Applied Theatre is an inclusive term used to host a variety of powerful, community-based participatory processes and educational practices. Historically, Applied Theatre practices include Theatre-in-Education, Theatre-in-Health Education, Theatre for Development, prison theatre, community theatre, theatre for conflict resolution/reconciliation, reminiscence theatre with elderly people, theatre in museums, galleries and heritage centres, theatre at historic sites, and more recently, theatre in hospitals. In this paper we are positioning the application of recreational dramatic activities with older adults under Applied Theatre and we are (...) exploring the benefits they offer to the participants. We are concerned that their health and wellbeing in western societies is not prioritized and it is clear that loneliness in particular is a current and ongoing issue. We will present research results from a drama dissertation study that took place in a community hall in the South East England where drama is placed at the core of their practice with old populations. Data was collected by a mixed method and was critically discussed amongst the authors to conclude that attending recreational drama classes brings a certain degree of happiness, social belonging and improvement of interaction with others to old people’s lives. (shrink)

L'article constitue la publication du décor peint des deux tombes de la nécropole de Kom el-Chougafa à Alexandrie. Ces deux tombes, creusées dans les parois d'une salle du second hypogée de Kom el-Chougafa, sont connues depuis le début du siècle, mais leur décor peint, en majeure partie effacé, n'a pu être rendu visible que récemment grâce à l'emploi de la lumière dans le spectre ultraviolet. Chaque tombe est constituée d'une niche qui se compose d'un sarcophage, surmonté de trois parois, et (...) d'un plafond. L'ensemble des parties était recouvert d'un enduit peint. La surface des trois parois est divisée en deux registres : le registre supérieur porte des peintures de style égyptien, tandis que le registre inférieur porte des peintures de style grec. Les scènes égyptiennes représentent, de gauche à droite, l'offrande du faucon (promesse d'immortalité), l'embaumement d'Osiris et la résurrection du dieu. Les scènes grecques, quant à elles, représentent, toujours de gauche à droite, Perséphone cueillant des fleurs avec ses compagnes, l'enlève ment de Perséphone, son retour du monde des morts vers celui des vivants. La correspondance des deux séries de scènes superposées est évidente, comme les têtes de Méduse et de Bès sur la partie/supérieure des pilastres. Différente du « style mixte » — personnages de style grec inclus dans une scène égyptienne — qui caractérise certaines représentations funéraires de l'Alexandrie impériale comme du Fayoum, cette combinaison iconographique est unique. (shrink)

The motif of ancient beliefs about afterlife and contemporary idea of them appears increasingly in contemporary works directed to young audience. The combination of mythology and history known from ancient sources and popular culture works is essential for reception studies. The paper presents three cases of transformation of characters connected with ancient beliefs about afterlife as protagonists or villains in works directed to youth; Hades as a villain known from Disney’s works, especially Hercules; Persephone and Hades’s love story in (...) three web comics: Underworld Love Story and Hades & Persephone Shorts by Gau Meo and Hades’ Holiday by Elvishness; and the way the Cleopatra VII Philopator’s image in Scooby Doo! in Where’s My Mummy? is different than others representations of the queen. (shrink)

The fragments of a hexameter poem about Dionysus recently discovered in a palimpsest (Sin. Ar. NF 66) reveal some different faces of Dionysus, including an Adonis-figure at the heart of a dispute between two goddesses (Persephone and Aphrodite), and a personified wine-god, Oinos, threatened by the machinations of his enemies in the court of Zeus. These palimpsest texts help to illuminate some of the allusions to the early life of the god that have long puzzled scholars, especially in some (...) of the early Christian apologists and the collection of OrphicHymns. (shrink)

In his magisterial work Persephone, Zuntz drew a basic distinction between two sets of Orphic gold leaves—those known from the elaborate tumuli at Thurii, which he called Group A, and a more widely scattered series, Group B, then represented by two longer texts from Petelia in southern Italy and Pharsalus in Thessaly, and, in a shortened form, by a series of six short texts from the environs of Eleutherna in Crete. Three further finds have reinforced Zuntz's distinctions: first, a (...) tablet from Hipponium, the colony of Epizephyrian Locri in southern Italy, published by Foti and Pugliese Carratelli, then a lamella said to be from Thessaly but now in Malibu and published by Breslin, and finally a tablet said to be from Entella in Sicily and recently in Geneva, which was published in a bad transcription by Frel and much clarified by Riedweg. The first and third belong to Zuntz's Group B, while the second is close to his Group C. Pugliese Carratelli has published an exceptionally fine set of photographs of all the texts except those from Petelia and Entella. My restudy of the leaf from Petelia has led to some improved readings. Not even a drawing exists of the Entellan leaf, which no scholar except its first editor has ever seen. This fact prompted a reviewer of this article to wonder about its authenticity. In the absence of the object itself, such doubts can only be allayed if its text consistently contributes to improving our understanding of the archetype from which it is derived. One of the aims of this article is to show that it does indeed do so. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Image and SilenceGiorgio AgambenTranslated by Leland de la Durantaye (bio)[End Page 94]In the Roman pantheon there is a goddess named Angerona, represented with her mouth bound and sealed (ore obligato signatoque).1 Her finger is raised to her lips as if to command silence. Scholars claim that she represents, in the context of pagan mystery cults, the power of silence, although there is no consensus among them as to how (...) to understand this power. Etymologically speaking, myein, the root of the Greek word mysterion, means “to close the mouth, to silence.” At the beginning of the sacred rites in Eleusis a herald “commanded silence” (epittatei tēn siōpen). It is said that that the initiates into these Eleusinian mysteries were required to maintain absolute silence concerning what they had seen and heard during their initiation. Our question is how to understand this silence. Was it a prohibition aimed at keeping a secret doctrine from the uninitiated? Or did it concern, instead, something truly impossible to say?To begin we might ask what sense there might have been in the obligation to remain silent given that it was possible for anyone—including slaves, and thus, potentially, the entire population of Athens—to be initiated into the mysteries. In his early work, “On Philosophy,” Aristotle affirmed that, “the initiates do not need to learn something (mathein ti), but, instead, to be disposed to something, to experience and to undergo something (pathein kai diatethēnai).”2 It would therefore be possible that in the ancient mystery cults the initiate did not learn a doctrine that could be expressed in words (yet had to remain secret), but, instead, experienced something essentially silent, something impossible to say. “A great awe in face of the gods,” we read in the Homeric ode to Demeter, “silences the voice.”3The impossibility of speaking—and the power of silence—has two forms, one joyful and the other disturbing. In myth muteness is often associated with rape. The Romans tell the story of Lara who was punished for her inclination to gossip by being rendered mute and who was then raped in a sacred wood by Mercury (who took advantage of her impossibility of speaking). Before being transformed into a swallow Philomela was raped by Tereus, who cut off her tongue to prevent her from recounting his misdeed. Persephone, raped, kidnapped, and conducted to Hades, remained there silent as the dead. In every one of these cases silence is the painful experience of a privation of speech, of being unable to say what one wishes to say.In Gnostic mythology, the preexisting, eternal, uncreated God contains within himself a female figure which is his silence, Sigē. From his union with Silence Thought is born. “Sigē,” we read in a Valentinian text, “is the mother of all the beings that have emerged from the Abyss. He who has failed to say the unsayable has silenced it; he who was understood the unsayable, has declared it unsayable.”4 Here too silence appears as the experience of an impossibility of saying, as a privation. It is in opposition to this abyssal figure of silence that the church fathers affirmed the primacy of the logos in which God is revealed. Nevertheless, of the power of silence Heidegger would write: “This primordial silence is more powerful than any human potentiality. No one, on his or her own, has ever invented language—that is, has been strong enough to break the power of this silence.”5 [End Page 95]In Kafka’s parable on Ulysses, we are told that the silence of the Sirens is more perilous than their song, and that Ulysses—who realized, as his ship neared them, that the Sirens were silent—put on an act to protect himself from this silence, plugging his ears with wax and having his men tie him to the mast.6 In Kafka’s retelling of the tale, the silence of the Sirens represents a zero degree of song and, following a stubborn tradition that sees in absence the most extreme form of presence, also represents an at once zero and ultimate degree of reality. In this sense Heidegger could write... (shrink)

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. Agamben’s intuition and meditation are fascinating, and not least when he turns his critical eye to the mysteries and contradictions of early religion. _The Unspeakable Girl: The Myth and Mystery of Kore_ is a book of three richly detailed treatments of (...) the myth of Kore. Kore, also called Persephone, and referred to poetically by the Greeks as “the unspeakable girl,” was the daughter of Demeter and Zeus who was abducted by Hades and made queen of the netherworld. Kore and her story gave rise to a mysterious cult at Eleusis, the site of the well where Demeter mourned her lost daughter. This book opens with an innovative and insightful essay that focuses on the mysterious indeterminacy of the figure of Kore/Persephone—at once a woman and a girl, a virgin and a mother—as well as the attendant divisions of speech and silence, the sacred and the profane, the animal and the human, and the mortal and the divine. Here, tracing these dichotomies, Agamben is in top form, able to articulate paradoxes that in another writer’s hands might be ineffable. In the second and third parts of the book the reader is treated to a series of beautiful paintings by acclaimed artist Monica Ferrando, as well as her translation of crucial Greek and Latin source materials. As a whole, _The Unspeakable Girl_ will not only be welcomed by Agamben’s many readers across the disciplines, but also by enthusiasts of classical mythology in general. (shrink)

The ancient centre of Pistiros, where archaeological excavations have been taking place since 1988, was founded in the 5th century BC in the Marica valley. The article examines the epigraphical evidence from this site and suggests some changes and clarifications in the reading of the text of the Vetren inscription, published in BCH 118 (1994) by the late professor V. Velkov and the author of this article. An analysis of the epigraphical evidence (4 inscriptions on stone and over 140 graffiti (...) on fragments of pottery) shows that in the 5th-4th centuries BC, representatives of various Greek poleis involved in trade lived there alongside the Thracians. The inhabitants of Pistiros worshipped different gods and heroes (Apollo, Kore [Persephone], Demeter, Zeus, Hera, the Mother of Gods, Heracles, Maron) and above all Dionysus, the supreme god of the Thracians (mentioned in the Vetren inscription). They had strong links with the oracle of Dionysus in the Rhodope mountains and were dependencies of the Thracian kings. Judging from the epigraphic, onomastic and archaeological evidence, the varied population of Pistiros was educated and used Greek in both official documents and everyday life. (shrink)

Editio princeps de l'inscription d'un épistomion en or trouvé dans un cimetière romain à Sfakaki près de Réthymnon. Le nouveau texte est étudié en corrélation avec les onze lamelles en or inscrites qui constituent un sous-groupe des lamelles orphico-dionysiaques ; la brièveté de leurs inscriptions s'explique sans doute par le souci de préserver le secret. Dans la série des lamelles orphico-dionysiaques, c'est seulement le second texte — l'autre provient aussi de Crète — dans lequel sont invoqués à la fois Pluton (...) et Persephone. La présence de Pluton ne résulte pas du mélange de croyances orphiques avec celles de quelque culte local similaire. Elle appartient, au contraire, à la tradition orphico-dionysiaque, comme le suggèrent les scènes d'un cratère apulien aujourd'hui à Tolède, et évoque peut-être une étape ultérieure du voyage initiatique dans l'au-delà. La provenance de cet épistomion, mais aussi des sept autres lamelles inscrites, montre qu'à la fin de l'époque hellénistique et pendant l'époque romaine on pratiquait dans la région d'Éleftherna, au Nord de l'Ida, un culte fondé sur des croyances orphico-dionysiaques. (shrink)

The dreaming body -- The philosophical Jung -- Locating identities : individual and collective matters -- Projection : the mirror image -- Divine reversal -- Mimesis revisited : Demeter and Persephone -- Jung, Irigaray, and essentialism : a new look at an old problem -- Speaking of the collective unconscious.

Les Petits Mystères d’Agra : des mystères orphiques à l’époque de Pisistrate. La possibilité de reconnaître dans les Petites Mystères d’Agra des mystères orphiques dès le vie siècle peut s’appuyer sur des sources littéraires et iconographiques, et faire référence au contexte historique. Cette hypothèse correspond bien à la situation socio-culturelle de l’époque des Pisistratides où l’on voit se développer les cultes de Dionysos, Déméter/Gaia/Meter et Perséphone, ainsi que des textes comme ceux que la tradition attribue à Onomacrite.The Little Mysteries of (...) Agra: Orphic Mysteries at the time of Peisistratos. The possibility of recognising Orphic elements in the Little Mysteries of Agra as early as the 6th century may be supported by evidence from literary and iconographic sources as well as from the historical context. This hypothesis ties in with the socio-cultural situation of Peisistratid times in which we can see the development of the cult of Dionysus and those of Demeter/Gaia/Meter and Persephone, and the flourishing of written texts, such as those attributed to Onomacritos. (shrink)

Essays on a Science of Mythology is a cooperative work between C. Kerényi, who has been called "the most psychological of mythologists," and C. G. Jung, who has been called "the most mythological of psychologists." Kerényi contributes an essay on the Divine Child and one on the Kore, together with a substantial introduction and conclusion. Jung contributes a psychological commentary on each essay. Both men hoped, through their collaboration, to elevate the study of mythology to the status of a science.In (...) "The Primordial Child in Primordial Times" Kerényi treats the child-God as an enduring and significant figure in Greek, Norse, Finnish, Etruscan, and Judeo-Christian mythology. He discusses the Kore as Athena, Artemis, Hecate, and Demeter-Persephone, the mother-daughter of the Eleusinian mysteries. Jung speaks of the Divine Child and the Maiden as living psychological realities that provide continuing meaning in people's lives.The investigations of C. Kerényi are continued in a later study, Eleusis: Archetypal Image of Mother and Daughter. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Three Poems JANE BLANCHARD Persephone This business of dividing time is not The easiest. Six months below with him; Six months above with her—such means a lot Of moving out and settling in. For them, I must abandon home and habits twice A year and never have a moment to Myself. It seems the greater sacrifice Is mine than theirs. I come and go when due As set (...) forth in a compromise once made Or rather ordered. Being loved so much Is less a blessing than a curse. Afraid I may get used to staying out of touch, My husband and my mother have proved loath To understand I always care for both. arion 26.3 winter 2019 Midas Whatever touched would turn to gold! Allowed one wish, he made his choice, Then reached to grasp all he could hold: Whatever touched would turn to gold! The impact could not be controlled. The wish he wished he could unvoice? Whatever touched would turn to gold! Allowed one wish, he made his choice. 70 three poems Sisyphus I roll the bolder up the hill. The bolder rolls back down again. There is to be no standing still. My efforts take no thought or skill; The next is what the last has been: I roll the bolder up the hill. Repeatedly, I find no thrill In this relentless discipline. There is to be no standing still. Time after time, the selfsame drill Gets old and even older when I roll the bolder up the hill. The chance of any change is nil. Since I am doomed, to my chagrin, There is to be no standing still. According to some greater will, The bolder rolls its rolls, and then I roll the bolder up the hill. There is to be no standing still. Jane Blanchard 71... (shrink)

en La présente étude entreprend de réévaluer la figure de la déesse Perséphone telle qu’elle apparaît dans une partie du corpus des lamelles funéraires en or. Il s’agit de montrer que l’importance régionale de la Perséphone de Locres a contribué à la représentation de la déesses dans les lamelles destinées à être utilisées en Grande Grèce. Des représentations mythiques et cultuelles sur les tablettes en terre cuite (pinakes) dédiées à cette déesse révèlent non seulement une « reine chtonienne », mais (...) aussi une divinité concernée par les sphères du mariage et de la naissance. Ces compétences entrent en résonance avec les notions de transition et de renaissance attestées dans les textes des lamelles d’or. Grâce à son importance régionale, la Perséphone de Locres fonctionnait comme une figure familière, capable d’ancrer dans le terreau existant des croyances locales l’expérience nouvelle et individuelle de l’initiation exprimée sur les lamelles. (shrink)

RESUMEN En el contexto griego clásico, Demeter era venerada como diosa de la agricultura y protectora de la fertilidad. Asimismo, la relación entre esta deidad y su hija Koré-Perséfone representaba la fortaleza del vinculo maternal. Este artículo explora las dimensiones simbólicas de esta figura mitológica, poniendo de relieve sus conexiones con un modelo ético de maternidad asociado al cuidado y a la resistencia frente a las injusticias. Además, se aborda una lectura de este mito desde la perspectiva de la teoria (...) feminista contemporánea, mostrando su cercania con los planteamientos del ecofeminismo. ABSTRACT In the classical Greek context, Demeter was worshipped as a goddess of agriculture and a protector of fertility. Moreover, the relationship between this deity and her daughter Kore-Persephone represented the strength of the maternal bond. This article explores the symbolic dimensions of this mythological figure, highlighting its connections with an ethical model of motherhood related to care and resistance against injustices. In addition, this article approaches this myth from the perspective of contemporary feminist theory, showing its links with ecofeminism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Five Poems AMIT MAJMUDAR Observing Orpheus I hear the meaning turn back in his throat like Eurydice on the way up from the darkness. Music’s meaning is its making. As for me, I am one more animal in his entourage, learning a new thirst, finding a new south. None of us knew we had this instinct in us. If deserts hide wildflowers until first rain, bright ears are blossoming (...) out of our skulls. He doesn’t have much longer. I know this myth. A God douses the fire with a beehive. The Maenads smear their faces with a warpaint made of stoneground fireflies and pine sap. Hands—hands like his, that drew music through lyre strings into our forest like pieces of bread through a prison fence— are reaching for his body now, his lyre. Their weapons are hands, nothing but hands. They are infinite. They are enough. arion 27.1 spring/summer 2019 Her Metamorphoses First a beetle, body armor forged of chitin, exoskeleton he’ll never bruise, Undiscovered, unapologetically hermetic on her own Galapagos. Next a fruit bat, echolocating tangerines like a blind woman singing up at stars. Then a patio lizard, sunning herself for as long as she needs, A better place for keeping warm than bed with him. Next a sleek water moccasin, quick to make out another woman’s heat signature on his neck, Even quicker to strike. A caterpillar to poke holes in his lying roses And from that destruction to fashion two beautiful wings for herself. A buzzard, to clean up the roadside pile he left of her. A woman in full with no more soft blind pupa stages of her life cycle left, No more forms to force herself to fit for the sake of his pleasure, No more shapeshifts, no more slimming stripes, no more abdominal crunches: Just this body, just this last name, just this apartment, just this bowl of midnight cereal. Just her. 106 five poems Sisyphus Shove hard, shove, shove hard, eyes bloodshot, knees bent Till your boulder goes weightless and races ahead in descent. Force its dark door open inch by grim inch, Shove hard, shove, shove hard, eyes bloodshot, knees bent, Heels dug deep in hell’s steep hillside, teeth clenched. What gravity strips from you, gravity grants you again. Shove hard, shove, shove hard, eyes bloodshot, knees bent Till your body goes weightless and races ahead in ascent. Amit Majmudar 107 A Trinket for Persephone A deathwatch beetle burrows in the pale hall of your marrow, your underground, your tube of bone on which you’re riding home alone. This blackwinged locket with your soul emerges rattling from a hole, a rattle in your emptied throat, the diva’s final, graceless notes, a clicking echoed in the rafters, this bugbear insect coming after to scuttle across the marshy chest, sinkhole navel, and pubic nest out to the yard, below the porch untrackable by any torch until this bug with you inside has burrowed to the other side. It drops into the underworld, as if from some cocoon unfurled, to scale a queenly wrist and rest your brooch of black upon her breast. 108 five poems Four Ways of Looking at Argus 1. His Vigil These hundred eyes, these hundred balloons Tied to the boy-small wrist of my mind Are down to ninety-nine. I lost one to a bee sting late last June— I never thought of them as fragile Until that pinprick broke my vigil. I’m slowing down. I didn’t blink in time. I have no inkling why I keep This vigil—surely not to watch, Panoptic from this mountaintop, A heifer drifting off to sleep? I’m here, I must be here, to see A signal fire from the east That warns of Olympus under siege And Ares gory from a rout, Athena’s owl’s eyes gouged out, The naiads naked in a pen, The whole world given up to men. The Gods will need a monster then. 2. After Martial Hermes was in a fix: He needed lullabies To shutter Argus’s one hundred eyes And get the tethered heifer—coal-eyed Io—free Of Hera’s... (shrink)

This title is a book of three richly detailed treatments of the myth of Kore. Kore, also called Persephone and referred to poetically by the Greeks as 'the unspeakable girl', was the daughter of Dermeter and Zeus who was abducted by Hades and made queen of the netherworld.

This paper is a study of Dionysian _lysis_, “liberation”_._ We begin with the suggestion that in the description of the _mania telestike _in Plato’s _Phaedrus_ 244d-245a, the best candidate among Dionysian ritual practices abstracted by Socrates’ rhetoric is maenadic trance. The maenadic references also accompany the testimonies on Dionysos _Lysios_ in Corinth, Sicyon and Thebes, but here the evidence invites us to widen the scope of Dionysian cult practices and look at the god’s Mystery cults, notably at the evidence provided (...) by the golden leaves founded in initiated sepultures. We propose then an exclusively Dionysian reading of the Pelinna leave. This reading leans on: an analysis of the leaf’s text; a critique of the interpretations associating _lysis_ with the expiation of the Titans’ crime; an examination of Persephone’s role; the meaning of _lysis_ in OF 350 Bernabé; and the linking up of the famous passages of Plato’s _Republic_ dealing with initiations with the dynamics of postponed punishment in ancient Greek representations of divine justice. Finally, the article suggests that Dionysian _lysis_ is concerned with liberation not only after death, but also during the life of the initiated. In conclusion, it goes back to Plato’s _Phaedrus_ 245a, in order to contrast Dionysian maenadic and mystic trance. (shrink)

Cet article est une étude sur la lysis, la « libération » dionysiaque. On commence avec la suggestion que dans la description de la mania telestike dans le Phèdre 244d-245a, le meilleur candidat parmi les pratiques cultuelles dionysiaques à l’opération de soustraction résultante de la rhétorique socratique c’est la transe ménadique. Les références ménadiques accompagnent également les témoins sur Dionysos Lysios à Corinthe, Sicyone et Thèbes, mais ici les sources nous invitent à élargir l’horizon des pratiques cultuelles dionysiaques pour regarder (...) les cultes à mystère en l’honneur du dieu, notamment aux renseignements des lamelles d’or trouvées dans des sépultures des initiés. Puis, on entreprend de proposer une lecture exclusivement dionysiaque de la lamelle de Pélinna. Cette lecture prend appui sur: une analyse du texte de la lamelle ; une critique des interprétations qui mettent la lysis en rapport avec l’expiation du crime des Titans ; un examen du rôle de Perséphone ; la signification de lysis dans l’OF 350 Bernabé ; l’articulation des célèbres passages de la République où il est question des initiations avec les dynamiques de la punition différée dans les représentations grecques anciennes de la justice divine. Puis, l’article suggère que la lysis dionysiaque porte sur une délivrance non seulement après la mort, mais aussi pendant la vie des initiés. En conclusion, l’étude revient au Phèdre 245a pour mettre en contraste les transes ménadique et mystique. (shrink)

This is the first book to describe and explain all of the ancient world's major mystery cults--one of the most intriguing but least understood aspects of Greek and Roman religion. In the nocturnal Mysteries at Eleusis, participants dramatically re-enacted the story of Demeter's loss and recovery of her daughter Persephone; in the Bacchic cult, bands of women ran wild in the Greek countryside to honor Dionysus; and in the mysteries of Mithras, men came to understand the nature of the (...) universe and their place within it through frightening initiation ceremonies and astrological teachings. These cults were an important part of life in the ancient Mediterranean world, but their actual practices were shrouded in secrecy, and many of their features have remained unclear until now. By richly illustrating the evidence from ancient art and archaeology, and drawing on enlightening new work in the anthropology and cognitive science of religion, Mystery Cults of the Ancient World allows readers to imagine as never before what it was like to take part in these ecstatic and life-changing religious rituals--and what they meant to those who participated in them. Stunning images of Greek painted pottery, Roman frescoes, inscribed gold tablets from Greek and South Italian tombs, and excavated remains of religious sanctuaries help show what participants in these initiatory cults actually did and experienced. A fresh and accessible introduction to a fascinating subject, this is a book that will interest general readers, as well as students and scholars of classics and religion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dr. Jacques L. and Martin Hide-a-Guerre: The Subject of New HistoricismStephen Bretzius (bio)Joel Fineman. The Subjectivity Effect in Western Literary Tradition: Essays Toward the Release of Shakespeare’s Will. Cambridge: MIT P, 1991. [SW]Stephen Greenblatt. Learning to Curse: Essays in Early Modern Culture. New York: Routledge, 1990.Stephen Greenblatt. Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England. Berkeley: U of California P, 1988.The word ‘theory’ stems from the Greek (...) verb theorein. The noun belonging to it is theoria. Peculiar to these words is a lofty and mysterious meaning. The verb theorein grew out of the coalescing of two root words, thea and horao. Thea (cf. theater) is the outward look, the aspect, in which something shows itself.... The second root word in theorein, horao, means: to look at something attentively, to look it over, to view it closely. Thus it follows that theorein is thean horan, to look attentively on the outward appearance wherein what presences becomes visible and, through such sight—seeing—to linger with it.—Martin Heidegger, “Science and Reflection”Hamlet: ‘Sblood, there is something in this more than natural, if philosophy could find it out. A flourish.Guildenstern: There are the players.—Hamlet 2.2.366–681In setting forth Shakespeare’s unique role within an important institutional appropriation of the early modern theater by the postmodern university, together with a corresponding postmodern theory already shaping the early modern theater, a highly stylized early play like Romeo and Juliet is a good place to begin. For here, and from the beginning, the play unfolds outside (and therefore inside) the “deconstructed” binarisms characteristic of a certain poststructural literary theory generally—womb-tomb, light-dark, female-male, Capulet-Montague, waking-sleeping, all-nothing, lark-nightingale, love-hate, late-early, vice-virtue, poison-remedy, mercy-murder, wedding-funeral, dove-raven, fiend-angel, wolf-lamb, miss-mend, stand-stir, haste-destiny, and so on. 1 Here the nonbinary language [End Page 73] of the theater anticipates the “unlimited semiosis” of postmodern literary and cultural theory precisely by extending that nonbinary language to the opposition theater-theory, which the play also undermines. To cite only one particularly central example, literary criticism’s ongoing concerns with the cultural and ritualistic origins of tragedy are not just explored but explained—theorized—by the play’s self-conscious identification of Juliet as both “dove” (“So shows a snowy dove trooping with crows” [1.5.48]) and “lamb” (“Juliet! Fast, I warrant her, she. / Why, lamb! Why, lady!” [4.5.1–2]). The theatrical experience of the play’s “poor sacrifices” [5.3.318] is further related to the Catholic mass, out of which Shakespeare’s own tragic theater significantly evolves, by “Come Lammas Eve at night shall she be fourteen” [1.3.17] (Lammas [hlammas] hlaf ‘loaf, bread,’ maesse ‘mass’) and “God’s bread, it makes me mad!” [3.5.176]. 2 Redoubling this Christian context for sacrifice, a seasonal parallel in the myth of Persephone stolen away by Pluto shows through “Death lies on her like an untimely frost / Upon the sweetest flower of all the field” [4.5.28–29] and “O son, the night before thy wedding-day / Hath Death lain with thy wife” [35–36]. Within the same ongoing theorization of the play’s own theater, the “pomegranate tree” in Juliet’s “It was the nightingale, and not the lark... / Nightly she sings on yon pomegranate tree” [3.5.2–4] further joins Juliet to Persephone, Lady Capulet to Ceres, and “love-devouring death” [2.6.7] to Hades.From the play to the theory, then, influential critiques of performative discourse and its ritualistic origins in postsubjective (post-Lacanian) sacrifice are generated not only by the postmodern university, but also, in Romeo and Juliet, by the early modern theater. For the play, and not simply the theory, is already about the play—and autobiographical, from Montague’s “Away from light steals home my heavy son, / And private in his chamber pens himself” [1.1.137–38] through Juliet’s “Was ever book containing such vile matter / So fairly bound” [3.2.83–84] to Romeo’s frantic “get me ink and paper... (shrink)

L'ébranlement d'une relation naturelle et fusionnelle entre Perséphone et sa mère, la déesse des moissons Déméter, est l'occasion d'une réflexion sur une problématique centrale à tout processus d'émergence : la confrontation à la séparation. L'enlèvement de la jeune fille par son oncle, le roi des morts, le refus de la Korê de s'unir à lui, le compromis trouvé entre la volonté d'Hadès et les incessantes résistances de la mère et de la fille face à la séparation, nous conduisent à une (...) interrogation sur le travail du négatif, plus précisément sur la tension entre séparation nécessaire et séparation impossible et sur le sens de cette tension pour le processus créateur. (shrink)

Empedocles’ B100 contains an analogy between a girl handling a clepsydra and respiration. This article argues that proposals to establish Love or Persephone as the girl’s respiratory equivalent are rendered unlikely by differences between their respective causal roles. Rather than her gender, this article emphasises the importance of the girl’s age: Empedocles required a playful child to handle the clepsydra. This child’s play results in the extra phase of submerging the clepsydra while the upper vent is open, which Empedocles (...) needed to form a parallel for the first static phase of respiration. (shrink)

Launched in 1999, at a time of radical change for the publishing industry, Persephone Books has become a successful independent publisher of neglected female authors mainly from the 20th-century inter-war period. Publishing being an industry primarily shaped by the differential distribution of symbolic and economic capital, competing principles of cultural legitimacy within an increasingly commercial climate clarify the position of modern publishing at the intersection of culture and commerce. This article explores how Persephone Books’ understated assertion of publishing’s (...) ‘middle ground’ and commitment to the historically reviled ‘middlebrow’ genre have reconciled the perennial tension between culture and commerce to create a thriving yet unintentional publishing brand. (shrink)

In the year of Eubulus' archonship at Athens , Timoleon the Corinthian, who had been chosen by his fellow citizens to command at Syracuse, prepared for his expedition to Sicily. He hired seven hundred mercenaries and having put his soldiers aboard four triremes and three fast sailing ships departed from Corinth. Following the coastal route he picked up three further ships from the Leucadians and Corcyreans and then with ten ships in all crossed the Ionian gulf to Italy. Thus far (...) Diodorus Siculus 16. 66. 1–2. In the course of the crossing, Diodorus continues , a peculiar and miraculous event befell Timoleon, with the supernatural order coming to the support of his enterprise and foreshadowing his eventual fame and the glory of his achievements. I now quote Diodorus' own words: δι' λης γρ τς νυκτς προηγετο λαμπάς καιομένη κατ τν ορανόν μέχρι ο συνέβη τν στόλον ες τν ταλίαν καταπλεσαι In translation: ‘throughout the whole night he was preceded by a torch that blazed in the sky until the flotilla reached land in Italy’. No more than a single night would, of course, have been required in order to accomplish the crossing of the gulf, with Timoleon presumably heading from Corcyra for the Iapygian promontory as was normal procedure in such transits. Diodorus goes on to recount that Timoleon, who had been informed in Corinth that Demeter and Persephone would accompany him on his voyage, recognized the actual assistance of the two goddesses, dedicated his best ship to them and named it Sacred vessel of Demeter and Kore. After diplomatic activity at Metapontum and Rhegium Timoleon proceeded from Italy to Sicily, where he landed at Tauromenium still in the year of Eubulus. (shrink)

In the year of Eubulus' archonship at Athens, Timoleon the Corinthian, who had been chosen by his fellow citizens to command at Syracuse, prepared for his expedition to Sicily. He hired seven hundred mercenaries and having put his soldiers aboard four triremes and three fast sailing ships departed from Corinth. Following the coastal route he picked up three further ships from the Leucadians and Corcyreans and then with ten ships in all crossed the Ionian gulf to Italy. Thus far Diodorus (...) Siculus 16. 66. 1–2. In the course of the crossing, Diodorus continues, a peculiar and miraculous event befell Timoleon, with the supernatural order coming to the support of his enterprise and foreshadowing his eventual fame and the glory of his achievements. I now quote Diodorus' own words: δι' λης γρ τς νυκτς προηγετο λαμπάς καιομένη κατ τν ορανόν μέχρι ο συνέβη τν στόλον ες τν ταλίαν καταπλεσαι In translation: ‘throughout the whole night he was preceded by a torch that blazed in the sky until the flotilla reached land in Italy’. No more than a single night would, of course, have been required in order to accomplish the crossing of the gulf, with Timoleon presumably heading from Corcyra for the Iapygian promontory as was normal procedure in such transits. Diodorus goes on to recount that Timoleon, who had been informed in Corinth that Demeter and Persephone would accompany him on his voyage, recognized the actual assistance of the two goddesses, dedicated his best ship to them and named it Sacred vessel of Demeter and Kore. After diplomatic activity at Metapontum and Rhegium Timoleon proceeded from Italy to Sicily, where he landed at Tauromenium still in the year of Eubulus. (shrink)

It may seem perplexing to read a book that ranges from a fresh interpretation of the myth of Demeter and Persephone to a detailed sensuous discussion of the smell, taste, production, and the regional localities of French cheeses; that moves from a new reading of Antigone—one that challenges many standard feminist readings and argues that the real hero of the play is Ismene—to a critique of corporate capitalism with its relentless drive to commodify everything, including our body parts; that (...) begins with a close reading of Hobbes and Rousseau and concludes with the “right to joyful.” Yet, I hope to show that there is a deep thematic unity that underlies Mary C. Rawlinson’s varied discussions. Just... (shrink)