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

By Karen Bassi

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

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The homogeneity of these positions is a means of presuming sameness in the face of multiplicity and difference. " When Goldman turns or returns to Greek tragedy, as all critics must, this founding process overtly apprehends him and his implied or ideal reader. Like Aristotle and Freud, he envisions himself and his readers as elite male citizens in fifth-century Athens. We are far from the hero. A good portion of the entire city's population sits around us. We all look down the vast cupped slope into the stone bull's-eye, the dancing ring with an altar at the center.

Courage, or t'1voQEia, is essential to the guardians' education and to the preservation of the city (Republic 429a-430c). " Nostalgia and Drama 23 all males are masculine, or that bodily acts and speech acts are transitory and illusory, only proves the need to postulate an essential core of immutable masculinity. Plato's censorship of bodily or visualized impersonations thus illustrates how the critique of dramatic impersonation is a manifestation of disciplinary practices that are ultimately aimed at establishing an inner core of unchanging masculinity.

In book 3 of the Republic, Socrates argues that fully enacted first-person impersonation-that is, "to impersonate both in voice and in looks" (393C5-6)-is dangerous in the ideal state, in which no citizen may be "double or multiple, since each one does one thing" (397el-2). 14 In this political context, the baser sort of citizen is one who is wholly indiscriminate and will "attempt to imitate everything in earnest before many people" (397a3-4). The danger inherent in such indiscriminate imitations is that, if they are practiced from an early age, they can become habitual and naturalized in "body and voice and thought" (395dl-3).

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