu de l’acteur, et à leur faire percevoir l’importance des procédés de copie, d’imitation et de réactivation dans la pensée et dans la pratique du jeu. (shrink)

This chapter contains sections titled: Upbuilding Discourses in Various Spirits Works Of Love: Some Christian Deliberations in the Form of Discourses Christian Discourses The Crisis and a Crisis in the Life of an Actress The Point of View for My Work as an Author Three Godly Discourses further reading.

Marie Madeleine Jodin, actress, philosophe and feminist, published in 1790 her Vues legislatives pour les femmes, addressed to the National Assembly, one of the first signed, woman-authored, feminist works of the Revolutionary period, which has been largely neglected by scholars. This study analyses her treatise's arguments in detail, relating its two principal themes; the reform of prostitution and a plea for the Assembly to pass laws permitting divorce, to the context of Enlightenment thought, as well as to Jodin's own experience. (...) The pivotal figure of Rousseau, figured by Jodin as an apostle of liberty and moral regeneration, is also viewed as a focus of contention, given his views on women's incapacity for public life. It will be argued that Jodin's proposal to set up a separate legislative body for women to deal with domestic issues (family violence etc.) and for the reform of prostitutes, whilst seemingly subscribing to Rousseau's separate spheres ideology, is in fact a repudiation of it. Though lauding the model of the bourgeois family and the maternal ideal, Jodin's treatise gravely undermines patriarchal authority in the private and the public spheres. (shrink)

Two decades ago, Tarana Burke started using the phrase ‘me too’ to release victims of sexual abuse and rape from their shame and to empower girls from minority communities. In 2017, actress Alyssa Milano made the hashtag #MeToo go viral. This article’s concern is with the role of testimonial practices in the context of sexual violence. While many feminists have claimed that the word of those who claim to being sexually violated by others have political and/or epistemic priority, others have (...) failed to recognize the harm and injury of instances of sexual violence that are not yet acknowledged as such and failed to listen to victims from marginalized social groups. In fact, some feminists have attacked #MeToo for mingling accounts of ‘proper’ sexual violence and accounts that are not ‘proper’ experiences of sexual violence. My aim in this article is to show why this critique is problematic and find a philosophically fruitful way to understand the #MeToo-movement as a movement that strives for moral and conceptual progress. (shrink)

Philosophers have debated whether it is possible to knowledgeably infer a conclusion from a false premise. For example, if a fan believes that the actress’s dress is blue, but the dress is actually green, can the fan knowledgeably infer “the dress is not red” from “the dress is blue”? One aspect of this debate concerns what the intuitively correct verdict is about specific cases such as this. Here I report a simple behavioral experiment that helps answer this question. The main (...) finding is that people attribute knowledge in cases where a true conclusion is inferred from a false premise. People did this despite judging that the premise was false and unknown. People also viewed the agent as inferring the conclusion from the premise. In closely matched conditions where the conclusion was false, people did not attribute knowledge of the conclusion. These results support the view that the ordinary knowledge concept includes in its extension cases of knowledge inferred from false premises. (shrink)

Why did Kierkegaard prefer to write his masterpieces under different pseudonyms and what was the theatrical logic behind the constant playfulness of an author otherwise doomed to melancholy? What were the reasons of his ongoing philosophical, theological and aesthetic hide-and-seek that he did not want to finish until the very last, nearly tragic phase of his authorship? How much inspiration did Kierkegaard receive from theatrical performances, from playwrights and even from actors and actresses of 19th-century Copenhagen, which seemed to (...) be sometimes stronger than the influence exercised on him by his professors, masters and theologians of Denmark’s “Golden Age”? Can the difference between direct and indirect communication that basically characterized Kierkegaard’s oeuvre be described in theatrical terms or even to approach it as an ongoing dramatic dialogue? Should we rather call it a “polylogue” as different actors are present throughout the texts that were often polemic with each other, simultaneously reflecting certain issues from different angles and finally Kierkegaard denying that any of those were written by him? Could his own name be a pseudonym, as his brother suggested when giving the eulogy on the prodigal son, who learned to doubt from Socrates and from Descartes, yet could not give up his intention to question even the final axioms of human existence? The author tries to find answers to these questions by reconstructing the very special Kierkegaardian method, so familiar from the stage, in the spiritual, cultural and theatrical context of Kierkegaard’s Denmark. (shrink)

Word learning is basic to foreign language acquisition, however time consuming and not always successful. Empirical studies have shown that traditional (visual) word learning can be enhanced by gestures. The gesture benefit has been attributed to depth of encoding. Gestures can lead to depth of encoding because they trigger semantic processing and sensorimotor enrichment of the novel word. However, the neural underpinning of depth of encoding is still unclear. Here, we combined an fMRI and a behavioral study to investigate word (...) encoding online. In the scanner, participants encoded 30 novel words of an artificial language created for experimental purposes and their translation into the subjects’ native language. Participants encoded the words three times visually, audiovisually, and by additionally observing semantically related gestures performed by an actress. Hemodynamic activity during word encoding revealed the recruitment of cortical areas involved in stimulus processing. In this study, depth of encoding can be spelt out in terms of sensorimotor brain networks that grow larger the more sensory modalities are linked to the novel word. Word retention outside the scanner documented a positive effect of gestures in a free recall test in the short-term. (shrink)

In the _Nichomachean Ethics_, Aristotle defines three kinds of friendship: utility, pleasure, and virtue. The characters in the films of Sean Baker fit into none of these categories. Friendship is central to all of Baker’s films, but it takes the non-Aristotelian form of “friends, no matter what,” which I interpret as a description of the aporia of friendship, of an impossible friend, or a friend in the realm of fantasy. In other words, friends are only friends when they resist everything (...) friends are supposed to do. Betrayal, lies, and complications sit at the heart of this new definition. One mechanism for this kind of friendship is _mourning_. Friends are only friends when friendship is mourned, or when it is part of a crypt, or a vault for losses that are too traumatic to confront fully, as set out in the work of Sigmund Freud, Jacques Derrida, Nicolas Abraham and Mária Török, and developed by Laurence Rickels. This reading of mourning puts a particular spin on fantasy, for if fantasy is generally assumed to be about wish-fulfillment, then when fantasy reaches into the crypt for inspiration, it is retooled into a vehicle for confronting what is too hard to face. This is the function of friendship in Baker’s films: his friends are Judas figures going against their friends in order to keep their friendship alive. In _Tangerine_ (2015), two transgender sex workers in West Hollywood develop their friendship around a fight over a man. In _Starlet_ (2012), a young woman hides a secret from her elderly female friend, and this friendship is only saved when another actress betrays this secret. In these films, friendship is paradoxically formed by attempting to ruin friendship. Thought on fantasy and mourning will help in defining this type of non-Aristotelian friendship, as well as Freud’s work on the “ambivalence of feeling” from his writing on the First World War. (shrink)

Cinema is an effective medium for communicating the Platonist attitude toward Beauty as an attribute worthy of moral respect, as case studies can illustrate. Mine focuses on the work of the French actress Carole Bouquet, who launched her career in Buñuel’s Cet obscur objet du désir (That Obscure Object of Desire). Part 1 shows sins against Beauty to be a unifying theme of Bouquet’s films, which leave no doubt as to the appropriate response. Part 2 combines Plato’s distinction in the (...) Phaedrus between erotic and aesthetic vision with insights from Kant and Baudelaire to sketch a course of action that addresses the critical “What is to be done?” question. (shrink)

A classical theoretical frame to interpret motor reactions to emotional stimuli is that such stimuli, particularly those threat-related, are processed preferentially, i.e., they are capable of capturing and grabbing attention automatically. Research has recently challenged this view, showing that the task relevance of emotional stimuli is crucial to having a reliable behavioral effect. Such evidence indicated that emotional facial expressions do not automatically influence motor responses in healthy young adults, but they do so only when intrinsically pertinent to the ongoing (...) subject’s goals. Given the theoretical relevance of these findings, it is essential to assess their generalizability to different, socially relevant emotional stimuli such as emotional body postures. To address this issue, we compared the performance of 36 right-handed participants in two different versions of a Go/No-go task. In the Emotional Discrimination task, participants were required to withhold their responses at the display of emotional body postures and to move at the presentation of neutral postures. Differently, in the control task, the same images were shown, but participants had to respond according to the color of the actor/actress’ t-shirt, disregarding the emotional content. Results showed that participants made more commission errors for happy than fearful body postures in the Emotional Discrimination task. However, this difference disappeared in the control task. Such evidence indicates that, like facial emotion, emotional body expressions do not influence motor control automatically, but only when they are task-relevant. (shrink)

The radical Islamist regime of the Taliban affords an extensive view of the logic of Muslim fundamentalism regarding the public and private spheres. I argue that the Taliban de-privatized several life-spheres, "publicizing" religion and the body. The Taliban performed power as public spectacle, employing public executions, amputations and whippings. Religion, too, was to be completely public, as Habermas argues it was in Europe before the 18th century. As soon as they took Kabul, the Taliban insisted that all residents had to (...) say their five daily prayers, the men in mosques. Likewise, men were given six weeks to grow out their beards to a hand's length and to trim their moustaches in accordance with a literal reading of sayings about the Prophet Muhammad's appearance. The young female memoirist of life in Taliban Kabul, Latifa, reported that her middle class father complied with the new rule, but insisted, "My beard belongs to the Taliban, not to me!" The rendering public of religion made public property of every religious act. His body had a choice, of being conformed to the movements and shaping of religion, or of being tortured because of lack of compliance. This publicization of the believer's body resulted in an alienation from individuals of parts of themselves. Likewise, the gendered character of the public and private spheres, with women being confined to the private, is as visible in Taliban thinking as it is in Hegel. The expansion of the public realm of religion and morality by the Taliban had the effect of shrinking the private sphere and so constraining women further. Girls' schools were shuttered and many war widows were reduced to begging and risking sanctions for being in the street without a male guardian. Posters of Bollywood actresses were forbidden, and Kate Winslet was condemned to death in absentia for portraying a fornicator in The Titanic. It is argued that the goal of perfectly privatizing the female body lay behind these Draconian measures. (shrink)

The article describes the interpersonal relationships of various states of society of the «post-Shakespearean» era in the artistic work of the outstanding English playwright and actor Benjamin Johnson. Relying on sources and scientific literature, the author of the article tries to recreate the layer of everyday life in London at the turn of the 16th and 17th centuries, to reveal the problem of the «survival» of actors in the first stationary theater «Globus», their attempts to communicate with aristocrats, the attitude (...) towards famous actors and directors in the English late Middle Ages society The central problem of the research is also the relationship between V. Shaksrip and A. Ferabosko, whose acting troupes shared the «stage» of the «Globus» theater. All these questions are most vividly revealed in Benjamin Johnson’s tragedy «Thrice Crossing the Thames», which was published after his death at the author’s request. The image of English society revealed through the thoughts and worldview of his contemporary is simply amazing. In the author’s opinion, it is also valuable that Benjamin Johnson personally knew V. Shakespeare and A. Ferabosko, the unforgettable young actress Catherine Loster. Research methodology. The content-comparative method, the method of modification of concepts and terms, generalizing and problem-searching methods to reproduce the realities of the era were used to write the article. Conclusion. we see that the place of man and the concept of «humanity» in the English dramaturgy of the «post-Shakespearean» era have changed significantly. In English art, more and more realistic «notes» are felt. Instead of “elevated” and “low” on the pages of books, «street life», «urban slums», relations between new states of society, new social morality come to the English stage. In order to fully feel the depth of these changes, it is worth discovering the realistic human images reproduced by contemporaries of the «post-Neckspearian» era, understanding the criteria of their morality and humanity from the point of view of the author of the dramatic work, who wrote at the crossroads of two great eras. (shrink)

Could a robot be a good actor? Could it build an effective relationship of understanding and empathy with other actors or spectators? This paper offers just a glimpse, a first trace of research of a now important phenomenon that affects the Performing Arts, namely the integration of artificial agents both in the creative process and in the theatrical performance. It will be treated for this purpose by the example of the android Geminoid F, protagonist of the play Sayonara (2010) by (...) Japanese director Oriza Hirata, created by Osaka University’s robotics expert Professor Hiroshi Ishiguro, whose gestures have been learned by imitating those of a real professional actress. Watching this android act is an alienating aesthetic experience: from the position of the audience, the boundary between human and robot is unclear. Geminoid F was chosen as co-star in the film of the same name, shot in 2015 by the internationally acclaimed Japanese director Koji Fukada, precisely because of her expressive qualities, as effective as those of a human actor, capable of arousing an empathic reaction in the viewer. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Run Away from HistoryKazim Ali (bio)I’m at the tail end of this conversation but also at the tail end of history. Fanny Howe says five Black boys on a corner (any corner) are “runaways from history.” Meaning they are still enslaved. Still a slave. Tongo Eisen-Martin says, “I am arrested all the time for nothing.” And yet there is no white crime in America, statistically speaking, no police crime.When (...) a dog wagged its tail and approached Christian Cooper in Central Park a white woman began screaming. That is the mythic beginning of the end for a Black man: a white woman screaming. It doesn’t matter what laws apply to his body because Blackness is the first law. It happened exactly when George Floyd was expiring. I thought of his breathlessness when I read about Amy Cooper screaming into her phone in Central Park. “Cooper,” every newspaper found it necessary to mention, “is of no relationship to Cooper.”Floyd being pressed from breath is what Cooper in her brutal imagination wanted to happen to Cooper.Fanny is the mother of a novelist and a designer, mother-in-law of another novelist and a poet, aunt to a novelist, sister to a poet, daughter of an actress and a Pink Boy, mentored by a playwright called Beckett, mentor to an aspirant named Ali, who followed her from the Vineyard to the Western shore, as did the characters in her novels, obsessed also with understanding race in America, trying to understand what is the worth of a person.I saw Tongo Eisen-Martin recite his poetry twice, and each time—for twenty minutes or a half hour—he recited off the page, only from memory, no, not from memory, membery, but from breath. In breath his lines arose. I kept checking against the page because I thought he might be engaging in a more ancient practice of inspiration, but no, not that: the words were as inscribed. [End Page 139]What words inscribe laws on bodies? Old Western ones that began with the representation of wealth: value placed upon labor and bodies required to transfer wealth. But from whom to whom? One Cooper was looking for birds. But in Black life in America the most ordinary event brushes up against death. [End Page 140]Kazim Ali Kazim Ali is the author of numerous books of poetry, fiction, nonfiction, and cross-genre work. He is professor and chair of the Department of Literature at the University of California San Diego.Copyright © 2022 State University of New York... (shrink)

This article addresses cultural memory’s ability to address past and present injustices by focusing on the artistic-political practices displayed by the professional actresses of Roma descent from the independent theater the Giuvlipen in Bucharest. The founders of this Romani women-centered theater also have ‘invented’ the word ‘Giuvlipen’ – ‘feminism’ in the Romani language – because there had previously been no word to connote both the forms of oppression and the consciousness raising politics performed by Romani women. By applying the (...) lens of intersectional feminism, the argument this article aims to put forth is that Giuvlipen’s artistic performances can foster the awareness raising of the Romani women’s ‘double jeopardy’. At the same time, the artistic performances displayed by the Giuvlipen Theater challenge the habits of historical remembering and its politics of oblivion, which can in turn promote experiential forms of knowledge and new structures and archives of feelings. (shrink)

The Emmy- and Tony Award-winning actress invites readers on her journey to make the most out of life as she offers humorous personal stories and philosophical-ish musings on connection, creativity, loss, love, and closure.

This article aims to cast a glance on some questions relevant for theatre, with an emphasis on the actor’s point of view, not in order to investigate the acting practice but to develop a reflection. Theatre is a marginal art; an actor’s action is a displacement action, out of the centre, searching, moving. Also, the actor is always a foreigner, a strange stranger. We follow these questions while going through the fieldpath, with direct reference to Martin Heidegger’s text “Der Feldweg”. (...) As an actress, I try to understand it by walking my own path. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 126.4 (2005) 613-622 [Access article in PDF] The Triumph of Cupid: Marlowe's Dido Queen of Carthage Mary-Kay Gamel University of California, Santa Cruz e-mail: [email protected] is a lot for classicists to like in Marlowe's The Tragedy of Dido Queen of Carthage. There was a lot for theatergoers to like in Neil Bartlett's production of this play at the American Repertory Theatre (ART) in Cambridge, Massachusetts (...) (March 5–26, 2005).The script of Dido is based primarily on the Aeneid (Books I, II, and IV). Vergil's text contains many formal and thematic allusions to tragedy, especially in IV: the agonistic speeches; Anna's role as nutrix/confidante; comparisons of Dido to a raging Bacchant (301–3), Pentheus (469–70) and scaenis agitatus Orestes 471; and her thoughts of imitating the savage violence of Medea and Atreus 600–602. Aeneid IV raises the possibility that the poem will metamorphose from epic to tragedy, with Dido taking center stage from Aeneas.That is what happens in Ovid's Heroides 7, and it happens again in Dido Queen of Carthage. Marlowe probably wrote this play—his first—in 1585, when he was a twenty-one year old student at Cambridge University. An excellent Latinist, Marlowe did a superb translation of Ovid's Amores, probably before writing Dido. In writing Dido, Marlowe focused on Aeneid I, II, and IV, the books of the poem best known to ancient, Elizabethan, and modern audiences, and in a few places his characters speak Latin lines from the Aeneid. In dramatizing this material, Marlowe did not simply translate but made many changes in structure, characters, and language. Aeneas' account of the fall of Troy, for example, condenses all of Aeneid II (more than 800 lines) into 163 lines (still a very long speech, which includes horrific details not in Vergil: "young infants swimming in their parents' blood, / headless carcasses piled up in heaps" [II.i.193–94]).1 [End Page 613]Most significantly, Marlowe makes his gods Ovidian rather than Vergilian—selfish and petty, concerned only with status and pleasure, using human beings only to satisfy their desires. Jupiter is a middle-aged man making a fool of himself over a teenager: in the first scene he is not, as in the Aeneid, looking down from Olympus and already thinking about Aeneas, but rather trying to seduce Ganymede, a "female wanton boy," when Venus indignantly interrupts with "Ay, this is it!" (I.i.50).Venus' encounter with Aeneas in Carthage (Aeneid I.314–417) ends with Aeneas' unanswerable question, "Why talk we not together hand in hand / And tell our griefs in more familiar terms?" (I.i.245–46). Venus and Juno's plot to unite Dido and Aeneas is complete with sexual double-entendre: in the cave, Juno says, they will "interchangeably discourse their thoughts / Whose short conclusion will seal up their hearts" (III.ii.93–94). Costumes in the ART production reflected the gods' iconic status, though more in terms of Hollywood than ancient representations: Juno was a drag queen, Hermes an unearthly figure in gold paint with huge wings, while Venus was played by an African-American actress in white satin and spike heels (including her hunting outfit) with exaggeratedly "black" gestures and intonations—waving her long fingernails, arching her neck, posing her head, and calling Juno "sistah!" Bartlett was clearly not worried about using sexual and racial stereotypes to make an impact.Marlowe's mortals are dignified, yet wounded and vulnerable. His Dido is proud, independent, initially uninterested in Aeneas; his Iarbas genuinely loves Dido, warmly welcomes Ilioneus and the others; Anna is in love with Iarbas. All try to behave reasonably and honorably but are invariably thwarted by the gods' games. The ART Aeneas was deeply damaged by his experiences in Troy. A craggy man, wearing a scoured breastplate over worn fatigues, he staggered on, stooped, beaten. The text supports this interpretation: before beginning his speech about the fall of Troy, he says "memory... beats forth my senses from this... (shrink)

The incredible story of the woman--actress, dancer, yogi, globetrotter--who brought yoga to America and to much of the rest of the western world. Born Eugenia Peterson in early 20th century Russia, Indra Devi was a rebel from earliest childhood. In the 1930s she fled to Berlin, and then--driven by her passion for yoga and a fascination with yogic philosophy (and Theosophy)--she journeyed to India, at a time when unaccompanied young European women were unheard of. In India she performed perhaps her (...) greatest feat--convincing even the most recalcitrant yogis, from Krishnamurti to Krishnamacharya, to reveal to her the secrets of their art. She would go on to share what she learned with men and women around the world--teaching Gloria Swanson and Greta Garbo in Hollywood, then moving to Mexico and later to Buenos Aires--helping to usher in the craze for yoga that continues unabated in the U.S. and throughout the world today. Written with vivid clarity, and describing the extraordinary spread and popularization of a philosophical movement, The Goddess Posebrings Indra Devi's little known but wholly remarkable story to life. (shrink)

This essay examines the breast cancer accounts of four Arab female celebrities who have spoken out in public about their illness experience: the Egyptian TV presenter Basma Wahba and the actress Yasmine Ghaith, the Iraqi actress Namaa al-Ward, and the Lebanese pop singer Elissa. By reading their testimonies against the backdrop of critical literature on illness narratives and memoirs, as well as on cancer narratives and activism, the essay asks: how are the accounts of these women’s cancer diagnosis and treatment (...) disclosed and described? In what medium do they communicate and circulate their breast cancer experiences? What significance do these public disclosures have on challenging and breaking the Arab taboo of cancer? In conclusion, the essay argues that these women’s willingness to share their stories in public constitutes an important form of multimedia activist intervention—visual, sonic, and performative—that is playing a key role in the development of a breast cancer movement. (shrink)

Tom Stoppard is not the sort of playwright one might call anti-intellectual, yet he has persistently singled out the field of academic philosophy for special assault in his plays. Stoppard’s antipathy emerges from a history of contention between the theater and philosophy in England, one that originates in Friedrich Nietzsche’s Birth of Tragedy and its particular reception at the hands of George Bernard Shaw. Stoppard offers an apotheosis of this disputation in his 1972 farce Jumpers, which imagines a marriage between (...) a philosopher and an actress meant to demonstrate the superiority of the theater as a mode of speculative discourse. (shrink)

"Drawing on letters, correspondence, oral histories, and interviews, Baronova's daughter, the actress Victoria Tennant,... recounts Baronova's dramatic life, from her earliest aspirations to her grueling time on tour to her later years in Australia as a pioneer of the art"--Dust jacket flap.

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 407-427 [Access article in PDF] Trying (on) Gender:Modern Greek Productions Of Aristophanes'Thesmophoriazusae Gonda Van Steen [Figures]Aristophanes' women in Thesmophoriazusaecomplain that Euripides has portrayed their gender in a bad light: by exposing typical female wrongdoings (to which they comically admit), he has made Athenian men distrust their wives. At their Thesmophoria festival, where they gather in an imitation-male assembly as in a male trial (...) court, the women are ready to sentence Euripides to death. 1 Or, as Euripides evaluates the situation:This very day it will be adjudged (krithesetai):shall Euripides live or shall he die?Kinsman:How could that be? The courts (dikasteria) aren't in session (dikazein) today and the Council isn't sitting.It's the middle day of Thesmophoria!Euripides:And that's exactly why I think I'm done for. (Ar. Thesm. 76-81, trans. Henderson) Once the women learn from Cleisthenes that their sacred festival space has been violated, they interrogate and physically examine Euripides' kinsman. This relative, dressed as a woman, has infiltrated the all-female ritual and trial proceedings to deliver an odd defense of Euripides. Mnesilochus tests and tries on the women's gender. Tests, trials, and tryouts are key themes of this paper, in which I argue that the original play's dynamics of trying and judging gender, gender-crossing, and feminist power are also the faultlines that have affected the modern Greek reception history of Aristophanes' Thesmophoriazusae. 2 [End Page 407]All the characters of the 411 B.C.E.Thesmophoriazusae, both female and male (whether Euripides, Mnesilochus, Cleisthenes, or Agathon), assess gender-bending figures and pass (formal or informal) judgment on them. Even though judging was an activity reserved for men in antiquity, both parties here evaluate each other and each other's appearances and acts, whether public or private, dramatic, literary, or sexual. On the modern Greek stage, this fantasy of judging the opposite or opposing sex, this plot of trying—and trying on—the other gender has been reworked in diverse ways. 3 On a metaphorical level, the modern Greek reception of Thesmophoriazusae frequently mirrored the offstage as well as onstage conditions of sex-based judging, and accepting or rejecting, that have characterized the play's internal dynamics. Thus, the study of the modern Greek revival tradition of Aristophanes' Thesmophoriazusae can shed light on ancient comedy production and enhance philologists' readings of the classical text, even though this tradition is not the result of a historically continuous process.My paper analyzes three trends in the Greek reception history of Thesmophoriazusae from the vantage point of judgment of, and prejudice against, women. It outlines an evolution from an antifeminist to a neutral to a feminist treatment of the original play. Only belatedly did the Greek male theater world deem women "worthy" enough (or "unworthy" enough—in some detractors' eyes) to participate in the making of the Aristophanic revival on stage, whether as actresses, spectators, or theater directors. Greek actresses, female theatergoers, and female stage producers faced real challenges of prejudice and prohibition before they were given access to the modern Greek revival tradition of Thesmophoriazusae. Most of these challenges resembled the problems and barriers to women posed by Greek revivals of Aristophanes' very popular Lysistrata and Ecclesiazusae. 4 But, as a comedy inspired by ancient women's rituals and carried by topical, literary, and paratragedic humor, Thesmophoriazusae especially evoked little interest among Greek stage directors, contemporary audiences, and critics. Between the years 1951 and 1998, there were only eight new productions of Thesmophoriazusae at either the Athens or the Epidaurus summer festivals, as opposed to nearly a dozen new productions [End Page 408] of Ecclesiazusae and approximately fifteen new productions (and numerous repeat performances) of Lysistrata. 5The long-perceived problem has been how to make Thesmophoriazusae, with all its idiosyncrasies, not only relevant but also amusing. Late twentieth-century directors, both in Greece and abroad, tend to look for a balance between adhering to the original text and updating the comedy's ritual, literary... (shrink)

Multi-word formation processes in Portuguese comprise root-compounding (e.g., toxicodependente ‘drug addict’, agridoce ‘sour sweet’), word-compounding (e.g., barco-casa ‘houseboat’, guarda-roupa ‘wardrobe’, cantora-atriz ‘singer/actress’), and blending (e.g., cartomente ‘lying fortune teller’ < cartomante ‘fortune teller’ + mente ‘he/she lies’, tristemunho ‘sad testimony’ < triste ‘sad’ + testemunho ‘testimony’, cantautor ‘singer and composer’ < cantor singer + autor ‘composer’). Compound structures have been quite thoroughly described by several authors (e.g., Villalva & Gonçalves 2015), whereas blending has garnered some controversial and even contradictory analyses. (...) Some authors claim that blends and compounds have similar structures, while others consider that they have completely different structures (e.g., Gries 2004b, Minussi & Nóbrega 2014). This paper focuses on the description and analysis of an annotated corpus of Portuguese blends, and on the presentation of experimental evidence that aims to assess the knowledge of these words by native young adult European and Brazilian Portuguese speakers.The first section is devoted to the presentation of Portuguese blends, namely regarding the status of their constituents and their linear relationships, grammatical structure, and the phonetic/prosodic relationship that holds between the blends and their base words. The second section focuses on the description of the Portuguese blend corpus. Although new coinages make this a never-ending work in progress, it is presently formed by (circa) 300 blends, collected in a variety of sources, from literary texts to political and social commenting, advertising, or even individual ad hoc instances. The information gathered in the corpus comprehends all the features considered in the analysis of the blends, presented in section 1, and it also provides data on attestation and frequency. The third section presents an analysis of a sub-corpus (184 forms), related to their linear structure, grammatical and prosodic relationships, and a cross-analysis that suggests that there is a strong link between headedness and cliphood. Finally, the fourth section offers a brief presentation of experimental work that suggests that clips facilitate the processing of blends, since the clipped word is more frequently used in replies to a familiarity test, and the same happens with reaction time values obtained in a lexical decision test. (shrink)