What role did poetry, music, song, and dance play in the social and political life of the ancient Greek city? How did philosophy respond to, position itself against, and articulate its own ambitions in relation to the poetic tradition? How did ancient philosophers theorize and envision alternatives to fourth-century Athenian democracy? The City and the Stage poses such questions in a study of the Laws, Plato's last, longest, and unfinished philosophical dialogue. Reading the Laws in its literary, historical, and philosophical (...) contexts, this book offers a new interpretation of Plato's final dialogue with the Greek poetic tradition and an exploration of the dialectic between philosophy and mimetic art. Although Plato is often thought hostile to poetry and famously banishes mimetic art from the ideal city of the Republic, The City and the Stage shows that in his final work Plato made a striking about-face, proposing to rehabilitate Athenian performance culture and envisaging a city, Magnesia, in which poetry, music, song, and dance are instrumental in the cultivation of philosophical virtues. Plato's views of the performative properties of music, dance, and poetic language, and the psychological underpinnings of aesthetic experience receive systematic treatment in this book for the first time. The social role of literary criticism, the power of genres to influence a society and lead to specific kinds of constitutions, performance as a mechanism of gender construction, and the position of women in ancient Greek performance culture are central themes throughout this study. A wide-ranging examination of ancient Greek philosophy and fourth-century intellectual culture, The City and the Stage will be of significance to anyone interested in ancient Greek literature, performance, and Platonic philosophy in its historical contexts. (shrink)

This paper answers the questions ‘what is the Merchant of Venice?’ and ‘how may it accomplish its purpose?’ I argue that the usual treatments of this play are inadequate and show how the play is a comedy through which the passions appropriate for the good human being are engendered. What is raised and ridiculed are our own temptations to lesser joys and less sweet uses mimetically roused in us by the action and characters of the play. What is whetted but (...) left unsatisfied is our higher love for justice. Thus the play provides a catharsis (purification) of desire and sympathy. (shrink)

The object of the study is the continuous preservation of the multi-genre Cossack folk song, which represents a key purpose in the implementation of the preservation of the traditional mentality at the present stage. The subject of this work is the immanent complexes of traditional song culture in the folklore heritage. The purpose of this study is to structure the issue of the cultural interrelation of the ethnic canvas of the Kuban Cossack folk songs, in the originality of the genesis (...) of the vocal and performing specifics of modern creativity. When discovering the fundamental foundations of the vocal performance of the Cossack song, special attention is paid to the study of the folklore primary sources of the Kuban folklorists, V.G.Zakharchenko, A.D.Bigdai, G.M.Kontsevich. Along with this, an expert assessment of the characteristics of the Kuban Cossack folk song according to the genre classification component is an important feature of the performance of vocal samples today. The theoretical basis is in an analytical approach to the peculiarities of the performance of a local source from the point of view of substantiating the scientific nature of the subject under consideration according to the functionally oriented elements of the report: traditions, traditional manner of performance, interpretation of the text, song melody. Methodological basis: components of the study of the local singing tradition, modernization of folklore song documents, the method of consistency-the genre diversity of Cossack performance. The author's approach to the correlation of musical sources as methodological characteristics of the Kuban Cossack singing traditions has been developed. We test the proposed system when working with archival documents, in the diagnosis of song samples recorded from informants. The key aspect is the musicological analysis of the musical collections of Kuban Cossack folk songs from the point of view of the continuously developing, multifaceted changing performing skills of the soloist and choir. The author takes into account the introduced model of performing Cossack songs since the resettlement of the Black Sea Cossacks, who brought the baggage of multi-genre sources and eventually introduced the Kuban folk singing art. The scientific novelty of the research lies in the author's analytical systematization of authentic song compositions recorded by folklorists, in the analysis of multi-genre Kuban Cossack sources (selectively) for further active performance on stage. The specific directions of performance according to characteristic song genres are determined: historical, military, everyday, marching, lyrical, wedding, ceremonial, round dance, comic. The reproduced orientation of the nature of the continuous preservation of folklore sources in the revised performance interpretation of Cossack vocal works gives rise to significant broadcasting opportunities today. (shrink)

Available corpora for Argument Mining differ along several axes, and one of the key differences is the presence (or absence) of discourse markers to signal argumentative content. Exploring effective ways to use discourse markers has received wide attention in various discourse parsing tasks, from which it is well-known that discourse markers are strong indicators of discourse relations. To improve the robustness of Argument Mining systems across different genres, we propose to automatically augment a given text with discourse markers such (...) that all relations are explicitly signaled. Our analysis unveils that popular language models taken out-of-the-box fail on this task; however, when fine-tuned on a new heterogeneous dataset that we construct (including synthetic and real examples), they perform considerably better. We demonstrate the impact of our approach on an Argument Mining downstream task, evaluated on different corpora, showing that language models can be trained to automatically fill in discourse markers across different corpora, improving the performance of a downstream model in some, but not all, cases. Our proposed approach can further be employed as an assistant tool for better discourse understanding. (shrink)

This article develops and defends a performative conception of historical re-enactment as a fruitful method by which intellectual historians can interpret texts. Specifically, it argues that, in order to understand properly any given text, the intellectual historian should re-enact the performative activities of the writer of that text. The first section analyses one of the most influential and powerful theories of historical re-enactment, namely that found in the later writings of Robin George Collingwood. Drawing on Wittgenstein's theory of family resemblances, (...) certain key insights are identified in Collingwood's theory. Crucially, certain limitations are also stressed. The second section argues that an alternative theory of re-enactment can be developed by drawing on Judith Butler's theory of "performativity". The interpretative implications of a writer's genre, mode of experience, presuppositions, deliberate inventiveness and unintended failures are highlighted. The particularized nature of texts is shown to problematize the writing of unilinear histories of written debates. The article concludes by summarizing briefly the key methodological implications of performative re-enactment as they have been identified in the body of the article. (shrink)

Literary performance in the form of expressive reading aloud was central to Greco-Roman cultural transmission; scholars have described its role both in education and in ancient scholarship. Noting parallels in the terminology, objectives, and criteria for literary performance among the Techne Grammatike of Dionysius Thrax, scholia to canonical works, the Colloquia, and the scholia to the Techne, I argue that the scholia to canonical works reflect a performance culture in the Imperial period that included the ancient schoolroom, (...) and that the dynamics of literary performance in the ancient schoolroom may therefore help to solve the question of whether references to performance style and audience response in the scholia to canonical works were intended to guide real performances or, instead, they were meant simply describe an ideal performance by The Poet. I conclude that this is a false distinction for the schoolroom setting, since student performances were strongly conditioned by ideas of the historical origins of genre. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Genres in Dialogue: Plato and the Construct of PhilosophyDavid EngelAndrea Wilson Nightingale. Genres in Dialogue: Plato and the Construct of Philosophy. Cambridge: Cambridge University Press, 1995. xiv + 222 pp. Cloth, $57.95.The old saw "Everybody's a comedian" has its counterpart in contemporary academia: "Everybody's a philosopher." Biologists. Psychologists. Linguists. Physicists. Anthropologists. Historians. Even jurists. Many scholars of comparative literature, English, and history can be heard describing (...) what they do, not as literary criticism or history, but as "philosophy." One may even wonder whether we need philosophy departments anymore. Philosophy's private domain has shrunk from what it was under Aristotle (just about every subject short of wagon repair) to its present emaciated condition: it can claim almost nothing for itself alone. The other disciplines have encroached upon it bit by bit. This book is a timely contribution to an important current issue: what is philosophy, [End Page 316] and what does it have to offer? Nightingale argues that Plato faced similar questions. Rhetoricians, tragedians, and comedians all peddled what they had to say as wise (sophon), while dismissing other claims and pursuits as foolishness or worse. Against them and their respective discourses Plato proposed a new candidate: philosophia.Prior to Plato, philosophia meant just "intellectual cultivation." According to Nightingale, it was Plato who made it into a full-blown discipline--or, as she says, invented the discourse. As a way of privileging philosophia (in Plato's new sense of the word) above rival discourses, he parodied them. Nightingale's claims about the parody of other genres and Plato's privileging of philosophia are novel, insightful, and very persuasive. Perhaps it is overstatement to credit Plato with inventing philosophy, but that hardly diminishes the overall impression of this fine book's main arguments.Among Plato's contemporaries, the foremost challenger for the title "practitioner (and teacher) of sophia" was Isocrates. Nightingale uses his Antidosis to show that (1) Isocrates wanted to claim philosophia for himself, and (2) his version of philosophia was significantly different from Plato's. She concludes that the term was still a subject of genuine contention: its meaning mattered to both Plato and Isocrates. As Isocrates advocates rhetorike as philosophia, Plato argues that philosophy is both different from rhetoric and better than rhetoric. Rhetoric aims, ultimately, at public utility as the public perceives that utility, and rhetoric's value is gauged only by the political influence of those who practice it. Plato rejects that entire value system. At bottom it is also the value system of the other genres which, as Nightingale persuasively shows, Plato also parodies.Plato's "parody" (Nightingale's use of the word is broad, but unexceptionable) is "a device for defining and privileging his own pursuits" (59). Moving from rhetoric to tragedy, she considers Gorgias' echoes of Euripides' Antiope. Plato's parody of tragedy subtly criticizes tragedy qua discourse. The tragedian is "ignorant of truth... imitating appearances... gratifying the multitude... fostering the inferior part of the soul," that is, he is precisely what the philosopher is not (67). Socrates and Callicles evoke Euripidean characters: respectively, Amphion (who advocates a private life devoted to the liberal arts) and Zethus (who argues for a life of political activity) (69-70). Plato's unambiguous allusions to Antiope juxtapose not only Socrates and Callicles (and, through them, two irreconcilable views of what philosophy is) but also the tragic hero and the philosophical one (72-73). Plato's "life of the mind for its own sake" orientation wins, ultimately, in both comparisons. Furthermore, just as Amphion's arguments fail to persuade Zethus in Antiope but are eventually vindicated by Hermes' appearance at the play's conclusion, so too Socrates' arguments fail to convince Callicles, and Gorgias' concluding underworld myth parallels Antiope's deus ex machina: affirmation that the view which had been rejected (Amphion's and Socrates') was right, after all (87-88). [End Page 317]Nightingale then examines encomium. Publicly performed epitaphioi and their fictive counterparts (e.g., Menexenus) influenced one another, and the techniques of the encomium, although salient in that genre, occurred elsewhere, including deliberative and forensic situations. In her view, Plato's concern is not narrowly with encomium... (shrink)

ABSTRACT I begin by considering the nature of philosophy understood as a genre of writing. I claim that genres are impure, porous, changing sites of inclusion and exclusion that are anything but natural kinds. Furthermore, I suggest that works of poetry, drama, painting, dance, and other arts may profitably be understood as works of philosophy and that philosophy itself may profitably be understood as an art, as performance work. I support this claim by an analysis of philosophy's canon (...) as historicist, expressivist, and self-consciously hybrid. I explicate the notion of hybridity in terms of crossings understood as encounters, resistance and opposition, and passing borders. I conclude by drawing parallels between philosophical notions of hybridity and political issues of identity, community, and outsiders. Throughout this article, I am concerned to do philosophy in a way or style consistent with the expressivist view of philosophy I present. (shrink)

The article centres on Italian Neorealist cinema and its crucial role in negotiating the positioning of Italy in the transnational post-war scenario. Recent scholarship on the topic has come to challenge many deeply rooted assumptions about Neorealism, claiming that the disproportioned attention paid to this particular filmic trend has proven in the long term to be an hindrance to a full comprehension of the Italian visual culture of the period. I seek to contribute to such a renewed understanding of the (...) ideological and aesthetical issues at stake in the definition of Neorealism. It is indeed very important to underscore that the innovations brought about by Neorealist films (connected in particular to the diffusion of location shooting practices) must always be framed in the context of a lively relationship with popular genre cinema. The article thus focuses on the close reading of one specific filmic text, Sotto il sole di Roma (1948). Castellani’s film proposes an original blending of Neorealist techniques, melodramatic structures and comedic tones: an hybridization of genres representing in itself a most apt correlate to the moment of flux Italy and Italian cinema were experiencing at the time. The film’s use of Rome’s ‘Non-synchronous’ and ‘Heterotopic’ spaces can be read as an attempt to come to terms and overcome fascism’s agendas about history, community, and, last but not least, masculinity. While offering a very ironic interpretation of Italy’s deeply conflicted route to modernity, Castellani’s film also reflects on (personal as well as national) identity as the result of a performance: a performance in which loss and nostalgia play a major role. (shrink)

Il s’agit de proposer une confrontation entre deux pensées au premier abord sans grand rapport : les travaux critiques de J. Butler qui mettent au jour le rôle constitutif et assujettissant de normes sociales qui passent pour naturelles d’une part et, d’autre part, la pensée stoïcienne, indéniablement naturaliste et conservatrice. C’est le motif de la performance – exhibition du Cynique ou du drag, incarnation des normes de genre chez Butler ou d’un rôle par l’acteur stoïcien – qui retient notre (...) attention. On cherche à montrer qu’une certaine articulation est possible entre des usages stoïciens et des usages contemporains de la performance et que cette articulation est féconde pour notre manière de comprendre notre actualité. (shrink)

This article maintains that African philosophy should consider those discourses that function as channels of important ideas in African cultures, without prejudice against their language and, especially, their genre. What are such philosophical discourses? This article starts from a case study, Swahili culture, and interrogates the communicative resources available to it to serve as vehicles of philosophical thought. The survey includes language itself, proverbs, musical performance (sung lyrics), metric and free-verse poetry, novelistic prose, theoretical writings, and translations. Based on (...) this spectrum of genres, the article ventures some general observations about the relationship of African philosophy to language and genre. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.1 (2002) 119-122 [Access article in PDF] Mary Depew and Dirk Obbink, eds. Matrices of Genre: Authors, Canons, and Society. Center for Hellenic Studies Colloquia 4. Cambridge, Mass.: Harvard University Press, 2000. vi + 346 pp. Cloth, $50. The present collection of essays, which originated as a colloquium at the Center for Hellenic Studies, starts, in the words of editor and organizer Dirk Obbink, from (...) the premise that "genre is a conceptual orienting device that suggests to the hearer the sort of receptorial conditions in which a fictive discourse might have been delivered." Obbink goes on to note that, as the discussion at the colloquium developed, "a more text-based conception of authorial performance" began to emerge (6). This evolution in turn parallels the movement in the volume from an initial discussion of archaic and classical Greek genres to those of Hellenistic poetry and its Roman imitators. One can only applaud this attempt to provide a more sophisticated framework for the reading and reception of ancient literature. As befits the stature of the sponsoring institution and of the many distinguished participants, all the contributions are of an unquestionable competence. In the end, however, it is unclear that we have achieved a more complex, refined, or problematized concept of genre than that with which we began. Indeed, with a few exceptions, most of the modern debates about the concept of genre are either ignored or cited in passing rather than directly engaged. Nonetheless, there are a number of interesting and important individual papers in this volume and only a few that disappoint.Among the most praiseworthy is Eric Csapo's "From Aristophanes to Menander? Genre Transformation in Greek Comedy." Csapo takes dead aim at the traditional narrative of the evolution from a politically engaged Old Comedy of ribald invective to an apolitical plot-centered New Comedy typified by Menander and his Roman epigones. Csapo's argument is that this narrative was manufactured, not through the accidents of preservation, but through a deliberate selection and canonization of texts by early Peripatetic critics and scholars. When we characterize Old Comedy as being typified by Aristophanes' carnivalesque assaults on the Athenian political establishment and then point to his plays as proof, we are not only engaging in circular reasoning, we are also treading a path that has been deliberately and tendentiously drawn for us. Thus, while the traditional narrative depicts a linear evolution from iambic to Old Comedy to New Comedy, which is portrayed as a movement from the personal and the topical to the universal and the apolitical, Aristotle himself, as Csapo notes (117), admits that Crates, Aristophanes' predecessor, abandoned the iambic and began to compose generalizing plots (Po. 1449b7-8). In short, plots of the kind deemed [End Page 119] typical of New Comedy are to be found at the very beginning of the comic form. By the same token, we have evidence of political comedy surviving well past Aristophanes' supposed invention of the Middle Comic style in the Plutus. Indeed, the last example of an Athenian comedy of political invective is Demetrius' Areopagite, dating from circa 294 B.C.E.Csapo's argument, of course, is not a simpleminded refusal to acknowledge change but rather an attempt to rethink the historical evolution of the comic genre outside the bounds of a narrow, teleological narrative. Genres are always complex negotiations between competing conceptions of the same form by different producers and consumers. At various times, for various intrinsic and extrinsic reasons, different versions of the same form will be ascendant or fading into eclipse. But it is never a question of an essence that either unfolds its fullness over time or declines from a single ideal instantiation.Less revolutionary but equally persuasive is Joseph W. Day's "Epigram and Reader: Generic Force as (Re-)Activation of Ritual." Day examines the relation between dedicatory epigrams on cult statues and their ritual contexts by arguing that the dedicatory genre is essentially performative rather than constative. These epigrams do their social work by activating a performative context in the mind of the reader... (shrink)

This article will consider the unique contribution that the dramatic arts can make to philosophical practices of communication and reflection. While argumentation typically advocates a particular position over and against less plausible options, dramatic performance can convey the rich possibilities and tensions among conflicting points of view without ultimately taking a definitive stance. This genre, as a performed narrative involving multiple perspectives, can illuminate the complexity and legitimacy of a plurality of—often competing—theoretical commitments, whereas direct argumentation, by its very (...) nature, must weaken the opposition by putting it in a less compelling light. Theater, by its very methods, can .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Transvestite Achilles: Gender and Genre in Statius' AchilleidNeil W. BernsteinP. J. Heslin. The Transvestite Achilles: Gender and Genre in Statius' Achilleid. Cambridge: Cambridge University Press, 2005. xx + 349 pp. Cloth, $80.You do a girl tolerable poor, but you might fool men, maybe. Bless you, child, when you set out to thread a needle, don't hold the thread still and fetch the needle up to it; hold (...) the needle still and poke the thread at it—that's the way a woman most always does; but a man always does t'other way.... Why, I spotted you for a boy when you was threading the needle; and I contrived the other things just to make certain.(Mark Twain, Huckleberry Finn, chap. 11)In the wake of important briefer studies by Barchiesi, Feeney, and Hinds, and new editions by Rosati and Shackleton Bailey, Heslin has now produced the first full-length monograph in English on Statius' Achilleid. Although he surveys the entire poem, Heslin devotes particular attention to the episode of Achilles' transvestism at the court of Lycomedes on Scyros. By turns as witty, sophisticated, and learned as its object of examination, this book focuses on the themes of "the relationship of the Achilleid to the epic tradition and to the mythical biography of Achilles, Statius' manner of characterization, and the way he explores the nature of sex and gender" (xviii).Chapter 1, "Opening Nights at the Opera 1641–1744," demonstrates the Scyros narrative's appeal to a performance genre that commonly features transvestite masquerade. Assuming that his readers have little familiarity with the history of opera, Heslin surveys nine operas over a century and provides an "Epilogue" that brings his discussion into the twentieth century. The extended discussions of operas such as Gay's Achilles and Metastasio's Achille in Sciro (and the latter's numerous revivals) skillfully relate the libretti and staging to contemporary political, social, and literary debates. This chapter succeeds admirably in bringing out many of the major issues to which subsequent chapters return, such as the opposition of biologically essentializing and socially constructed models of gender and the conflict between heroic and burlesque approaches to mythological narrative.Chapter 2, "The Design of the Achilleid," takes up more traditional questions of form and genre. Though clearly an incomplete narrative, the Achilleid was carefully revised, and the text features a coherent design. Heslin suggests that Statius produced a prospectus designed to attract further patronage and thus intentionally left the reader unable to determine the future course of the epic either from the proem or extant narrative. Viewing the Achilleid as a prospectus permits Heslin to account for the proem's lack of specificity (in contrast, for example, to the "table of contents" found in the Thebaid's proem). The latter part of the chapter offers a close analysis of the proem and an assessment of Statius' engagement with the literary tradition. The Achilleid's proem bluffs the reader by advertising a linear, non-Aristotelian narrative, where in fact the epic begins in medias res and proceeds selectively. In contrast to the mad, vatic poet of the Thebaid, this narrator asserts his control over the narrative. Through passages such as Achilles' song in Chiron's cave, the epic enters "an ongoing discussion [End Page 142] regarding the proper version of a myth" (91) in the manner of learned Hellenistic poetry. The chapter concludes with a discussion of Statius' corrections of Vergil, such as his introduction of Deidamia (Achilleid 1.290–300) that responds to contemporary criticisms leveled at Vergil's Dido/Diana simile.Chapter 3, "Womanhood, Rhetoric, and Performance," offers a reading of the performances of gender by Thetis, Deidamia, and Achilles. Thetis' incompetent use of rhetoric makes her "the Mrs. Malaprop of Latin epic" (137). In her entreaty of Neptune, she fails to recapitulate the success enjoyed by literary models such her Homeric counterpart and the Vergilian Juno and Venus, in part because of her misuse of mythological exempla. She continues to misuse exempla in her persuasion of Achilles, undermining her case by associating his transvestism with the transsexuality of Caenis/Caeneus. Heslin further claims that Thetis engages in "discursive 'transvestism'" (133... (shrink)

Drawing from ethnographic, empirical, and historical / cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance (...) reliably influence perceptions of musical structure and affective interpretations of music. Finally, we trace new and old media trajectories of aural and visual dimensions of music, and highlight how our conceptions, perceptions and appreciation of music are intertwined with technological innovation and media deployment strategies. (shrink)

Based on the texts of ‘Management Discussion and Analysis on Financial Status and Business’ collected from 118 American corporate annual reports, this study investigated how the professional discourse is realized from the dimensions of text, genre, professional practice and professional culture, according to the framework of the Critical Genre Analysis theory. It was found that In the text dimension, lexicon features regarding vocabulary volume, vocabulary highlighting, readability and sentiment are unique to MD&As; the genre of MD&As corresponds to a rhetorical (...) structure of 3 moves and 10 steps; the professional practice of MD&As is represented by three types of interdiscursivity, that is, shifting, mixing and embedding; the professional culture of MD&As is embodied through identity enculturation, human-oriented value, cooperation awareness and self-serving manner. The results of this study help to better understand the realization of professional discourse and expand the application of CGA in professional practice. The findings presented herein are expected to enhance interdisciplinary research that relates language with corporate performance. (shrink)

The TGarden is a genre of responsive environment in which actor–spectators shape dense media sensitive to their movements. These dense fields of light, sound, and material also evolve according to their own composed dynamics, so the agency is distributed throughout the multiple media. These TGardens explore open-ended questions like the following: what makes some time-based, responsive environments compelling, and others flat? How can people improvise gestures without words, that are individually or collectively meaningful? When and how is a movement intentional, (...) or collectively intentional? This paper introduces what has been at stake behind the experimental work: subjectivation, moving from technologies of representation to technologies of performance, and the potential for ethico-aesthetic novelty. (shrink)

RESUMO A entrevista sociolinguística tem sido estudada em diferentes aspectos, por pesquisadores de variadas áreas. Este texto busca ampliar a perspectiva de análise de entrevistas sociolinguísticas, em uma abordagem interdisciplinar, articulando noções do campo discursivo com outras do campo antropológico e do campo sociolinguístico. Os objetivos específicos deste trabalho são: (i) articular os conceitos de cronotopo, performance de linguagem e atos de postura (stance) para o estudo das dimensões cronotópicas na entrevista sociolinguística; (ii) expor e descrever essas dimensões e (...) seus aspectos indexicais; e (iii) propor algumas estratégias metodológicas que podem ser adotadas para o mapeamento das dimensões cronotópicas nas entrevistas sociolinguísticas. Como resultado, exponho algumas contribuições dessa articulação conceitual e da estratégia metodológica utilizada, atentando-se também para a investigação de dados emergentes dessa prática discursiva. (shrink)

In Singapore, top down public education campaigns have long been a mode of governance by which the conduct of citizens is constantly regulated. This article examines how in two fairly recent campaigns, a new approach to campaign communication is used that involves media interdiscursivity, viz., the mixing of discourses and genres in which the media constitute a significant element. The present approach involves the appropriation of a popular local television character, ‘Phua Chu Kang’, in order to address the public (...) through educational rap music videos. Media interdiscursivity is based on an attempt to engage the public via a discourse of the ‘lifeworld’. The present article analyzes the ‘lifeworld’ discourse in terms of a combination of two processes, ‘informalization’ and ‘communitization’. The dual processes are examined and discussed in relation to the choice of Phua Chu Kang as an ‘ordinary’ and almost ‘real’ person, including his informal register and speech style; his use of Singlish; and his construction of ‘community.’ The presence of Singlish, in particular, is interesting because it is included as part of PCK’s public performance of the lifeworld. The article concludes by considering this form of media interdiscursivity as the government’s shrewd way of achieving its social governance goals. (shrink)

Samuel Beckett’s choice of the title Ohio Impromptu to name the play first performed to an audience of academics and scholars at Columbus Ohio in 1981 is one manifestation of its author’s interest in the question of literary genre; more generally, in Beckett’s dramatic works one encounters a meticulous attention to the activity of categorisation, even if the energy is often directed toward the creation of phantom genres for spectral exemplars. This essay concerns itself with Ohio Impromptu in particular (...) because by means of elements specific to this play (including the context in which it was first performed) it comments upon its own very failure to occupy its designated genre co-ordinates (these include its identity both as a play and as an ‘impromptu’). This play, which is so apt to incorporate other genres, however, is presided over by a stage direction which locates it firmly in the theatrical context. It is in its deliberate failure to attend to this stage direction that the Beckett on Film version of the play goes beyond the mere treacherous fidelity that is inevitably a feature of any adaptation. In arguing this, the essay analyses the foregrounding in the play of questions that can be said to pertain to genre (in several senses). Its more specific intention is to suggest that, via a combination of casting and special effects, the adaptation succeeds not only in cancelling the critical reflection on the ‘genre gesture’ that is lodged in Ohio Impromptu, but also in eradicating the very disjunction between Reader and Listener upon which the play depends. (shrink)

Qu'on le veuille ou non, depuis qu'il est sorti de la clandestinite, le cinema porno est devenu l'un des grands genres cinematographiques du divertissement populaire, a cote du thriller, du film d'horreur, de la comedie sentimentale etc. Il est tout a fait insuffisant de definir un genre par les reactions qu'il est cense susciter chez les spectateurs (en l'occurrence l'excitation sexuelle). De meme, il est insuffisant de le definir par son iconographie i.e. les differentes performances sexuelles et la maniere (...) dont elles sont filmees. Il est tout simplement faux d'affirmer que les films pornographiques se ressemblent tous et ne racontent rien. Qu'est-ce que nous racontent donc les films pornos? (shrink)

This study explores the history of the Hagia Sophia Mosque and its religious music forms, with a particular focus on how these forms are applied in the newly reopened Hagia Sophia. All genres performed here are executed by imams and muezzins who are highly skilled in their fields, making it a model for both contemporary performers and future generations. The study examines the types of mosque music performed during the five daily prayers, Fridays, holy days, and religious holidays in (...) Hagia Sophia, which has functioned as a mosque since 2020.Analysis reveals that some of these forms are unique to Hagia Sophia in terms of both structure and execution, underscoring the importance of bringing them to light. To this end, extensive research, observation, recording, and notation processes were carried out to document these unique styles. The article provides detailed insights into the maqam (musical mode) dimensions, performance styles, timing, and duration of various mosque music forms, including Qur’ān Tilāwah, Adhān, Ṣalā/Ṣalawāt, Iqāmah, Ilāhī, Mawlid, Miʿrācīyah, Qaṣīdah, Istighfār, Tasbīḥ, and others. The distinct and improvised characteristics of certain forms are also discussed. Furthermore, specific to the Hagia Sophia Mosque, the article includes the notations of the Tasbīḥāt recited at the mihrab after the Fajr prayer on Fridays, Saturdays, and Sundays, as well as the notations of various Istighfār recited in different maqams collectively by the muezzins after each obligatory prayer. (shrink)

Aristotle's statement that the spectator of epideictic rhetoric judges dynamis ( Rhetoric 1.3, 1358b5-6) is problematic because it seems to direct audience judgment towards the ability of the speaker as opposed to the subject-matter of his speech. I argue that, as a reference to the speaker's ability, the remark indexes the peculiar competitive structure in which speeches of praise and blame are conventionally involved. Thus understood, it is essential to Aristotle's taxonomy of genres and helps resolve the dilemma created (...) by naming the genre of praise and blame after a mode of performance, epideixis, compatible with speeches of any formal description. (shrink)

The main section of this volume of essays addresses the topic of 'Performativity in Literature and Music', a subject of high contemporary relevance since a substantial part of recent reflections in the humanities are concerned with the performance aspect of cultural activities, particularly in the arts. This decisive reorientation of scholarly interests in the arts, trendily called the 'performative turn', has yielded significant contributions to an increasingly refined understanding of artistic processes from an up-to-date perspective, and specifically what has (...) been called the 'crisis of the work concept' has sharpened our awareness of the need of finding the 'proper' object of such scholarly investigations, which, as in most traditional studies, cannot be exclusively the written documents of our cultural heritage, but additionally, and essentially so, their actualizations in performance situations. This volume for the first time offers a set of careful case studies from a wide range of artistic genres (narrative fiction, poetry, opera, instrumental music, songs, jazz) and historical phases (from Elizabethan verse to 21st-century HD opera performances) which give detailed insight into consequences of addressing issues of performativity in the field of word and music studies. Closely examined examples range, in music, from the romantic reception of Bach and the opera singer Maria Malibran through Mahler and Schoenberg to Brigitte Fassbaender, Philip Glass and Charles Mingus, and, in literature, from Sidney through Yeats and Celan to Katherine Mansfield, Alejo Carpentier and Toni Morrison. In addition, the volume contains a smaller section on 'Surveying the Field' of word and music studies which includes an essay of general reflection on interart relationships and an attempt at identifying new features of the 'musicalization of fiction'. This collection of essays will be relevant to students and scholars from a wide variety of fields: performance studies, intermediality studies, art theory, musicology, voice studies, literary criticism, and philosophy. (shrink)

Recent advances in Information and Communication Technology have had a strong impact on how members of the global financial community interact. In particular, communications for purposes of financial disclosure have evolved from traditional written reports or oral presentations to new ICT-driven forms. This study describes the generic profile of earnings calls, that is, conference calls during which company executives present periodic financial results to investment analysts connected via telephone and the Internet. A qualitative discourse analysis performed on the transcripts of (...) 20 earnings calls revealed a rather consistent structural patterning, as well as evidence of intertextuality and interdiscursivity that shows how the financial community has shaped its own distinctive communicative practices. For additional interpretive insights, a professional informant from the financial sector was consulted. These findings enhance our understanding of a spoken genre that is destined to play an increasingly important role in corporate financial disclosure. (shrink)

The detrimental effect of the public recital on the quality of epic production in the first century is a stock theme both in ancient and in modern literary criticism. While previous studies on the epic recital emphasize its negative effects, or aim at its reconstruction as social reality, I focus on its conflicting representations by the ancients themselves and the lessons that we can learn from them. The voices of critics and defenders reveal anxieties about who controls the prestigious high (...) genre of epic and about the construction of gender and social status through epic's public performance. Critics of the recitatio such as Horace, Persius, Petronius and Juvenal represent it as an informal and popular event that panders to public taste and incurs infamy. These critics charge that the epic recital has an effeminizing effect both on the recitator and on his audience, a charge traditionally advanced against orators and actors. Because the epic recital in Rome lacks a performative context similar to the rhapsodic performances in Greece, its public image mirrors that of other public performances . The main point of divergence is the presence of the book, the symbol of permanent fame, which casts upon the recital the shadow of an evanescent entertainment. Defenders see the recital as instrumental to the maintenance of literature's value in society. This means that well into the first century there were those who felt nostalgia for the epic recital as a bulwark of male aristocratic values and who wanted to reclaim its prestige. Both Statius as a poet, who performed regularly at Domitian's court, and Suetonius, who acted as Hadrian's ab epistulis some twenty years after Statius' death, defend the waning reputation of the contemporary epic recital in an effort to reclaim it as a prestigious component of imperial literary culture. While critics unanimously negate the recital's role in the achievement of poetic fame in favor of the book, Suetonius chooses anecdotal evidence about the early performances by grammarians grammarians that show the important role of the recital in forging poetic fame. The emperor and the members of the new aristocracy whom Statius explicitly names as the target audience of his epic recitals have a stake in reclaiming for imperial culture an institution that went back to the second century B.C.E. and carried the prestige of an aristocratic event. (shrink)

In the performing arts, such as music and dance performances, people actively interact with each other and show their exciting performances. Some studies have proposed that this interaction is a social origin of the performing arts. Some have further investigated this phenomenon based on the synchronization and coordination theory. Though the majority of these studies have focused on the collaborative context, several genres of the performing arts, such as jazz sessions and breakdance battles, have a competitive context. Several studies (...) have suggested that, in this competitive context, performers actively interact with each other and construct some correspondence. Moreover, a few recent studies focusing on competitive conversations, such as debates, have shown that, compared to people's interactions in collaborative conversations, people in competitive contexts frequently coordinate their behaviors in complicated ways. However, the interaction and coordination among performers in these competitive contexts have not been sufficiently investigated. Therefore, we investigated the coordination of expert breakdancers in battle scenes and measured their rhythmic movements using a motion capture system. We calculated the relative phase of the rhythmic movements between two dancers to investigate their coordination. The results showed that the dancers' rhythmic movements tended to synchronize in an anti-phase fashion, which means that there were similarities as well as differences between the two dancers' rhythmic movements. Furthermore, this pattern of coordination changed dynamically as time elapsed, from an in-phase synchronization or leader-follower relationships to an anti-phase synchronization and then leader-follower relationships. (shrink)

The object of this research is the wordless novel – a genre at the confluence of literature and fine art that appeared in Europe in the late 1910s. Most of the time, the author of the narrative in wordless novel is the artist himself, and the compositions has no verbally foundation. Verbal function is performed by a visual component. The visual component is illustrative, but independent and performs verbal functions. Frans Masereel – the founder of the genre and originator of (...) the term, and Lynd Ward – the artist who contributed to proliferation of the genre in the United States, are two most prominent figures with in the genre of wordless novel. For other artists it was more of an experiment, therefore namely the works of Masereel and Ward were selected for this analysis. The main conclusions are associated with the peculiarities of literary language of wordless novels, the specificity of which is substantiated by the need to solve the tasks of the opposite in its essence verbal language, without having any suitable tools. Images in the wordless novels are narrative, and exist to the fullest only within the framework of the series. Moreover, these images are processed through experience of the text. Although the very idea of the genre consists in carrying out narrative without using words, it does not distort the verbal component. It is rather being transformed, shifting to inner layers of the image, and acquiring an implicit character. The article analyzes the key visual tools used by the artists in creation of wordless novels. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Performance and Gender in Ancient Greece: Nondramatic Poetry in Its SettingAndré LardinoisEva Stehle. Performance and Gender in Ancient Greece: Nondramatic Poetry in Its Setting. Princeton: Princeton University Press, 1997. xi 1 367 pp. Cloth, $39.50.Both gender and performance have been the focus of much research in Greek literature since the mid-1970s, although they usually have been studied by different sets of scholars. A quick gender (...) analysis shows that gender studies, so far, have attracted mainly female scholars (with the prominent exception of Jack Winkler), while the study of the performance contexts of early Greek literature has been dominated by men: Claude Calame, Bruno Gentili, and Wolfgang Rösler, to name but a few. Eva Stehle, for the first time, combines both approaches to present a new reading of various passages in archaic and classical Greek literature.The book consists of six chapters with an introduction and a brief conclusion. The introduction opens with six ancient reports about performances, some of which touch upon the staging or self-presentation of the performers. This self-presentation can encompass many characteristics, including the performers’ physical fitness, social status, wealth, or gender. Stehle argues that the latter was considered particularly important in antiquity and is nowadays most easily detectable, because it is reflected in the language of the texts. This gendered self-presentation of the performers in turn has to be situated within the specific context of the performance. Stehle recognizes three types of performances in early Greece to which she relates the three major genres of poetry: (1) community performances (chapters 1–3), reflected mostly in choral poetry, (2) performances by bards of hexameter poetry (chapter 4), and (3) symposia (chapter 5), where most monodic lyric together with elegy and iambos was performed. Chapter 6 is devoted to Sappho, whose love poetry, Stehle argues, “was designed to escape the tyranny of the performance culture” (323).Another important concept discussed in the introduction is that of “psychological efficacy” (19–21). This relates to the effect a performance is supposed to have on the audience, besides entertainment. In chapter 1, Stehle discusses the psychological efficacy of community poetry, which, she argues, is to renew the community and provide a unifying discourse. Community poetry is mostly, but not exclusively, choral. A chorus can function as both reflection and model of the community, which means that it can speak for or to the audience. Among the fragments Stehle treats in this chapter are Alkman fr. 1, the Swallow Song (PMG 848), the Athenian praise song for Demetrios Poliorketes, Pindar’s Paian 9, Tyrtaios’ Eunomia, Solon’s Salamis elegy, and Archilochos frr. 98–99. [End Page 633]Chapter 2 (“Women in Performance in the Community”) continues the analysis of Alkman fr. 1 and further discusses Alkman fr. 3, Pindar’s Daphnephoria (fr. 94b), Korinna fr. 655, other evidence for songs sung by parthenoi, evidence for performances by adult women (chapter 2.2), and finally a number of inscriptions with women as subjects (chapter 2.3). (Inscriptions are also discussed at the end of chapter 6.) There is, according to Stehle, something of a paradox in the representation of the community by women, who otherwise lack a public voice. This paradox is resolved in Alkman’s partheneia fragments by having the young women downplay the efficacy of their voice. The same holds true for the young women in Pindar’s Daphnephoria fragment. In Korinna fr. 655 the poem “does not limit or depreciate women’s ability to speak effectively” (103), but it is unclear if this is a choral song. Adult women staged themselves as producers of warriors and proper wives. In other words, “women performing communal poetry combined the function of providing reflection and model with a staging of their own subordinate status in the community” (113). Stehle finds in the inscriptions a more positive expression of women’s identities, which she attributes to the “self-sufficient authority” of writing (115).The male body was associated with martial strength and aggressiveness, qualities which could be displayed in armed dances like the pyrrhiche but in other contexts were problematic for addressing the community. Therefore several strategies were developed to mitigate the aggressive... (shrink)

The subject of this study is Poetry in Arabs: Cultural Characteristics and Financial Supporters of the Ancient Literary Genre. The problem of this study is to question whether poetry can be evaluated from a cultural point of view in Arabs and a cute lifestyle, aesthetic, symbolic and semantic dimension. In this article, not only Arabic poetry is evaluated in terms of culture; the cultural dynamics that enable the development of poetry are also emphasized. There have been great developments in social (...) studies in the modern period. New sciences such as sociology, anthropology, archeology and cultural history were formed. Among these sciences, sociology primarily focused on Western societies, while anthropology investigated non-Western societies. These sciences have studied human diversity in ancient societies and peoples. As a result of these studies, a lot of data has been collected about the cultures of existing and ancient societies; The history of humanity has been tried to be understood and its future has been tried to be predicted. However, the poetry of the Arabs, one of the ancient societies, is known by everyone, and while the Arabs are an advanced society in poetry, the cultural aspect of poetry has not been adequately evaluated. Recent studies in this field are a repetition of the past as a method. These studies are certainly important, but as in the past, Arabic poetry is discussed in the context of history, content, form, subject and poets with the beginning date of poetry and the fairs where poetry is performed are emphasized. However, it is time to consider Arabic poetry around the cultural corpus, which is considered important today, with the dynamics of culture and cultural perspective. Therefore, in this study, ancient Arabic poetry has been evaluated in terms of culture. In this study, document analysis, one of the qualitative method techniques, was used; In addition to the works related to Arabic literature, some cultural and cultural history books were consulted. (shrink)

This article explores the pedagogical significance of non-static and hybrid utopian readings and writings by focusing on Margaret Cavendish's educationally-philosophically neglected female utopia The Description of a New World, Called the Blazing World. It questions the exaggerated, inflated and exclusivist emphasis on the pedagogical benefits of homologous spatial signifiers of entry into utopia and return to home and draws examples of utopian passages across genres, texts, minds and worlds from the writing of Cavendish. Such passages can be read as (...) performative ways of hybridising and reinventing both the utopian topos and the traveller's identity. New space is thus opened for learning as imitation and re-writing rather than as a return to, or manifestation of, an original self. Finally, new performative means for fashioning pedagogical authorship, nurturing the other's learning, and fashioning intellectual growth are promoted. Such means comprise mutuality of pedagogical initiatives, improvisation through imitation and supplementarity of cooperative writing. (shrink)

Cet article traite des enjeux réels et pragmatiques des modes d’adresse et de désignation des femmes dans le processus de légitimation à être des personnes comme les autres. L’article s’intéresse ici aux modalités performatives du traitement de ces questions en milieu institutionnel, administratif, juridique qui passent parfois par des sanctions financières, comme cela est par exemple le cas, à un niveau global et reconnu, pour le non-respect de la loi sur la parité par les partis politiques. La discrimination langagière, linguistique, (...) des femmes est un phénomène acculturé et donc rendu invisible, qui ne peut être brisé dans sa circularité que par le fait de le rendre visible à travers des relevés et analyses de certains de ces phénomènes qui font leur quotidien. Diverses analyses de faits administratifs discriminants envers les femmes illustrent la nécessité et les difficultés d’un changement de paradigme – à savoir, en effet, les femmes sont des Humains comme les autres. (shrink)

This pioneering study harnesses virtual reality to uncover the history of five venues that have been 'lost' to us: London's 1590s Rose Theatre; Bergen's mid-nineteenth-century Komediehuset; Adelaide's Queen's Theatre of 1841; circus tents hosting Cantonese opera performances in Australia's goldfields in the 1850s; and the Stardust showroom in 1950s Las Vegas. Shaping some of the most enduring genres of world theatre and cultural production, each venue marks a significant cultural transformation, charted here through detailed discussion of theatrical praxis and (...) socio-political history. Using virtual models as performance laboratories for research, Visualising Lost Theatres recreates the immersive feel of venues and reveals performance logistics for actors and audiences. Proposing a new methodology for using visualisations as a tool in theatre history, and providing 3D visualisations for the reader to consult alongside the text, this is a landmark contribution to the digital humanities. (shrink)

"The notion of Geschlecht - denoting gender, genre, kinship, and more - exemplifies the most pertinent questions of the transnational and transdisciplinary structures of contemporary humanities. What happens in the transference from one language, tradition, or form to another? Combining detailed case studies of "category problems" in literature, philosophy, theatre, media, cinema, and performing arts, with excerpts from canonical texts-by field-defining thinkers such as Derrida, Malabou, Nancy, and Irigaray-the volume presents "the Geschlecht complex" as a fulcrum for any interpretive endeavor, (...) as an invaluable mode of thought for the present and inevitable complexities of theorizing in the 21st century"--. (shrink)

To Korean people by the end of the 19th century who had previously enjoyed only traditional music genres, the music introduced by the hands of the missionaries must have been very new and unfamiliar. One hundred and a few decades since the meagre beginning of the meeting between the two has now passed, Korea has transformed into a modernized society where all kinds of music are performed and enjoyed, among which Western classical and popular music exist with considerable weight. (...) In the course of the development, there were constant exchanges between Korean traditional music and Western music. Korean traditional music has been subject at one end to defensive modification under the motto of transmission and at another end to aggressive destruction of some core aspects of the tradition under the motto of re-creation. This phenomenon creates important aesthetic issues in this study deals with the spectrum between the two ends drawn up by the traditional vocal genre, gagok. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between (...) music and wellbeing, with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

En danse comme dans les autres arts – même en science – écrit Hélène Marquié, le premier pas pour les études de genre est de donner de la visibilité aux femmes dans l’archive historique afin de reconstruire une histoire « mixte » (p. 218). L’auteure explique que c’est seulement avec les rapports de 2006 et de 2009 sur « l’accès égal » des hommes et des femmes aux performances et aux structures chorégraphiques que le féminisme à tonalité politique a commencé (...) à s’implanter dans la danse françai... (shrink)

Most investigations of musical performance anxiety have employed quantitative methodologies. Whereas such methodologies can provide useful insights into the measurable aspects of the experience in a larger group of participants, the complexity, subtlety and individuality of the emotional experience and the importance of the individual’s interpretation of it are often overlooked. This study employed a phenomenological approach to investigate the lived, subjective experience of performance anxiety, as described in professional musicians’ narratives. Semi-structured interviews with four professional musicians (two (...) males, two females) specializing in Western classical and jazz music genres were conducted and analyzed using Interpretative Phenomenological Analysis (IPA). The analysis revealed the presence of four overarching themes: (1) Intensity of performance anxiety experience, (2) perceived effects, (3) development of coping strategies, and (4) achieving release from anxiety. Findings suggest that the lived experience of performance anxiety is multifaceted, characterized by a physical and a psychological dimension. Interpretative Phenomenological Analysis is a useful research tool that can facilitate our understanding of the subjective experience of performance anxiety (how it is felt and understood at an individual level) and can thus be useful in the development of tailor-made intervention programs for musicians. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 319-328 [Access article in PDF] Introduction Mary-Kay Gamel Aristophanes' Thesmophoriazousai (Women at the Thesmophoria Festival) takes its title from an important three-day religious festival celebrated by women in honor of the goddess Demeter and her daughter Persephone. In this play, the playwright Euripides learns that the women of Athens plan to use the occasion of this women-only gathering to put him on trial (...) for the negative depictions of women in his plays. Euripides convinces a relative of his to dress in female costume, infiltrate the festival, and find out what the women are up to. The plot is quickly uncovered and the intruder captured. After several rescue schemes based on scenes from Euripides' tragedies fail, the playwright wins his relative's freedom by agreeing never to slander women again.Thesmophoriazousai has strong characters, a lively plot, and themes significant and timely both then and now—the relation between gender and performance, the representation of women in the media, an artist's responsibility. Yet it has received little attention from scholars and realized even fewer productions. The most obvious reason for neglect is the play's lack of explicit political commentary. Dover, for example, thinks it "leaves us with nothing difficult to think about... it has nothing to say about making peace" (1972, 169). The play contains considerable literary and dramatic criticism, in the form of both explicit commentary and parody, but this aspect has been far less studied than the contest between the tragedians in Aristophanes' Frogs. Some critics think the play weak compared to other plays of Aristophanes. Lever, for example, finds the conflict "not so clear-cut" since "the idea at stake... is only the stepping-off point for the fun that follows" (1956, 120). There are exceptions to this neglect. Norwood ranks Thesmophoriazousai far above Lysistrata: "for dazzling wit and irresistibly laughable farce combined this play is perhaps the world's finest masterpiece... glorious foolery suffused by a thrice-refined intellectual virtuosity that never misses a point, never overstresses it" (1931, 253-54). Rau (1967) gives the tragic parodies their due; in his substantial chapter on Thesmophoriazousai, Moulton declares it "skillfully composed and unified" (1981, 142); Bierl (2001) provides a detailed study of the role of the chorus. Yet the inattention continues: [End Page 319] Harriott (1986), Reckford (1987), and Segal (2001) mention the play only briefly.The years 2000 and 2001 seemed like a promising time to reconsider Thesmophoriazousai. The play's obscenity, which Norwood thought the only cause of its neglect, is no longer an obstacle. Recent scholarship on the religious and ritual context of Athenian drama helps us understand the role of the Thesmophoria and women's ritual in the play. And the rise of feminist criticism offers new perspectives on its portrayal of gender relations. Whitman unambiguously uses gender to denigrate the play: "These women are scarcely the warm wives and mothers of the Lysistrata, but rather a pack of vengeful furies... Femininity, whether real or assumed, is under a somewhat morbid cloud; by contrast, there is something genuinely refreshing about the masculinity of Mnesilochus [as he calls the Kinsman]... Comedy is virile, like Mnesilochus, and essentially truthful; tragedy is at best a hermaphroditic affair" (1964, 223-24). In a ground-breaking article first published in 1981, Zeitlin instead sees the play's connections between gender conflict and genre conflict—"the equivalence between intertextuality and intersexuality"—as the source of its power (1996, 375-416).Some feminists, however, question the function and effect of women's portrayal in Athenian plays written by males for male actors and possibly for an all-male audience. Zeitlin has argued that in Athenian tragedy, women are figures of male self-representation: "the self that is really at stake is to be identified with the male, while the woman is assigned the role of the radical other... functionally women are never an end in themselves, and nothing changes for them once they have lived out their drama on stage... they play the roles of catalysts, agents, instruments, blockers... and sometimes helpers or saviors for the male characters"... (shrink)

Combining ethnographic, semiotic, and performative approaches, this book examines texts and accompanying acts of writing of national commemoration. The commemorative visitor book is viewed as a mobilized stage, a communication medium, where visitors' public performances are presented, and where acts of participation are authored and composed. The study contextualizes the visitor book within the material and ideological environment where it is positioned and where it functions. The semiotics of commemoration are mirrored in the visitor book, which functions as a participatory (...) platform that becomes an extension of the commemorative spaces in the museum. The study addresses tourists' and visitors' texts, i.e. the commemorative entries in the book, which are succinct dialogical utterances. Through these public performances, individuals and groups of visitors align and affiliate with a larger imagined national community. Reading the entries allows a unique perspective on communication practices and processes, and vividly illustrates such concepts as genre, voice, addressivity, indexicality, and the very acts of writing and reading. The book's many entries tell stories of affirming, but also resisting the narrative tenets of Zionist national identity, and they illustrate the politics of gender and ethnicity in Israel society. The book presents many ethnographic observations and interviews, which were done both with the management of the site, and with the visitors themselves. The observations shed light on processes and practices involved in writing and reading, and on how visitors decide on what to write and how they collaborate on drafting their entries. The interviews with the site's management also illuminate the commemoration projects, and how museums and exhibitions are staged and managed. (shrink)

This article considers the description at Horace Odes 4.1.25–28 of a chorus of boys and girls dancing “in the manner of the Salii.” In this image of a double chorus of boys and girls dancing the Salian tripudium, Horace connects a feature he associates with the paean, a Greek genre of poetry, to the equally ancient but culturally Roman dance of the Salii. Horace is able to produce this particular vision of a hybrid performance because of certain homologies that (...) obtain between paeanic and Salian performances. In so doing, Horace formulates his own idiosyncratic relationship with Greek precedent and simultaneously responds to other ancient perceptions of the Salii, including those of Vergil. (shrink)

The purpose of this study is to investigate the musical means of expressing sorrow in Chopin's melodic practice. In spite of all the studies of Chopin's music that have been done up to now, there is an area that has not been yet seriously investigated. Much of the previous research has dealt with Chopin's life, his connection with the Polish national spirit through his use of Polish national genres, and his emotional involvement with the Polish nation's fate. Yet, there. (...) is no research that investigates the relation between Chopin's onto-historical world and the nature of the expressive qualities of his melodies. ;The hypothesis of an extra-musical aspect inherent to melodic units of Chopin's music has one global idea behind it. The core of this idea, derived from the philosophical perspective of Martin Heidegger's approach to art, is that works of art reveal the historical life-world in which they were created. Following this, idea, the tragic circumstances of Chopin's life seem to lead this researcher to view the musical expression of sorrow as an integral part of his compositional idiom. ;The major challenge of the study is to show that the presence of particular musical means of sorrow is essential to Chopin's melodic practice. The subsequent understanding by performers of these emotional roots of Chopin's compositional idiom will most probably lead to a more meaningful interpretation of his music. (shrink)

Drama Trauma is a difficult book to review because it both does and does not hang together as one sustained linear argument. Made up of pieces originally written for another book-length project and of more recent critical readings of cultural performance, the book moves from a lengthy section on Shakespeare to much briefer sections on contemporary drama, performance art and installation pieces. And since there's no conclusion, it's not always clear how the sections interact with one another; how (...) they hang together, so to speak. But the sections themselves make for a provocative read; and, if one accepts the book as a loosely organized attempt to 'reflect the non-linear incursions of theory and political performance that have altered our understanding of dramatic 'genre' over more than the past decade' (21), Drama Trauma marks an important contribution to the fields of drama scholarship, performance studies, cultural studies and media studies. (shrink)