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  1. Waiting for Godot: The Fragmentation of Hope.Benjamin Randolph - forthcoming - Angelaki: Journal of the Theoretical Humanities.
    Waiting for Godot’s many commentators have emphasized the absurdity of hope in the play, but there has not been an account of how the play reprises hope’s historical transformation and weakening in modernity. This essay provides that account, arguing that Beckett’s Waiting for Godot sponsors a form of hope appropriate to the predicaments of modern societies. Godot stages the blockage of hope by reflecting the obsolescence and fragmentation of the religious and progressive legitimations for the concept that used to be (...)
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  2. Reimagining the Future: Comedy and Hope.Russell Ford & H. Peter Steeves - 2023 - In Ramona Mosse & Anna Street (eds.), Genre Transgressions: Dialogues on Tragedy and Comedy. New York: Routledge. pp. 147-164.
    This wide-ranging conversation explores the potential of comedy to effect social change; the connections and disconnections between comedy and tragedy; the problem of laughter, humor, and ridicule; and the power of feminist humor.
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  3. L'individuo è morto!Simone Santamato - 2023 - Scenari.
    Sarah Kane's theatre is one of the most at the same time disturbing and profound representation of the collapses of the human soul. Nevertheless her theatre doesn't only stage the horrors of the pain, but it could be an epistemologically useful tool to decrypt the actual human condition: in this paper my goal is to extend her playworks in a pregnantly ontological and existential instance.
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  4. Sana esiintyy lihassa. [REVIEW]Jussi M. Backman - 2022 - Tiede Ja Edistys 47 (4):348-351.
    Book review of Esa Kirkkopelto, Logomimesis: tutkielma esiintyvästä ruumiista (Helsinki: Tutkijaliitto, 2020).
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  5. Plato’s Aesthetic Adventure: The Symposium in the Broad Light of Comedy.Lantz Fleming Miller - 2022 - Journal of Aesthetics and Art Criticism 45 (Number 2):15-26.
    Two Socratic dialogues often considered “comic”—Ion and Hippias Major—have also been contested as to their Platonic authenticity. Plato’s dialogues; while certainly engaging, can also seem grim in their philosophical intensity: At least one author has contended that the dialogue more firmly established as genuinely by Plato, Symposium; has some comic elements: This article goes a step further in suggesting that this dialogue does not merely have comic elements but is in fact a comedy. It draws on several texts in the (...)
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  6. Fiction and the Real World: The Aesthetic Experience of Theatre.Caterina Piccione - 2022 - Croatian Journal of Philosophy 22 (65):217-228.
    In what sense can aesthetic experience be considered an opportunity for the development of personal identity, cognitive abilities, and emotions? Theatre proves to be an important field of investigation to approach this question. During a theatrical experience, the connection between fiction and reality can take the form of active cooperation between author, actor, and spectator. A better understanding of this point can be drawn by pointing out three kinds of spectator: we can distinguish a critical spectator, an emotional spectator, and (...)
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  7. Tragedy as a Symbol of Autonomy in Schiller’s Aesthetics.Timothy Stoll - 2022 - British Journal of Aesthetics 63 (1):25-39.
    Schiller’s essays on tragedy attempt to argue that tragic experience is ethically valuable by forging a connection with Kant’s conception of autonomy. Standard interpretations hold that the connection lies in the fact that tragedies depict characters (primarily the hero) exercising autonomy. This paper argues that Schiller also views the experience prompted by tragedy as itself involving autonomy. Drawing on Kant’s discussion of aesthetic “symbols”, Schiller holds that the audience members’ experience at the tragedy is isomorphic with the autonomous exercise of (...)
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  8. The spring of action: in butō improvisation.Carla Bagnoli - 2021 - In Alessandro Bertinetto & Marcello Ruta (eds.), The Routledge Handbook of Philosophy and Improvisation in the Arts. Routledge.
    This chapter discusses butō dance as an example of improvisation that challenges not only the extant philosophical definitions of improvisation, but also some fundamental presumptions about self-government and agency that are current in action theory. In the first part of the chapter, I identify the main features of butō improvisation, with regard to the nature of its basic movement, and the kind of subjectivity implicated in its generation. I then raise some questions regarding the philosophical characterization of this form of (...)
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  9. “Aesthetic Ideas”: Mystery and Meaning in the Early Work of Barrie Kosky.Jennifer A. McMahon - 2021 - In James Phillips & John Severn (eds.), Barrie Kosky’s Transnational Theatres. New York, NY, USA: Springer. pp. 59-80.
    In this chapter I invite the reader to consider the philosophical assumptions which underpin the early career aims and objectives of Barrie Kosky. A focus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point will be to show that Kosky’s oeuvre demonstrates a central (...)
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  10. The Problems of Viewing Performance: Epistemology and Other Minds.Michael Y. Bennett - 2021 - London, UK: Routledge.
    The Problems of Viewing Performance challenges long-held assumptions by considering the ways in which knowledge is received by more than a single audience member, and breaks new ground by, counterintuitively, claiming that viewing performance is not a shared experience. Given that viewers come to each performance with differing amounts and types of knowledge, they each make different assumptions as to how the performance will unfold. Often modified by other viewers and often after the performance event, knowledge of performance is made (...)
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  11. Intrinsic-Extrinsic Properties in Theater.Michael Y. Bennett - 2021 - Philosophy and Literature 45 (1):34-38.
    David Friedell has recently discussed the relationship between intrinsic and extrinsic properties of art, specifically in music. Friedell claims that normative social rules dictate who can change the intrinsic or extrinsic properties of a piece of music. I claim that in text-based theater—as a particular art form—the dividing line between intrinsic and extrinsic properties of a play is sometimes tenuous. This tenuousness is due to a play's bifurcated existence as a dramatic text and as many theatrical performances.
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  12. Philosophy and Theatre: Incestuous Beginnings, Looking Daggers and other Dangerous Liaisons. A Dialogue.Emmanuel Alloa & Sophie Krempl - 2020 - In Routledge Companion to Performance Philosophy. Routledge. pp. 174-181.
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  13. Externalization on Stage: The Exil Ensemble’s Hamletmaschine.Katrin Trüstedt - 2020 - In Martin Jörg Schäfer & Karin Nissen-Rizvani (eds.), TogetherText: Prozessual erzeugte Texte im Gegenwartstheater. pp. 142–155.
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  14. "The Philosophy of Theater".Michael Y. Bennett - 2020 - Oxford Bibliographies.
    Theater—i.e., traditional text-based theater—is often considered the art form that most closely resembles lived life: real bodies in space play out a story through the passage of time. Because of this, theater (or theatre) has long been a laboratory of, and for, philosophical thought and reflection. The study of philosophy and theater has a history that dates back to, and flourished in, ancient Greece and Rome. While philosophers over the centuries have revisited the study of theater, the past four decades (...)
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  15. Review of Siddhartha Biswas's Theatre Theory and Performance: A Critical Interrogation. [REVIEW]Subhasis Chattopadhyay - 2019 - Prabuddha Bharata or Awakened India 124 (9):672-4.
    Biswas's book is a panoramic treatment of contemporary world theatre. The book under review will help both the neophyte, as also a scholar to negotiate ancient dramaturgy and more recent theatre. Biswas's eye for details is also remarked in this review. The review shows how Biswas, as it were, has written a manifesto of protest in this book.
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  16. La sociedad del espectáculo de Guy Debord: 50 años después.José Ramón Fabelo Corzo - 2019 - In Mayra Sánchez Medina & José Ramón Fabelo-Corzo (eds.), Coordenadas epistemológicas para una estética en construcción. Puebla, Pue., México: Colección La Fuente. pp. 259-274.
    En 1967, el francés Guy Debord escribía un resonante texto, La sociedad del espectáculo, en el que nos ofrece una penetrante y aguda reflexión sobre la sociedad de consumo —cuya experiencia directa vive en la Francia de la posguerra—, donde florece la economía de la abundancia, la industria del ocio, la generalización de los medios de comunicación audiovisual y la propagación del llamado american way of life. Anclado fuertemente en las ideas de Marx sobre la alienación y el fetichismo mercantil, (...)
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  17. GJESDAL, KRISTIN. Ibsen's Hedda Gabler —Philosophical Perspectives. Oxford University Press, 2018, 272 pp., $29.95, paper. [REVIEW]Lior Levy - 2019 - Journal of Aesthetics and Art Criticism 77 (2):215-219.
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  18. Alienation and Affirmation: The Comedy of Heiner Müller’s Hamletmaschine.Katrin Trüstedt - 2019 - Brecht Yearbook 44:102-121.
    Against the tendency to regard Müller as a tragedian and his Hamletmaschine as a tragedy, I will read his play as an experiment on the possibility of comedic theater after Brecht. Hamletmaschine can thus be understood as an attempt to affirm the possibilities of theater and its own forms of estrangement without abstracting from tragedy, alienation, and negativity. The play contains three such models internally connecting alienation and affirmation: while “Hamlet” in his commitment to the negativity of a lost tragedy (...)
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  19. “Propositions in Theatre: Theatrical Utterances as Events”.Michael Y. Bennett - 2018 - Journal of Literary Semantics 47 (2):147-152.
    Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, place, (...)
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  20. A Theater of Ideas: Performance and Performativity in Kierkegaard’s Repetition.Martijn Boven - 2018 - In Eric Ziolkowski (ed.), Kierkegaard, Literature, and the Arts. Evanston, Illinois: Northwestern University press. pp. 115-130.
    In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...)
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  21. Alienation und Affirmation. Die Komödie der Negativität in Heiner Müllers Hamletmaschine.Katrin Trüstedt - 2018 - In Thomas Khurana, Dirk Quadflieg, Juliane Rebentisch, Dirk Setton & Francesca Raimondi (eds.), Negativität: Kunst - Recht - Politik. Berlin: Suhrkamp. pp. 65-79.
    Entgegen der Tendenz, Heiner Müller als Tragiker und seine Hamletmaschine als Tragödie zu deuten, will ich diese im Folgenden als eine spezifische Form von Komödie lesen – eine Komödie, die dabei gleichzeitig eine bestimmte Gegenwart der Tragödie in sich enthält.
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  22. "How came that widow in?" Entzogene Fluchtgeschichten auf der Bühne.Katrin Trüstedt - 2018 - In Bettine Menke & Juliane Vogel (eds.), Flucht und Szene. Berlin, Deutschland:
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  23. Analytic Philosophy and the World of the Play.Michael Y. Bennett - 2017 - London: Routledge.
    Theatrical characters’ dual existence on stage and in text presents a unique, challenging case for the analytical philosopher. -/- Analytic Philosophy and the World of the Play re-examines the ontological status of theatre and its fictional objects through the "possible worlds" thesis, arguing that theatre is not a mirror of our world, but a re-creation of it. Taking a fresh look at theatre’s key elements, including the hotly contested relationships between character and actor; onstage and offstage "worlds"; and the play-text (...)
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  24. Magic: The Art of the Impossible.Jason Leddington - 2017 - In David Goldblatt & Stephanie Patridge (eds.), Aesthetics: A Reader in Philosophy of the Arts. New York: Routledge. pp. 373-379.
    An introduction to the philosophical study of theatrical magic.
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  25. The Philosophy of Theatre, Drama and Acting.Tom Stern (ed.) - 2017 - Rowman & Littlefield International.
    A collection of new essays on the philosophy of theatre and the philosophy of drama, combining historical perspectives and new directions.
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  26. Le Confessioni ad alta voce.Maria Bettetini - 2016 - In Fabrizio Amerini & Stefano Caroti (eds.), Ipsum verum non videbis nisi in philosophiam totus intraveris. Studi in onore di Franco De Capitani. Parma: E-theca OnLineOpenAccess Edizioni. pp. 77-97.
    The analysis of the sceneries of the main events reported by Augustine in his Confessiones (the garden, the city, the villa and the church) allows to label this work as a theatrical piece, being such sceneries the ideal settings for its aloud reading by small groups of devotees.
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  27. ¿Qué hacer con el legado teórico-práctico de Augusto Boal? (A modo de Presentación).José Ramón Fabelo Corzo & Ana Lucero López Troncoso - 2016 - In José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.), Teatro y Estética del Oprimido. Homenaje a Augusto Boal. Puebla, Pue., México: pp. 11-21.
    El texto sirve como capítulo introductorio y de presentación del libro Teatro y Estética del Oprimido. Homenaje a Augusto Boal. Se reflexiona y evalúa críticamente sobre los diferentes "usos" que se hacen del legado teórico-práctico de Augusto Boal, lo que se hace y lo que, ajuicio de los autores, se debe hacer con él. Se describe además las fuentes y el contenido capitular del libro en cuestión.
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  28. Teatro y Estética del Oprimido. Homenaje a Augusto Boal.José Ramón Fabelo-Corzo & Ana Lucero López Troncoso (eds.) - 2016 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Este libro inaugura la serie Homenaje de la Colección La Fuente. Con él se busca reconocer, de manera particular, al pensador, dramaturgo y director brasileño Augusto Boal (1931-2009), creador del teatro y la estética del oprimido, genuina aportación cultural latinoamericana que mucho tiene que ver con ese particular lugar de enunciación que es Nuestra América y sus siempre actuales expectativas emancipadoras. El libro fue precedido y nutrido por un Coloquio que en mayo de 2014 reunió a importantes especialistas y seguidores (...)
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  29. Culture-blind Shakespeare: Multiculturalism and Diversity.Ali Salami (ed.) - 2016 - New Castle: Cambridge Scholars Publishing.
    This collection of essays offers a panoramic plethora of responses to Shakespeare by both Western and Eastern critics, indicating that the Bard crosses all nationalities and deserves to be defined as a global writer, which is why he is easily appreciated, manipulated, translated, adapted, and interpreted by everyone everywhere. Divided into three parts, this volume deals with a wide range of issues on culture and multiculturalism, and hammers home the idea that the works of Shakespeare can be not only universally (...)
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  30. Van Steen Stage of Emergency: Theater and Public Performance under the Greek Military Dictatorship of 1967–1974 . Oxford: Oxford University Press, 2015. Pp. xiii + 376. £80. 9780198718321. [REVIEW]Elke Steinmeyer - 2016 - Journal of Hellenic Studies 136:305-306.
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  31. Review of Kierkegaard and the Staging of Desire: Rhetoric and Performance in a Theology of Eros. By Carl S. Hughes. [REVIEW]Martijn Boven - 2015 - Literature and Theology 29:469–472.
    In Kierkegaard and the Staging of Desire: Rhetoric and Performance in a Theology of Eros Carl S. Hughes develops an original approach to Søren Kierkegaard’s religious writings. As is well known, Kierkegaard published these religious writings under his own name. Some interpreters take this to mean that he no longer relies on the poetics of indirect communication that underlies his pseudonymous works. According to them, the religious writings finally formulate Kierkegaard’s true views in a direct and unambiguous way. Others have (...)
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  32. All the world’s a stage. [REVIEW]Aili Bresnahan - 2015 - The Philosophers' Magazine 69:125-126.
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  33. Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.
    This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation of the arts (...)
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  34. Review of Acts: Theater, Philosophy, and the Performing Self by Tzachi Zamir. [REVIEW]Nick Riggle - 2015 - Notre Dame Philosophical Reviews 1 (1):1.
    Recent work at the intersection of philosophy of action and aesthetics has unearthed rich territory. We are deepening our appreciation for and understanding of the role of pretense, imagination, and narrative (to name a few) in human action and moral psychology. Tzachi Zamir’s book investigates a relatively unexplored locus of overlap between philosophy of action and aesthetics via a multifaceted and conceptually rich study of the art, ethics, and moral psychology of acting — topics that have received scant philosophical attention...
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  35. Kierkegaard's Theatrical Aesthetic from Repetition to Imitation.Timothy Stock - 2015 - In Jon Stewart (ed.), A Companion to Kierkegaard. Chichester, UK: Blackwell. pp. 367–379.
    Kierkegaard’s life-long interest in the theater is well documented and reflects the deep impact of Golden Age Denmark’s vibrant theatrical culture on his thinking. Kierkegaard has extensive and excellent criticism of performances and dramatic characters both famous and obscure. Additionally, Kierkegaard has the rare distinction among philosophers of having had aspects of his life and work continually put upon the stage. The key areas of his philosophical project that are considered here alongside his theatrical aesthetic are: repetition, reflection and recollection (...)
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  36. "Theatrical Names and Reference".Michael Y. Bennett - 2015 - Palgrave Communications 1 (1).
    The relationship between “character” and an “actor” appears to be quite straightforward: an actor acts as/plays character [x]. But let us be more specific and reword this formulation: actor [y] acts as/plays Hamlet. Or – for the time of the play – actor [y] is Hamlet. And it is this last statement that is paradoxically utterly true and utterly false. It is in the name of a theatrical character that the tension between actor and character arises. Asking, for example, who (...)
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  37. Performance in Greek and Roman Theatre ed. by George W. M. Harrison and Vayos Liapis.Rosa Andujar - 2014 - Classical World: A Quarterly Journal on Antiquity 108 (1):137-138.
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  38. El naixement de la tragèdia o hel·lenisme i pessimisme: Seguit de correspondència amb l'autor.Joan Ferrarons Llagostera & Mosè Cometta - 2014
    «El naixement de la tragèdia» és el primer llibre de Friedrich Nietzsche i constitueix una de les contribucions més importants a l’estudi de l’art tràgica. L’admiració de l’autor per Schopenhauer i Wagner impregna la seva crítica a la concepció imperant sobre els grecs, considerats fins aleshores un poble alegre i serè. Segons el filòsof, però, els grecs necessitaven la tragèdia per a superar el pessimisme i el nihilisme en què estaven sumits. En aquestes pàgines, la tragèdia neix entre l’ebrietat primigènia (...)
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  39. God no longer amuses.Ramona Fotiade - 2014 - Times Literary Supplement 5781:25-25.
    Book-review of the new critical edition of Benjamin Fondane's Théâtre complet and his philosophical writings, La Conscience malheureuse.
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  40. Two Loves I Have: Of Comfort and Despair in Shakespearean Genre.Claire Elizabeth McEachern - 2014 - British Journal of Aesthetics 54 (2):191-211.
    A consideration of the differences between Shakespearean comedy and tragedy in light of the historically particular inflection of dramatic irony in the English Reformation. The essay compares classical and humanist understandings of literary response and then proposes that we consider that response as a function of knowledge with respect to (and hence feelings about) a protagonist and his plight. The essay compares the structures of suspense in Sophocles’ and Seneca’s Oedipus plays, and then goes on to examine the ways in (...)
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  41. Some Ontology of Interactive Art.Dominic Preston - 2014 - Philosophy and Technology 27 (2):267-278.
    Lopes (2010) offers an account of computer art, which he argues is a new art form. Part of what makes computer art distinctive, according to Lopes, is its interactivity, a quality found in few non-computer artworks. Given the rise in prominence of such artworks, most notably videogames, they are surely worthy of philosophical inquiry. I believe their ontology and properties are particularly worthy of study, as an understanding of these will prove crucial to critical understanding and evaluation of the works (...)
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  42. The Paradox of Onstage Emotion.Michelle Saint - 2014 - British Journal of Aesthetics 54 (3):357-369.
    I develop a paradox regarding the emotional experiences of theatrical actors, which I call the ‘paradox of onstage emotion’. Many actors tell us that they experience genuine emotions while performing fictional plays: they grow angry, sad, joyful, etc., as befits their characters’ circumstances. Yet, they are not their characters and are not actually in those characters’ circumstances. Intuitively, it would seem those actors cannot have emotions befitting their characters’ circumstances rather than their own. Thus, we face a paradox. After setting (...)
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  43. Censorship as Catalyst for Artistic Innovation.Aili Bresnahan - 2013 - Journal for Peace and Justice Studies 23 (2):98-116.
    One kind of government-supported censorship of the arts targets not the expressive content of any particular artwork but instead seeks to suppress the activity of a group of people based on some feature of the group’s human identity such as race, gender or class. Using examples from the history of the development of black music in the United States that followed from the legal oppression of slavery and from evidence of changes in the Punjabi theatre in Pakistan following state-sanctioned suppressions (...)
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  44. Black Rain: The Apocalyptic Aesthetic and the Spectator's Ethical Challenge in (Israeli) Theater.Zahava Caspi - 2013 - Substance 42 (2):141-158.
    One feature that classical apocalyptic writings commonly share is their eschatological dimension, their "sense of an ending"1—the end of the world, of time, of humanity. But whereas traditional apocalyptic texts were for the most part utopian, their tales of destruction followed by narratives of redemption, modern secular apocalyptic literature is largely dystopian, ending in pure devastation. According to some scholars, the very arrival of modernity, beginning with Cartesian philosophy and its inherent doubt, was apocalyptic in nature. In the twentieth century, (...)
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  45. Installation Art and Performance: A Shared Ontology.Sherri Irvin - 2013 - In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. pp. 242-262.
    This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...)
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  46. Review Article: Theatre and Philosophy. [REVIEW]Tom Stern - 2013 - European Journal of Philosophy 21 (1):158-167.
  47. Theatre and Philosophy The Art of Theater, by James R. Hamilton. Oxford: Blackwell, 2007, xv + 226 pp. ISBN 978‐1‐4051‐1353‐3 hb £21.99 The Necessity of Theater, by Paul Woodruff. Oxford: Oxford University Press, 2008, xiii + 257 pp. ISBN 978‐0‐19‐533200‐1 hb £17.99; ISBN 978‐0‐19‐539480‐1 pb £10.99 The Drama of Ideas, by Martin Puchner. Oxford: Oxford University Press, 2010, xii + 254 pp. ISBN 978‐0‐19‐973032‐2 hb £19.99 Philosophers and Thespians: Thinking Performance, by Freddie Rokem. Stanford, CA: Stanford University Press, 2010, xi + 227 pp. ISBN 978‐0‐8047‐6349‐3 hb $60.00; ISBN 978‐0‐8047‐6350‐9 pb $21.95. [REVIEW]Tom Stern - 2013 - European Journal of Philosophy 21 (1):158-167.
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  48. Philosophy and Theatre: An Introduction.Tom Stern - 2013 - Routledge.
    The relationship between philosophy and theatre is a central theme in the writings of Plato and Aristotle and of dramatists from Aristophanes to Stoppard. Where Plato argued that playwrights and actors should be banished from the ideal city for their suspect imitations of reality, Aristotle argued that theatre, particularly tragedy, was vital for stimulating our emotions and helping us to understanding ourselves. Despite this rich history the study of philosophy and theatre has been largely overlooked in contemporary philosophy. This is (...)
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  49. Aristotle.Angela Curran - 2012 - In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. Continuum. pp. 21-33.
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  50. Narrative, Emotion, and Insight. [REVIEW]Rafe Mcgregor - 2012 - Journal of Aesthetics and Art Criticism 70 (3):319-321.
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