En el apartado Noche 3 de Umbral, Juan Emar se vale de la estrategia de la hibridez genérica al construir una novela-drama que resignifica aportes de la vanguardia metaficcional. Nuestra hipótesis es que mediante la “refuncionalización paródica” (Hutcheon) de la diferencia conceptual entre historia y ficción se despliega una poética vanguardista que acoge el simultaneísmo temporal y espacial. Se trabaja con el enfoque postestructuralista foucaultiano que distingue entre una Historia Global, el metarrelato moderno y una Historia General; la que (...) estudia las discontinuidades en las series temporales. En efecto, la poética de la simultaneidad es en la narrativa emariana un mecanismo dislocador de una serie de oposiciones binarias de la episteme moderna: obra dramática v/s representación teatral, espacio escénico v/s sala de espectadores, autor v/s obra, pasado v/s futuro, arte v/s vida, entre otros. Emar despliega así en forma magistral una propuesta vanguardista que da cuenta de la heterogeneidad de tradiciones culturales como impronta de escritura de un sujeto latinoamericano. In paragraph Night 3 of his novella Umbral, Juan Emar utilices hybridism as a generic strategy in the construction of a novella-drama that assign new meanings to the contributions of the metafictional Avant Garde. Our hipothesis is that throught a “parodic refunctionalization” of the distinction between history and fiction is conveying an Avant Garde poetics that promote the spatial and temporal simultaneity. We work with the foucaultian postestructuralism focus which make a distinction between Global History; the modern metanarrative and a General History; that studies the discontinuities in temporals series. The simultaneity poetic’s is in their narrative a mechanism that dislodges a series of binary oppositions as: dramatic work vs. theatrical representation, scenic space vs auditorium, author vs. work, past vs. future, art vs. life, among others. Emar deploys in a masterly way, his Avant Garde proposal of the heterogeneity of cultural traditions as writing impronta of a Latin-American subject. (shrink)

International array of contributors, bringing together both traditional and more recent approaches to provide valuable insights into the poets’ use of language.Covers authors from Lucilius to Juvenal.Of the peoples of ancient Italy, only the Romans committed newly composed poems to writing, and for 250 years Latin-speakers developed an impressive verse literature.The language had traditional resources of high style, e.g., alliteration, lexical and morphological archaism or grecism, and of course metaphor and word order; and there were also less obvious resources (...) in the technical vocabularies of law, philosophy and medicine.The essays in this volume show how the poets in the classical period combined these elements, and so created a poetic medium that could comprehend satire, invective, erotic elegy, drama, lyric, and the grandest heroic epos. (shrink)

This essay analyzes the visualization of Euro-American medicine and indigenous healing in John Steinbeck’s 1941 documentary-drama _The Forgotten Village_. The movie juxtaposes film and medical discourse as exemplifications of modern, visual culture by showing excerpts from hygiene films and foregrounding medical imagery (e.g., bacteria cultures). The film displaces indigenous medicine by privileging a Euro-American medical model, and the gaze of oppression is perpetuated through humanitarian medical intervention. In short, disease is not simply a material fact but embedded in discourses (...) about community identity, moral values, and politics. (shrink)

Although determination, perseverance, and high expectations appear to be laudable characteristics within our society, ambition seems to carry a hint of selfishness or self-promotion (perhaps especially at the cost of others). One can speak of the goals or aims of a team or group, but it seems more characteristic to ascribe ambition to a single individual. Etymologi-cally, ambition derives from the Latin word ambire, which can mean to strive or go around (ambo + ire), but the term also characterizes (...) one who canvasses for votes. It may also be telling that the Latin noun for canvassing (ambitio) is only two letters removed for the Latin term for election fraud (ambitus). It is thus welcome that in his Socrates and Alcibiades Ariel Helfer seeks to examine the notion of political ambition through a study of Plato’s dialogues concerning that most am-bitious of Athenians, Alcibiades, an Athenian general who seems to have epitomized both the German word Wunderkind and the French phrase enfant terrible in his short life. It was one that included leading, betraying, and then leading again the Athenian army and navy during the Peloponnesian Wars. Helfer examines the three dialogues of Plato that include Alcibiades as an interlocutor: First Alcibiades, Second Alcibiades, and the Symposium. He does so (in his words) “to gain a fuller understanding of the constellation of desires that gives political ambition its force, including the desire to be devoted to a noble cause, and to determine whether, in Plato’s understanding, these desires necessarily find their fullest expression in political life” (p. 7). (shrink)

The article argues that the famous story about the strike, exile and return of the Romanaulosplayers, which is recorded in the sixth book of Ovid'sFastiand referred to by other Latin and Greek sources, is based on a narrative model that already existed in Greece in the Archaic period. The study draws parallels between the tale of the pipers and the myth of the return of Hephaestus to Olympus, suggesting that, apart from similar plots, the two stories share many motifs, (...) such as references to themes derived from comedy and satyr drama. Searching for a possible channel of transmission of the story from Archaic Greece to Augustan Rome, the study explores the presence of satyric motifs in Etruscan vase-painting and Roman processional rites. It is furthermore emphasized that many of these motifs, which also appeared in lost satyr-plays, are echoed in Augustan poetry. (shrink)

The most comprehensive compilation of the works of Abelard and Heloise ever presented in a single volume in English, _The Letters and Other Writings_ features an accurate and stylistically faithful new translation of both _The Calamities of Peter Abelard_ and the remarkable letters it sparked between the ill-fated twelfth-century philosopher and his brilliant former student and lover—an exchange whose intellectual passion, formal virtuosity, and psychological drama distinguish it as one of the most extraordinary correspondences in European history. Thanks to (...) this edition, Latin-less readers will be better placed than ever to see why this undisputed milestone in the intellectual life of medieval France is also a masterpiece of Western literature. In addition to the _The Calamities_ and the letters--the first complete English translation of all seven in more than eighty years--this volume includes an Introduction, a map, and a chronology, Abelard's _Confession of Faith_, letters between Heloise and Peter the Venerable, the Introduction to _The Questions of Heloise_, and selected songs and poems by Abelard, among them a previously untranslated shaped poem, Open Wide Your Eyes. Extracts of lost letters sometimes ascribed to Abelard and Heloise are given in appendixes. (shrink)

In the paper, we will study Olavo de Carvalho’s thought, focusing on his position regarding Brazilian and American Black movement in its struggle for reparation in terms of colonialism-slavery-racism. We will argue that his refusal of any reparatory praxis to political-cultural minorities and his position of a non-place for Black-African traditions in the context of Western culture/civilization, as with respect to his defense of the inferiority of Black-African culture-civilization when compared to Jewish-Christian, Greek-Latin and Medieval-Renaissance tradition, is pervaded by (...) a dualist metaphysics with a highly anti-modern and anti-modernizing character, in which the dynamic of streamlining of “human drama about universe and eternity” is constituted by the struggle between natural necessity and individual consciousness, that can only be won by the correlation of divine grace given by Jesus Christ and personal direct and immediate interiorization and intuition by each individual with God; by the refusal of politics, history and intersubjective action as basically materialism and, in this sense, as the sphere of totalitarian political ideologies ; and, finally, by the centrality of spiritualism, of intimate and direct relation between God and man, mediated by Revelation, which points to the non-existence, in the Olavo de Carvalho’ thought, of objective parameters to rational discussion, interaction and justification – that is the reason of his delegitimation of science, politics, history and macro-structural institutional action, and his appeal to methodological, intuitionist and spiritualist individualism. (shrink)

The text of Seneca's Letters, despite the attention it has received from scholars in the last fifty years, still leaves much to be desired in a large number of places. It is a field in which emendations can be proposed with rather more security than is often the case in classical Latin prose, because Seneca was a very prolific writer, exceeded only by Cicero and Livy in the bulk of his extant work. The absence of a special lexicon for (...) this eminent author constitutes a genuine difficulty of course, but it can be overcome in part at least by a constant reading and re-reading of his works, not excluding the dramas. The following suggestions are based on a more intense application to Seneca than Quintilian would be likely to have approved. (shrink)

C. A. J. Littlewood approaches Seneca's tragedies as Neronian literature rather than as reworkings of Attic drama, and emphasizes their place in the Roman world and in the Latin literary corpus. The Greek tragic myths are for Seneca mediated by non-dramatic Augustan literature. In literary terms Phaedra's desire, Hippolytus' innocence, and Hercules' ambivalent heroism look back through allusion to Roman elegy, pastoral, and epic respectively. Ethically, the artificiality of Senecan tragedy, the consciousness that its own dramatic worlds, events, (...) and people are literary constructs, responds to the contemporary Stoical dismissal of the public world as mere theatre. (shrink)

The article by Professor Webster on ‘South Italian Vases and Attic Drama' in C.Q. xlii, pp. 15–27, raises problems for the reader of Roman comedy. Professor Webster takes the view that the Latin plays are good evidence for the costumes worn on the Greek stage; he even says that ‘the Greek original of Sceparnio in the Rudens certainly wore the phallus’, thus reviving a suggestion of Skutsch which Marx thought sehr k's argument that ancient works of art, in (...) particular Italian vases and terra-cottas, afford faithful representations of the costumes worn on the Attic stage. ‘It is certain’ ‘that the actors in Eubulus’ Auge looked like the figures on the vase'. (shrink)

The question of the eternity of the world was much debated in antiquity, for it seemed to be one of the key philosophical differences between the majority of pagan philosophers and the Christians. Indeed, the whole meaning of the Christian drama was grounded in a historical account of the cosmos, which had an absolute beginning at the Creation, a critical turning point at the Incarnation, and a triumphant conclusion at the Resurrection. But the pagan philosophers, with the possible exception (...) of Plato, who was ambiguous on this point, taught by means of highly sophisticated arguments that the world was eternal. This occasioned a head-on clash between the Fathers and the philosophers, and it provoked a good deal of thought on the part of the Christian writers. This thought was crystalized in Boethius's Consolation of Philosophy and Augustine's Confessions and City of God. The problem seems to have been largely forgotten during the formative period of Latin Christianity from the seventh to the ninth centuries; the traditional Christian version of the beginning was frequently asserted, but the question was not argued, nor was there any attempt to reconcile Genesis with the teaching of the philosophers. (shrink)

This book offers a unique interpretation of tragic literature in the Western tradition, deploying the method and style of Analytic philosophy. Richard Gaskin argues that tragic literature seeks to offer moral and linguistic redress for suffering. Moral redress involves the balancing of a protagonist's suffering with guilt : Gaskin contends that, to a much greater extent than has been recognized by recent critics, traditional tragedy represents suffering as incurred by avoidable and culpable mistakes of a cognitive nature. Moral redress operates (...) in the first instance at the level of the individual agent. Linguistic redress, by contrast, operates at a higher level of generality, namely at the level of the community: its fundamental motor is the sheer expressibility of suffering in words. Against many writers on tragedy, Gaskin argues that language is competent to express pain and suffering, and that tragic literature has that expression as one its principal purposes. The definition of tragic literature in this book is expanded to include more than stage drama: the treatment stretches from the Classical and Medieval periods through to the early twentieth century. There is a special focus on Sophocles, but Gaskin takes account of most other major tragic authors in the European tradition, including Homer, Aeschylus, Euripides, Virgil, Seneca, Chaucer, Marlowe, Shakespeare, Corneille, Racine, Lessing, Goethe, Schiller, Kleist, Büchner, Ibsen, Hardy, Kafka, and Mann; lesser-known areas, such as Renaissance neo-Latin tragedy, are also covered. Among theorists of tragedy, Gaskin concentrates on Aristotle and Bradley; but the contributions of numerous contemporary commentators are also assessed. Tragedy and Redress in Western Literature: A Philosophical Perspective offers a new and genuinely interdisciplinary perspective on tragedy that will be of considerable interest both to philosophers of literature and to literary critics. (shrink)

This paper explores the issue of performative spaces in the medieval Latin Church, examining the mindsets of the time and the ways practitioners adopted the Platonic notion of world harmony. We then look at the Palatine Chapel of Aachen in the light of the Plato’s doctrine. At the heart of this analysis will be the cosmological drama at the creation of the world, described by Ambrose as a chorus of the constitutive elements. It is from this image that (...) the proto-model of the Christian Church as ‘moving waters’ was derived, a vision shared by both the Eastern and the Western world. To this day, the Palatine chapel of Aquisgranum conveys the appearance of the Ambrosian vision of the primordial waters, with its renewed marble revetments imitating the cosmic waters. The church is designed according to propria dispositione, i. e. modularity. Augustine’s concept of modularity and his psychology of sound, space, movement, and time will be explored in the hypothetical inquiry into the dramatization of space at Aachen. Here, we find that the Chapel has two choreographies which unfold in the space like-stage set up as a synthesis of the arts shaped according to numbers. Relevant concepts to our topic will emerge in the analysis, such as concord, consonance and agreement, measure and movement – metaphors of the idea of a ‘dance’ that exceeds the character of a mere performance. (shrink)

Pacuvius is generally regarded as the first Roman playwright who only wrote tragedies; fragments transmitted without an indication of title or context are commonly attributed to tragedies, and ancient references to comedies are discarded as unreliable. The present paper questions this consensus. It first raises several methodological objections (section 1) and then examines two quotations preserved by Fulgentius, demonstrating that these comic fragments are unlikely to be forgeries because they comply with the rules of early Latin metre and the (...) motivic and linguistic conventions of Roman comedy (section 2). Section 3 shows that several fragments which have previously been attributed to tragedies do not fit the contexts to which they have been assigned; they have much closer parallels in New Comedy and are likely to come from comoediae palliatae. The observations in sections 1-3 corroborate each other and have three wider consequences which are discussed in section 4: first, Pacuvius was probably more faithful to his Greek models than is currently thought; secondly, the ‘specialization’ in serious drama started one generation later with Accius and Titius; thirdly, the common practice of organizing the fragments of early Roman poetry according to genre is problematic because many fragments would suit both a tragic and a comic context. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Iago’s Roman Ancestors JAMES TATUM Othello is that rare thing: a tragedy of literary types who half suspect they are playing in a comedy. —D. S. Stewart, 1967 In memoriam Bill Cook1 Shakespeare’s Othello is a drama created for a world where everyone was bound by “service,” a formal connection to someone else superior, in a hierarchy that linked all persons in court, theater, and society through unavoidable (...) obligation. Service could range from the lightest kind of tie, to indentured servitude. This meaning of “service” reflects its origin in Norman French, from the Latin word for slavery, servitium. It is Iago’s sense of the word in his comment to his dupe Roderigo: “Why, there’s no remedy, ’tis the curse of service.” The perceived color of Othello poses a perennial challenge which producers and directors in the United States have to consider every time Othello is performed. Jim Crow did not officially end in most parts of the former Confederacy until the Civil Rights Acts of the 1960s; and even then such legacies of slavery and segregation as color prejudice remain a challenge, alive if now not entirely well, and they haunt many a production. It is this more recent history that inspired Patrick Stewart’s “photo-negative” production of Othello in Washington, DC in 1997, in which the English actor himself played Othello while the rest of the cast were black. Given recent and not so recent history, it is important to realize that there actually is a slave hard at work throughout Othello, from opening scene to last: not Othello himself, but his “ancient” or ensign, Iago. arion 27.1 spring/summer 2019 the slave-playwright of shakespeare’s OTHELLO Lodovico: O, thou Othello, that was once so good, Fallen in the practice of a damnèd slave, What shall be said to thee? Othello, 5.2.289–91 the plot of Shakespeare’s Othello comes from the story “Disdemona and the Moorish Captain” in Giraldi Cinthio’s The Hundred Tales (1565), but the theatrical tradition he used to adapt it for the stage was not other tragedies. He went back to a classical theater he had used to write one of his earliest successes, The Comedy of Errors, one he knew as well as any other through his study of it in Latin grammar school and afterwards: Roman comedy. What resulted was something of a puzzle to his later critics. Since the 17th century some of Shakespeare’s readers have alternately complained or marveled at the way Othello has the fast pace and structure of a farce. This accounts for its exceptional power as a tragedy when it is intelligently performed; the double catastrophe of Othello’s murder of Desdemona and his own suicide come more quickly and more violently, for example, than the endings of Macbeth, King Lear, or Hamlet. All of Othello’s characters are cast in the stereotypical roles first created in Menander and other playwrights of Greek New Comedy, and then passed on to later European vernacular theater through Plautus and Terence’s adaptations. In performance, Shakespeare’s Iago is at once a reprise of his earlier stage villains and a reincarnation of the servus callidus or clever slave playwright of Plautus. It is as if Zero Mostel’s Pseudolus in Sondheim’s A Funny Thing Happened on the Way to the Forum were playing Richard III. Iago creates what he regards as a comedy, from its opening scene before Brabantio’s house to its catastrophic end in Cyprus, and to the bafflement of Christian interpreters and others, he seems incapable of recognizing the enormity of his evil. Unlike his resourceful Roman ancestors, who think up ingenious plots to help their less clever owners 78 iago’s roman ancestors in their love affairs, Iago’s scenario is demonic, designed to destroy his master Othello, not save him. As I’ve suggested, one comedy in particular may have played an important role in the making of Othello: Plautus’ Amphitryon, with its story of Jupiter’s adulterous affair with Alcmena, the wife of the heroic king Amphitryon of Thebes. To aid him in his schemes Jupiter calls on his son the trickster... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:…duplici modo Daemon homini carnaliter copulatur:Ludovico Maria Sinistrari's Alternative to Apostasy and Sorcery in Human-Incubus IntercourseBert RoestLodovico Maria Sinistrari d'Ameno (1632-1701), who joined the Riformati branch in 1647 in the Pavian Provincia di S. Diego, is one of the many productive seventeenth-century Franciscan authors whose works are not habitually discussed within the world of Franciscan scholarship. According to the existing bibliographical guides, Sinistrari authored under his own name and (...) under various pseudonyms (such as Panfilo, Clodoveo Farvamondi, Nicolò Turris, Lazaro Socio, and Lazaro Agostino Cotta) about 34 works, more or less half of which reached the printing press during his lifetime. These works cover a wide range of genres and topics, including comedies, religious and secular dramas, astrological, astronomical and scientific works (including polemics against works of other scholars, medical and embryological papers), defenses of the religious orders, sermons and funerary orations, treatises of sacramental theology, some atypical hagiographical texts, and works of religious disciplinary law. This production was linked to his acknowledged expertise in a variety of disciplines, which apparently made him a celebrated lecturer in Pavia within the order and in public schools, teaching the liberal arts, geometry, military architecture and theology. Some of his works are connected with his activities as a preacher, advisor, and later censor for the Holy Office, practicing exorcist, consultant for the Franciscan Minister General, and personal theologian of Alessandro Montecatini (Archbishop of Avignon) and Federico Caccia (Cardinal and Archbishop of Milan).1Within the order itself, his most enduring legacy might have been his three volume Practica criminalis illustrata, a work that is both a commentary on penal law within the Franciscan order, and a more wide-ranging manual for dealing with penitential and religious-criminal issues, written [End Page 191] to supplant older handbooks of such kind. He was initially tasked to compile such materials at the Franciscan general chapter celebrated at Rome in 1688. The first two volumes of the Practica criminalis illustrata appeared in print in 1693. They were again published posthumously in 1702.2 In between he finished another volume of the Practica with a somewhat different focus, also known under the title De delictis et poenis tractatus absolutissimus, and which was proposed as a useful guidebook for judges, lawyers, and prelates in ecclesiastical courts, as well as for confessors, exorcists, and lay practitioners of law. This work was issued for the first time in 1700.3Although a wished-for early eighteenth-century re-issue of this multi-volume Practica criminalis illustrata was put on hold when it was placed on the index of forbidden books in March 1709 donec corrigatur for suspicion of laxist tendencies,4 all three volumes did appear again with some modifications in a 1753-1754 opera omnia edition. It could be found in a significant number of Franciscan and non-Franciscan order libraries, and apparently remained for a long time an important resource for penitential and disciplinary policies.5 [End Page 192]Whereas Sinistrari, like so many early modern friars, is not a commanding presence in the scholarly and literary canon of present-day Franciscan order history, he became a figure of some fascination and even notoriety in nineteenth- and early twentieth-century esoteric circles, and also is known by modern scholars of early modern demonology and early modern sexuality. This is mainly due to the publication, in the later nineteenth century, of two of Sinistrari's works on demoniality and sodomy that as such were not printed in full during our friar's lifetime, but parts of which are included in Titulus 4 of his Latin De delictis et poenis tractatus absolutissimus, namely the crimes against chastity (which in De delictis et poenis, alongside of daemonialitas [which comes last], comprises constortium suspectum, sollecitatio ad turpia, fornicatio, stuprum, incestus, raptus, clausurae violatio, sacrilegium cum moniali, mollities, sodomia, and bestialitas).Hence, in 1875, the French book collector and editor Isidore Liseux issued for the first time De la démonialité et des animaux incubes et succubes où l'on prouve qu'il existe sur terre des créatures raisonnables autres que l'homme, ayant comme lui un corps et une âme, naissant et mourant comme... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Job, Boethius, and Epic TruthJames G. WilliamsJob, Boethius, and Epic Truth, by Ann W. Anstell; xiii & 240pp. Ithaca: Cornell University Press, 1994, $32.95.Ann Anstell succeeds in showing that the book of Job and Boethius’ Consolation of Philosophy served as vehicles for the transmission and transformation of heroic poetry through the Middle Ages and into the Renaissance. The style is sometimes forbidding for the nonspecialist because of dry (...) descriptions of various texts and the extensive quotation of Latin without translation. There are certain sections, however, where the author is clearly passionately engaged in the subject and consequently comes across much more clearly and vividly to the reader; this is especially true of part of the discussion of Gregory’s Moralia in Job and the chapter on “Boethian Lovers,” particularly the treatment of Abelard’s Historia Calamitatum.The thesis and argument of the book are of great potential interest both to literary critics and literary historians and to philosophers and historians of philosophy. The “epic truth” of the title is a bridge between literary genre and transmission and the kind of philosophy concerned with concepts of self and [End Page 379] world. Anstell argues that the conventional distinctions between classical epic and medieval romance tend to overlook the historical continuity between the two genres. “The Middle Ages interpreted classical epic in a way that entailed its subsequent imitation in romance” (p. 212). Romance makes explicit what epic is implicitly about, namely a way or journey to self-knowledge.Boethius, writing about 525 as a prisoner, draws upon Virgil’s Georgics and Stoic and Neoplatonic writings. Lady Philosophy appears to him and educes him into recollection of his own true being through remembering the heroes of the past. He thus recognizes his own mortality and passions, the importance of reason, and the reality of his immortal soul. This journey to concrete awareness of the immortal soul is a key step towards the epic truth that emerged in Christian thinking, but in Boethius the centrality of Christ as Logos-Redeemer does not come into view. It does, however, in the tradition of reading and interpreting Job.Through his meditations and moral instructions on Job, Gregory (Pope, 590–604) used the precedent of Boethius’ Consolation to draw the classical form of the vir, the heroic mortal and the model of virtus, virtue, into the Christian configuration of sainthood. Using a Christian form of allegory, the “other-speaking” of a text that articulates its deeper structure and truth, Gregory portrays Job as a man of fortitude, courage, and patience whose suffering becomes the occasion truly to understand that his immutable soul is not the prisoner of the body that is sick and dying. “Job’s human nature, perfected in wisdom and power through suffering, reflects Christ’s own divine humanity, and far surpasses in heroic virtue the excellence of even an allegorized Aeneas” (p. 91).These two works, then, are the chief exemplars of the “heroic poetry” of the Middle Ages, which joined the literatures commonly designated as “epic” and “romance.” This medieval synthesis insisted on figural or allegorical continuity with classical antiquity but departed formally from classical literary conventions. Job and Boethius provided critical authorization for these tendencies. Job as Christ-figure was the model for legends of the saints, while the Consolation influenced the romance literature that featured stages of spiritual growth; this literature “extended into a history of personal salvation by assimilating the lover’s sufferings to those of Job and Christ” (p. 214). These two paradigmatic works, which provided models of the stable saint as Christ-figure and the emotional pilgrim on a spiritual journey, began to dissolve in the Renaissance. Boethius’s Consolation ceased to be understood in terms of the epic and Job came to be seen as a drama and a tragedy. Thus the author concludes that “the virtues... the Middle Ages attributed to Job, especially wisdom and fortitude, belong no longer to man but to God” (p. 215). Human beings must make their way in an inconstant, puzzling world separated from God.James G. WilliamsSyracuse UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Rhetoric, Hermeneutics, and Translation in the Middle AgesMichael CalabreseRhetoric, Hermeneutics, and Translation in the Middle Ages, by Rita Copeland; xiv & 295 pp. Cambridge: Cambridge University Press, 1991, $64.95 cloth, $22.95 paper.In this deeply learned book, Rita Copeland studies the history of rhetoric and grammar and their shifting roles in the history of translation, commentary, and interpretation from classical antiquity through the Middle Ages. Copeland examines the ideological (...) nexus of history, authority, and power in which commentary and vernacular translation function. “Vernacular writing,” she says, can “authorize itself by taking over the function of academic discourse” (p. 8). Her book then traces the history of this “authorization” and this “dis-placement” of Latin sources by the increasingly academically privileged vernacular. All in all, Copeland tells the story of how medieval literary culture articulated its translatio studii by confronting and preserving its Classical inheritance and also developing a role for the vernacular as an active, creative agent in the production of authoritative works. [End Page 413]Ultimately “rhetoric” is the star of Copeland’s book, and in essence she is telling its Roman and medieval life stories. By “rhetoric” we are to understand critical academic language that points toward ethics and practical action. Throughout the Middle Ages every modification or appropriation of critical tools expands the role of commentary and adds new forms of interpretive invention to the translation process. As Copeland puts it, “The medieval practice of translation as a form of appropriation and substitution will be conditioned, as in Roman contexts, by rhetorical theories of invention” (p. 36).The hermeneutical costar is grammar, for as part of the complex appropriation of classical practice, medieval readers recoup the “debased” Roman category of grammar, so that by the time of Martianus Capella it can “claim for itself the whole compass of literary activity” (p. 56). As grammar expands its power, so does rhetoric, a civic Roman art which gets “revalued in terms of service to theology” (p. 59). Medieval commentary now “assumes the character of rhetorical performance” (p. 86) and takes on a “primary productive character,” as it “continually refashions the [studied] text for changing conditions of understanding” (p. 64). What is emerging from all these developments is a medieval translation theory—and practice—which is informed by both academic and practical, ethical goals, that is, a hermeneutics forged by the link of grammar and rhetoric.The rest of the book studies the shifting status and the evolving role of the vernacular in this medieval hermeneutical drama. Copeland addresses the Ovide moralisé and the French translations of the Consolatio, and then Chaucer’s Legend of Good Women and Gower’s Confessio Amantis. We witness here how vernacular products take on authority by “inventing themselves” through authoritative discourse. In Gower’s Confessio we see the fusion of hermeneutics and rhetoric; the poem uses academic modes of discourse in the service of ethics or action. We thus see that by the late Middle Ages vernacular literature plays an authoritative role in the medieval translatio studii, as Gower seeks to “open the institution of learning to the widest possible audience and thereby empower it as a persuasive tool, leading to knowledge of the good” (p. 220). Overall, Copeland has told the story of the “leveling” of academic and vernacular discourse, so that the later, while not dispelling or overthrowing the former, can claim access to its traditional authority.Copeland’s prose is Latinate, at times pedantic and, at times, just plain Latin; reading the book can be a wearing experience. But it is all part of a history she knows in remarkable detail, a history that lies behind many assumptions we have about medieval ethical poetics. To have presented this history is a major scholarly feat. Copeland allows us to see medieval authors as both products and producers of methods of appropriation, imitation, conquest, and preservation—all strategies for “translating” the past and creating a present that can leave its intellectual mark on the future. One might now want to employ Copeland’s history of classical and medieval hermeneutics as a tool for [End Page 414] examining our own, contemporary academic rhetorics and for analyzing the “state of... (shrink)

Drama and Feeling makes a case for placing educational drama firmly within the curriculum and provides drama educators with new insight into the dramatic art form and process.

One of the greatest dramatists of all time, Shakespeare, recognized that dramatic action was not limited to the stage. Now, in Drama and Intelligence, a work firmly rooted in developmental drama, Richard Courtney is the first to examine dramatic action as an intellectual and cognitive activity. Courtney explores the nature of those experiences we live "through" and which involve us in what is termed "as if" thinking and action.

Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus.

En el siguiente artículo, nos proponemos indagar sobre la personalidad drámatica que Platón imprimió a alguno de sus personajes, a través del análisis de sus discursos. Junto a ello, se manifestará la aparición diferenciada del filósofo, y de cómo es que este elude los problemas dramáticos que envuelven a los no-filósofos, a partir del distinto interés, comportamiento y comprensión. Sostendremos nuesta interpretación sobre la base de que todos los discursos que conforman el Banquete son verdaderos, donde “verdad” será entendida tal (...) como Heidegger la comprendió dentro de su interpretación de la filosofía de Platón y Aristóteles, esto es, en tanto desocultamiento. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drama on the Run:A Prelude to Mapping the Practice of Process DramaPamela Bowell (bio) and Brian Heap (bio)In the current educational climate prevailing in a number of countries, increased emphasis is being placed on the concept of "the artist in schools." Funding is being channeled to support a range of initiatives and schemes that are designed to bring arts professionals from all the art forms into the classroom (...) where they place their artistic talents, knowledge, and insights alongside the pedagogic skills of the teacher.We see exciting projects in which artists work with children in school—visual artists to create murals, musicians to compose and perform operas, dancers to choreograph new ballets, and actors and directors to devise plays. Many of the outcomes are of high quality, and the children who have been fortunate enough to be involved have enjoyed the experiences and have gained a great deal from them. This would seem to be a state of affairs to be applauded unreservedly, as such projects surely enrich the lives of the pupils and schools in which they take place. In one sense, of course, this is undeniably true, and we have no intention of suggesting otherwise. However, in reality, this is a much more complex situation. It raises a number of key issues for us as educational practitioners who work in the field of applied theatre, sharing with others, as Judith Ackroyd describes, "a belief in the power of the theatre form to address something beyond the form itself."1The most critical issue is the perceived separation of the artist from the teacher that can sometimes be encouraged by artists in schools projects. We sense a dangerous precedent here. It becomes all too easy for two erroneous assumptions to be made, namely that teachers cannot be considered to be artists in their own right, while artists on the other hand can be accorded [End Page 58] the status of teacher. In our own experience too, the nature of educational funding can be extremely volatile, subject to all kinds of shifts in the prevailing political and economic climate, as well as adjustments to the ways in which funding is applied according to the social and educational priorities of the time. Too frequently, education falls victim to what might be described as "the-flavor-of-the-month syndrome."Those who are involved with teacher education, both pre- and in-service, make superhuman efforts to respond with alacrity to the new demands as courses are reviewed and reorganized accordingly. The trainees of the next generation find themselves with a new "party line" to toe as their courses conform to the new priority. This is all well and good—until the priority changes and gaps suddenly appear in the knowledge or skills or understanding of teachers. What was received wisdom becomes a deficit model as focus changes, and the circle is now expected to be squared.Under these circumstances, it would seem a more prudent policy to train teacher-artists who would have the ability to meld their pedagogical understanding and skill with an aesthetic craft and sensibility than to rely on visiting artists as the "natural" or "normal" providers of arts education. This would ensure not only that teachers would make better, more informed use of visiting artists but also that children's expertly guided engagement with the arts would be a permanent and enduring aspect of their regular schooling rather than a "special" event subject to the vagaries of arts funding or policy. This might seem an easy statement to make for people such as ourselves, who have spent whole careers working as teacher-artists within the field of drama in education. But it might seem an altogether more daunting prospect for teachers, or intending teachers, who are not specialists in the arts.Having spent a great deal of our respective careers working in teacher education, we are very conscious of this possibility. To this end, our research collaboration has been centered on exploring and coming to understand more fully, clearly, and precisely how the teacher functions as an artist within the particular genre of applied theatre known as process drama. Embedded within the increase of our... (shrink)

The motif of the ‘drama of being’ is a dominant thread that spans the entirety of Levinas's six decades of authorship. As we will see, from the start of his writing career, Levinas consciously frames the tension between ontology and ethics in a dramatic form. A careful exposition of this motif and other related theatrical metaphors in his work–-such as ‘intrigue,’ ‘plot,’ and ‘scene’–-can offer us not only a better appreciation of the evolution of Levinas's thought, but also of (...) his proper place within the western philosophical tradition. Levinas accuses western philosophers of being exclusively attuned to what he calls the ‘drama of existence.’ And even then, philosophers have eluded the implications of the tragic fatalism that define this drama. Philosophers are generally unaware of an ‘other scene’ that radically alters the fatalistic logic of the ontological drama. Levinas calls this other scene the ‘ethical intrigue.’. (shrink)

Although it might be argued that the social drama is a story in [Hayden] White's sense, in that it has discernible inaugural, transitional, and terminal motifs, that is, a beginning, a middle, and an end, my observations convince me that it is, indeed, a spontaneous unit of social process and a fact of everyone's experience in every human society. My hypothesis, based on repeated observations of such processual units in a range of sociocultural systems and in my reading in (...) ethnography and history, is that social dramas, "dramas of living," as Kenneth Burke calls them, can be aptly studied as having four phases. These I label breach, crisis, redress, and either reintegration or recognition of schism. Social dramas occur within groups of persons who share values and interests and who have a real or alleged common history. The main actors are persons for whom the group has a high value priority. Most of us have what I call our "star" group or groups to which we owe our deepest loyalty and whose fate is for us of the greatest personal concern. It is the one with which a person identifies most deeply and in which he finds fulfillment of his major social and personal desires. We are all members of many groups, formal or informal, from the family to the nation or some international religion or political institution. Each person makes his/her own subjective evaluation of the group's respective worth: some are "dear" to one, others it is one's "duty to defend," and so on. Some tragic situations arise from conflicts of loyalty to different star groups. Victor Turner is professor of anthropology and a member of the Center for Advanced Studies at the University of Virginia. His many publications include Schism and Continuity in an African Society, The Forest of Symbols, The Ritual Process, and, with Edith Turner, Image and Pilgrimage in Christian Culture. (shrink)

This article examines the technological construction of political power, as well as resistance to political power, by means of an "ideal-typical" model called a technolog ical drama. In technological regularization, a design constituency creates artifacts whose features reveal an intention to shape the distribution of wealth, power, or status in society. The design constituency also creates myths, social contexts, and rituals to legitimate its intention and constitute the artifact's political impact. In reply, the people adversely affected by regularization engage (...) in myth-, context-, or artifact-altering strate gies that represent an accommodation to the system or a conscious attempt to change it. A technological drama, in short, is a specifically technological form of political discourse. A key point is that throughout all three processes, political "intentions," no less than the facticity and hardness of the technology's "impact," are themselves constituted and constructed in reciprocal and discursive interaction with technological activities. Technology is not politics pursued by other means; it is politics constructed by technological means. (shrink)

The mixture of political, social, cultural and economic environments in Latin America, together with the enormous diversity in climates, natural habitats and biological resources the continent offers, make the ethical assessment of agricultural policies extremely difficult. Yet the experience gained while addressing the contemporary challenges the region faces, such as rapid urbanization, loss of culinary and crop diversity, extreme inequality, disappearing farming styles, water and land grabs, malnutrition and the restoration of the rule of law and social peace, can (...) be of great value to other regions in similar latitudes, development processes and social problems. This chapter will provide a brief overview of these challenges from the perspective of a continent that is exposed to the consequences of extreme inequality in multiple dimensions and conclude by arguing for the need to have a continuous South-South dialogue on the challenges of establishing socially and environmentally sustainable food systems. (shrink)

Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.