The article соnsiders the socio-cultural aspects of the standard model (SM) in elementary particle physics and history of its creation. SM is a quantum field gauge theory of electromagnetic, weak and strong interactions, which is the basis of the modern theory of elementary particles. The process of its elaboration covers a twenty-year period: from 1954 (the concept of gauge fields by C. Yang and R. Mills) to the early 1970s., when the construction of renormalized quantum chromodynamics and electroweak theory (...) wеre completed. The socio-cultural aspects of SM are explored on the basis of a quasi-empirical approach, by studying the texts of its creators and participants in the relevant events. We note also the important role of such an “external” factor as large-scale state projects on the creation of nuclear and thermonuclear weapons, which provided personnel and financial support for fundamental research in the field of nuclear physics and elementary particle physics (the implementation of thermonuclear projects took place just in the 1950s, and most of the theorists associated with the creation of SM were simultaneously the main developers of thermonuclear weapons, especially in the USSR). The formation of SM is considered as a competition between two research programs (paradigms) – gauge-field and phenomenological, associated with the rejection of the field concept. The split of the scientific community of physicists associated with this competition is going on during this period. It’s accompanied by a kind of “negotiations”, which in the early 1970s lead to the triumph of the gauge field program and the restoration of the unity of the scientific community. The norms and rules of the scientific ethos played the regulatory role in this process. The scientific-realistic position of the metaphysical attitudes of the majority of theorists and their negative attitude to the concepts of philosophical relativism and social construction of scientific knowledge are emphasized. Some features of the history of SM creation are also noted, such as the positive role of aesthetic judgments; “scientific-school” form of research (in the USSR), its pros and cons; a connection to historical-scientific “drama of ideas” with “dramas of people” who made a wrong choice and (or) “missed their opportunities”. (shrink)

SummaryThe establishment of the discipline of architectural acoustics is generally attributed to the physicist Wallace Clement Sabine, who developed the formula for reverberation time around 1900, and with it the possibility of making calculated prognoses about the acoustic potential of a particular design. If, however, we shift the perspective from the history of this discipline to the history of architectural knowledge and praxis, it becomes apparent that the topos of ‘good sound’ had already entered the discourse much earlier. This paper (...) traces the Europe-wide discussion on theatre architecture between 1750 and 1830. It will be shown that the period of investigation is marked by an increasing interest in auditorium acoustics, one linked to the emergence of a bourgeois theatre culture and the growing socio-political importance of the spoken word. In the wake of this development the search among architects for new methods of acoustic research started to differ fundamentally from an analogical reasoning on the nature of sound propagation and reflection, which in part dated back to antiquity. Through their attempts to find new ways of visualising the behaviour of sound in enclosed spaces and to rethink both the materiality and the mediality of theatre auditoria, architects helped pave the way for the establishment of architectural acoustics as an academic discipline around 1900. (shrink)

In the article three tragedies: ‘The Battle of Arminius‘ by Christian Dietrich Grabbe, ‘Nibelungs‘ by Friedrich Hebbel, ‘The Ring of the Nibelung‘ by Richard Wagner are considered. The aim of this paper is to investigate how history reception and mythological material correlates with the idea of national identity. The comparative-historical, typological and historical-genetic methods are applied in this publication. The genres of historical, philosophical and mythological tragedy became the most popular genres in the socio-political conditions in the 30s of (...) the 19th century in Germany. Grabbe underlines the idea of the presence of the ‘local‘ regional history within the framework of the ‘big‘ and significant one. Grabbe paid attention to the historical process and historical figures, not to any particular historical event. In his last work, tragedy ‘The Battle of Arminius‘, Grabbe showed his understanding of the country’s historical origins and the creation of a national myth. F. Hebbel and R. Wagner comprehend the images and motifs of Norse mythology as a universal model of human existence. While interpreting the story of Nibelungs, F. Hebbel notes not only its national roots but its universal source; he models the image of the world through the prism of the microcosm of Burgundians/Nibelungs. Wagner’s tetralogy is not so much an interpretation as a creation of the ‘new myth‘. The images of Arminius and Siegfried have the features of the archaic primal forefather, ‘cultural hero‘ of the nation, who intimately related with Nature and home ground. Myth and mythological history are not only the tools of attainment of national identity but the means of reversion the modern man to the lost harmony of the Universe, which pertains to the mythological mind. (shrink)

The development of the vital potential of the drama theater is in a continuous search for new forms of expression. Today, in an attempt to establish itself on the territory of a multicultural environment, as well as in an attempt to gain a unique method of communication with society, the theater as an art sphere expands the boundaries of its purpose. Going beyond the stage space turns out to be an important subject of research from the point of view of (...) the search for the artistic existence of the theater in the conditions of digital reality. This article discusses the issue of finding a place for a drama theater in a digital environment where the energy of human relations is significantly minimized and manifests itself in a specifically different way. The subject of the research for the author was the cultural and creative activity of the Tovstonogov BDT. The St. Petersburg Bolshoi Drama Theater does not need recommendations: it has a great history in the twentieth century, an attractive stage "today" for the audience and, undoubtedly, interesting prospects. In the practice of BDT under the leadership of Andrei the Mighty (2013-2023), there are such turns of dramatic action that are not directly connected with the stage and are almost out of place for the "repertory" theater. The phenomenon of the theater, as if removed from its ancestral roots, leaving the walls breathing tradition, is considered in the article as an experience of cultural and theatrical "exit" to the "stage" of digital reality. Among such experiments, the most significant are the social action "Help the doctors", as well as the experiments of "Minecraft" performances. In addition to the usual comparative historical method for art studies, others will be used, first of all, the formal method, which distinguishes the St. Petersburg school of theater studies. Scientific novelty is determined by the subject of research itself: BDT is considered as a phenomenon of a multi-genre cultural space, in which, as before, a special place is rightfully given to the actor, his role, as well as to the viewer who finds himself in the conditions of a new socio-cultural picture of the world. (shrink)

RESUMOO presente artigo tem como objetivo analisar os meandros da composição e suas intertextualidades na polêmica do samba entre Noel Rosa e Wilson Batista, observando o dialogismo na interação verbal e musical entre os autores e os diversos textos da década de 1930. Ao apurar os ouvidos sobre a "polêmica do samba" observa-se que as composições revelam tensões inexoráveis entre um mundo festivo do "malandro" e os limites da realidade da época. Desse modo, com suporte em estudos que tratam deste (...) tema, busca-se trazer à tona um insight sobre este "duelo" musical que está, certamente, muito mais disseminado na sociedade que restrito a questões puramente estéticas.ABSTRACTThe purpose of this paper is to analyze the meanders of composition and their intertextuality in the samba controversy between Noel Rosa and Wilson Batista. We observe dialogism in the verbal and musical interaction between the samba writers and several texts of the 1930s. When ears are in tune with the "samba controversy," one observes that the compositions reveal inexorable tensions between the festive world of the "malandro" and the limits of the reality of the time. Accordingly, based on studies that address this theme, we aim to present an insight into this musical "duel," which is not restricted to purely aesthetics issues, but certainly disseminated in society. (shrink)

Theatre practitioners use empathy formation techniques within their acting methodology to develop particular characters for the stage. Here, Ann Phelps and Dylan Brown argue that, when Constantin Stanislavski's seminal dramatic method is placed in conversation with exemplarist moral theory, acting can become a tool for moral formation. To illustrate this claim, they describe their work with the Program for Leadership and Character at Wake Forest University, where a neo-Aristotelian virtue ethics framework is embodied and expanded using this dramatic method. By (...) using acting exercises to help students rehearse how their moral exemplars would respond to situations, Phelps and Brown challenge students to embody their exemplars instead of merely engaging with them as a passive intellectual exercise. Moral educators can achieve their pedagogical aim by expanding Stanislavski's dramatic “super-objective” to encompass a “moral meta-objective.” This neo-Aristotelian modification to Stanislavski's method might extend beyond the stage in ways that facilitate the embodiment of morally exemplary behavior, even after the curtain falls. (shrink)

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, while (...) his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts. First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas. (shrink)

How far from the optimism of eighteenth-century philosophes and their nineteenth-century heirs ought we to let the disasters of twentieth-century European history push us? An encounter with the profoundly pessimistic socio-political theoretician Georges Sorel can help us gauge that. But in assessing Sorelian thought, we ought to adopt the same analytical strategy he himself prescribed when approaching complex and multi-faceted subjects: a deliberately partial, indirect approach he called 'diremption'. This diremption of Sorelian morality addresses his concepts of 'work' and (...) 'love' specifically; and it accesses them not directly, through his own works, but indirectly, through fictional works he found particularly meaningful: Daniel Halevy's science-fiction novel History of Four Years and Paul Claudel's verse drama The Hostage. (shrink)

This essay explains the appearance of tragic narrative patterns and motifs in the Croesus logos not as a passive manifestation of "tragic influence," but as a self-conscious textual strategy whereby Herodotus makes his narratives familiar and engaging while also demonstrating the distinctive traits of his own innovative discourse, historie. Herodotus' purposive appropriation and modification of tragic technique manifests the critical engagement with other authors and literary genres that is one of the defining features of the Histories. Herodotus embellishes the story (...) of Atys and Adrastus with numerous formal and thematic features of Attic tragedy. Uniquely in the Histories, the story traces the full arc of a tragic drama, from the king's ominous dream of Atys' death to catastrophe, lament, and burial. The celebrated climactic description of Adrastus' suicide, however, transcends Herodotus' dramatic model. In describing Adrastus as the most unfortunate man "of all that he himself knew," Herodotus introduces an idiom used elsewhere in the Histories to portray the activity of the histor, and thus places the unmistakable stamp of his own genre upon tragic narrative. In a fully mimetic episode that lacks the author's characteristically intrusive "voiceprint," Herodotus seems to suggest that he could beat the dramatists at their own game if he chose to play it. Two other episodes make similar use of tragic motifs on a smaller scale. In the story of Gyges and Candaules Herodotus adapts the Aeschylean motif of the decision made under duress to focus attention on human causation and socio-political issues of fundamental interest to him. Finally, the tragic stylization of Croesus' pyre scene allows Herodotus to manipulate audience expectations while subtly demonstrating, through the use of indirect discourse, the interest in source criticism that sets Herodotean historie apart from the poetic tradition. (shrink)

Paul Virilio is one of the most prolific and penetrating critics of the drama of technology in the contemporary era, especially military technology, technologies of representation, computer and information technologies, and biotechnology. For Virilio, the question of technology is the question of our time and his life work constitutes a sustained reflection on the origins, nature and effects of the key technologies that have constituted the modern/ postmodern world. In particular, Virilio carries out a radical critique of the ways that (...) technology is transfonning the contemporary world and even the human species. Yet I want to argue in this study that Virilio has a flawed conception of technology that is excessively negative and one-sided, thus missing the empowering and democratizing aspects of new computer and media technologies. My argument is that his vision of technology is overdetermined by his intense focus on war and military technology and that this optic drives him to predominantly technophobic perspectives on technology per se as well as the new technologies of the contemporary era. I contend that Virilio's project is essentially conservative, wishing to preserve the human body and natural life against the assaults of what he regards as a demonic technology which he considers as having a highly destructive impact, on nature, human beings and socio-political life. However, it is precisely the extremely critical discourse on war and military technology, as well as his penetrating reflections on war, cinema, technologies of representation and vision machines, and biotechnology, that constitute the valuable aspects of his work. (shrink)

In the early seventies, American feminist literary criticism had little patience for psychoanalytic interpretation, dismissing it along with other forms of what Mary Ellmann called “phallic criticism.”1 Not that psychoanalytic literary criticism was a specific target of feminist critics, but Freud and his science were viewed by feminism in general as prime perpetrators of patriarchy. If we take Kate Millett’s Sexual Politics2 as the first book of modern feminist criticism, let us remark that she devotes ample space and energy to (...) attacking Freud, not of course as the forerunner of any school of literary criticism, but as a master discourse of our, which it to say masculinist, culture. But, although Freud may generally have been a target for feminism, feminist literary critics of the early seventies expended more of their energy in the attack on New Criticism. The era was, after all, hardly a heyday for American psychoanalytic criticism; formalist modes of reading enjoyed a hegemony in the literary academy in contrast with which psychoanalytic interpretation was a rather weak arm of patriarchy.Since then, there have been two changes in this picture. In the last decade, psychoanalytic criticism has grown in prestige and influence, and a phenomenon we can call psychoanalytic feminist criticism has arisen.3 I would venture that two major factors have contributed to this boom in American psychoanalytic criticism. First, the rise of feminist criticism, in its revolt against formalism, has rehabilitated thematic and psychological criticism, the traditional mainstays of psychoanalytic interpretation. Because feminism has assured the link between psychosexuality and the socio-historical realm, psychoanalysis now linked to major political and cultural questions. Glistening on the horizon of sociopolitical connection, feminism promises to save psychoanalysis from its ahistorical and apolitical doldrums.The second factor that makes psychoanalytic reading a growth industry in the United States is certainly more widely recognized: it is the impact of French post-structuralist thought on the American literary academy. There is, of course, the direct influence of Lacanian psychoanalysis which promotes language to a principal role in the psychoanalytic drama and so naturally offers fertile ground for crossing psychoanalytic and literary concerns. Yet I think, in fact, the wider effect in this country has come from Derridean deconstruction. Although deconstruction is not strictly psychoanalytic, Freud’s prominent place in Derridean associative networks promises a criticism that is, finally, respectably textual and still, in some recognizable way, Freudian. Although this second, foreign factor in the growth of American psychoanalytic criticism seems far away from the realm of homespun feminist criticism, I would content that there is a powerful if indirect connection between the two. I would speculate that the phenomenal spread of deconstruction in American departments of English is in actuality a response to the growth of feminist criticism. At a moment when it was no longer possible to ignore feminist criticism’s challenge to the critical establishment, deconstruction appeared offering a perspective that was not in opposition to but rather beyond feminism, offering to sublate feminism into something supposedly “more radical.” Jane Gallop, professor of humanities at Rice University, is the author of Intersections: A Reading of Sade with Bataille, Blanchot, and Klossowski , The Daughter’s Seduction: Feminism and Psychoanalysis , and Reading Lacan . She wrote the present essay while awaiting the birth of her first child. (shrink)

Science-fiction (SF) has become a reference point in the discourse on the ethics and risks surrounding artificial intelligence (AI). Thus, AI in SF—science-fictional AI—is considered part of a larger corpus of ‘AI narratives’ that are analysed as shaping the fears and hopes of the technology. SF, however, is not a foresight or technology assessment, but tells dramas for a human audience. To make the drama work, AI is often portrayed as human-like or autonomous, regardless of the actual technological limitations. (...) Taking science-fictional AI too literally, and even applying it to science communication, paints a distorted image of the technology's current potential and distracts from the real-world implications and risks of AI. These risks are not about humanoid robots or conscious machines, but about the scoring, nudging, discrimination, exploitation, and surveillance of humans by AI technologies through governments and corporations. AI in SF, on the other hand, is a trope as part of a genre-specific mega-text that is better understood as a dramatic means and metaphor to reflect on the human condition and socio-political issues beyond technology. (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)

This article is devoted to the consideration of a number of stage projects by Chinese directors, in which the work of the writer Anton Pavlovich Chekhov is reinterpreted. Analysis of such productions and projects as the international drama festival "Chekhov Forever" in 2004, a hybrid work based on Chekhov's story "Three Sisters" and Beckett's novel "Waiting for Godot" by Lin Zhaohua in 1998 and 2018, a double performance by Stan Lai based on the works "I take You by the Hand" (...) by Carol Rocamora and "The Seagull" Chekhov 2014, etc. It allows us to trace innovative approaches to reading Chekhov's works in the context of the life of modern Chinese society. These works cause a great resonance not only in the professional environment, but also among the mass audience, who invariably penetrates the depth of Chekhov's images, the subtlest shades of emotional experiences; the Chinese audience finds themselves close to the problems, hopes and aspirations of the heroes, brilliantly transferred to the actual socio-cultural environment of China, always topical and recognizable. The scientific novelty of the article is connected with the fact that the nature of mastering the creativity of the Russian playwright in the theater of the East is a fairly new and at the same time promising topic for research. The conclusions and results of the study can become the basis for further studies of the specifics of the adaptation of foreign dramaturgy in the national theatrical tradition on the example of other countries and regions. (shrink)

The object of my dissertation is to demonstrate that the conceptual thrust of Nietzsche's philosophical activity is a sustained endeavor to negate the Socratic basis of Western ontology through the re-implementation of the Aeschylean tragic paideia. Nietzsche's most consequential objection against Socrates is the latter's neutralizing of Hellenic mythos with the "cold edge" of reason and the "naive optimism" of science. Accordingly, we may most properly understand Nietzsche's effort as a movement against aesthetic Socratism, since it is with its "supreme (...) law," "To be beautiful everything must be intelligible," that Socrates--from behind his "Euripidean mask"--quelled the Dionysian spirit in Attic aesthetics, ipso fact put into operation an impulse-taming didacticism, and thus made ready the social climate for the institutionalization of the Judeo-Christian moral system. ;Nor, as I urge, is this a mere intellectual position, a philosophical exercise for Nietzsche. Just as the Platonic Socrates saw the need for a new moral and aesthetic direction, so does Nietzsche regard the culturo-political reformulation of Western society as a practical goal. Two interrelated themes of his appear to speak in favor of this observation: his regard of the composer Richard Wagner as the new Aeschylus who would reanimate the Dionysian spirit within German culture, and his persistent call for the somato-intellectual overcoming of humankind as we know it. That is, Wagner's musical dramas would at once transform Western/Socratic aesthetics and prepare the socio-cultural mentality for the rise and establishment of the Ubermensch as a new and profoundly "superior" "species" of human beings. That the younger Nietzsche did indeed regard Wagner as useful toward the achievement of such an artistic and cultural inversion may be noticed from the fact that he terminated their friendship virtually immediately after the composer signalled that he was turning to a more traditional and acceptable subject--Christianity. ;Despite this loss, Nietzsche ineluctably presses on his vision of the future "masters" of the earth. Indeed, in The Will to Power he implicitly offers at least two dissimilar "blueprints" whereby that goal could be realized. Only one of these plans of action, however, could ultimately prove useful in the establishment of the Ubermensch, while the other could at best permit only isolated communities of Ubermenschen to exist for a relatively short time, before succumbing to the rabble's socio-cultural levelling tendency. Only after the rabble's lifestyle would have become intolerable even to themselves, such that they would collectively rise up to transcend their mass-identity in all its manifestations, could the emergence and future of the Ubermensch as a phenomenal being be assured. (shrink)

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, while (...) his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts. First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas. (shrink)

This paper wants to address the Aristotelian analysis of the concept of mimesis from a social and cultural angle. It is going to show that mimesis is crucial if we want to understand why the institution of the theatre played such a crucial role in the civic educational programme of classical Athens. The paper’s argument is that the magic spell of theatrical imitation, its aesthetic machinery was exploited by the city for civic educational function. Dramas, and in particular tragedies (...) helped to articulate the city’s political expectations from the citizens, and they achieved it with far better efficiency than any other medium of propaganda which was available in those days. It will first reconstruct the duality within the internal structure of the Aristotelian account of mimesis in Poetics: it will show both 1.) the aesthetic and 2.) the socio-cultural dimensions of his theory of civic initiation through dramatic imitation. In the second part it will compare this Greek cultural context with a similar context in Rome in the activity and writings of Cicero. Finally, the paper presents the Renaissance republican context of early modern Europe, which also connected politico-moral education with the idea of mimesis. (shrink)

Adorno unquestionably loved opera music as much as he hated opera as a cultural institution. His take on opera in the twentieth century led him to write its socio‐political obituary, while recognizing at the same time that opera continued to attract a steady stream of would‐be onlooker‐auditors. Paradoxically for Adorno, opera continued to appeal to audiences, and – from his dialectical reckoning – characteristically for precisely the wrong reasons. His opera analyses address the sociology of musical theater, performance hermeneutics, (...) and the direct consideration of music itself (though given his typical writing mode this writing is perhaps best characterized as criticism rather than analysis, as the latter term is commonly employed within musicology). Adorno's interests principally revolve around modern opera (Schoenberg, Berg, Strauss, Weill, especially) but also, if to a lesser extent, canonic works from Mozart to Verdi. Wagner, Wagnerian music drama, and cultural Wagnerism more generally were special cases for Adorno, and subjects he returned to repeatedly throughout his adult life, coinciding with the rise and fall of National Socialism and the Wagner cult, which in the 1930s and 1940s war years comfortably accommodated fascist proclivities. Adorno recognized the socio‐cultural agency of opera as a still‐prestigious cultural leftover of nineteenth‐century bourgeois triumphalism, which he vigorously opposed. In its place, he labored to promote what he regarded as a more socially responsible musico‐operatic practice to supplant the aesthetic and social complacency of the established order, ideas that after his death have found considerable currency, nowhere more evident than in late‐modern opera productions throughout the world. (shrink)

Trump’s crusade against PC played a key role in his political rhetoric and resonated well among his supporters, yet his notion of PC differed greatly in meaning from earlier uses of the term and was used to denounce a much wider range of socio-political behaviors. Based on a systematic analysis of Trump’s use of this notion, I identified five main normative propositions organizing Trump’s anti-PC rhetoric. Viewed together, these propositions add up to a rehabilitation of White working-class culture but (...) also outline an emerging late-modern version of the authenticity ethic, whose power extends far beyond the working class. This ethic (as manifested in Trump’s anti-PC rhetoric) transforms the role of morality and the sacred in political drama and in symbolic struggles over social worth. Rather than presenting his commitment to moral values, ideals, and allegedly-universal rules, Trump used anti-PC rhetoric to expose and criticize the symbolic self-interests of others who speak on behalf of these values, rules, and ideals to claim superiority (and thus ironically mimicked the sociological critique of symbolic violence to legitimize bigotry). Yet, the sacred is not completely banished from political drama: authenticity as a principle of worth guiding moral evaluation and argumentation is revealed as a sacred in denial. The case of Trump’s anti-PC rhetoric thus allows theorizing the implications of the authenticity ethic for the dynamics of social struggles over recognized worth and for the role of ideals in the presentation of self in politics and beyond. (shrink)

This essay attempts a reevaluation of the use of Greek tragedy in Vergil's Aeneid, drawing on recent advances in the study of literary allusion and on current approaches to Greek drama which emphasize the importance of social context. I argue that extensive allusions to the figure of Ajax in the Aeneid serve as a subtext for the construction of the personae of Dido and Turnus. The allusive presence of Ajax attests to the existence of a tragic register in the epic, (...) which intersects with and complicates the multiple allusive registers within the poem. Moreover, I propose that a detailed examination of Vergil's manipulation of tragedy's articulation of socio-political and ideological problems may in turn illuminate the Aeneid as a national epic and its much-contested relationship with Augustan ideology. More specifically, I argue that issues of identity and moral action explored in Sophocles' Ajax are crucial in the cases of Dido and Turnus, who similarly find themselves in conflict with and unable to adapt to the new social and political structure of Aeneas' new order. Like Ajax, Dido and Turnus define themselves through constant reference to their relationship with their people. All three, however, engage in action which pits them against the interests of their communities and which results in their complete isolation. Unable to adjust their behavioral code to ensure their survival, Dido and Turnus embody a heroic ideal which, though laudable, can have no place in Aeneas' Roman future. Vergil thus mobilizes a tragic allusive register in order to illustrate the tension between the celebration of this ideal and the realization that social change has rendered it obsolete. At the same time, the loss of the ideals that Dido and Turnus represent necessitates the articulation of a comparable, if not superior, ethical code which Aeneas is called on to embody. Allusive evidence linking Aeneas to the tragic Ajax, however, seems to indicate Aeneas' failure to emerge as a superior moral force in the poem. (shrink)

The term dikē has a wide range of meanings in tragic poetry. However, we could identify two distinctively or predominantly Euripidean trends that are closely associated with the use of dikē and are actually interdependent. Heracleidae, Suppliants, and Phoenissae are good test-cases in that regard. Whilst the plays bear strong resemblances to Aeschylean and secondarily Sophoclean dramas, the treatment of dikē is differentiated. 1) By contrast with Aeschylus and secondarily Sophocles, dikē in these Euripidean plays is viewed in connection (...) to socio-political values and institutions that are essentially humanly constructed. The focus is shifted to the nature and role of these human conventions and the way in which they interact with deeply-rooted, traditional patterns of conduct. The plays explore the difficulties, complications or failures that can arise in practice, in the frame of the quest for dikē. 2) Despite the occasionally strong individualization and interest in characterization, Euripides focuses on the consequences of the disturbance of dikē for the community as well as on the difficulties involved in the execution of dikē, rather than the rigid, and somewhat abstract, demand for the execution of dikē itself. Individual actions of doubtful justification are largely viewed and assessed in the light of their consequences for the polis. A major, pertinent issue is both the necessity and the limitations of vengeance or punishment, both on an individual and on a collective scale. (shrink)

How might the social sciences best be employed in the study of law, especially in light of today's legal climate of anti-foundationalism? Realistic Socio-Legal Theory addresses this question thoroughly and precisely. Drawing upon philosophical pragmatism to construct an epistemological and methodological foundation, this book formulates a framework for a realistic approach to socio-legal theory. Brian Z. Tamanaha contrasts the strengths of his realistic approach with those of the major schools of socio-legal theory through application to many key (...) issues in the field. He explores the problematic state of socio-legal studies, the relationship between behavior and meaning, the notion of legal ideology, the nature of the concept of law, the problem of indeterminacy in rule following and application, and the structure of judicial decision making. Tamanaha's discussion is always clear and concise as he articulates a social theory of law that draws equally from legal theory and socio-legal studies. His book has much to offer those interested in the gathering and organization of knowledge about law and legal phenomena. (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.

Motivated by the significant amount of successful collaborative problem solving activity on the Web, we ask: Can the accumulated information propagation behavior on the Web be conceived as a giant machine, and reasoned about accordingly? In this paper we elaborate a thesis about the computational capability embodied in information sharing activities that happen on the Web, which we term socio-technical computation, reflecting not only explicitly conditional activities but also the organic potential residing in information on the Web.

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.

This paper argues that Internet access should be recognised as a human right because it has become practically indispensable for having adequate opportunities to realise our socio-economic human rights. This argument is significant for a philosophically informed public understanding of the Internet and because it provides the basis for creating new duties. For instance, accepting a human right to Internet access minimally requires guaranteeing access for everyone and protecting Internet access and use from certain objectionable interferences (e.g. surveillance, censorship, (...) online abuse). Realising this right thus requires creating an Internet that is crucially different from the one we currently have. The argument thus has wide-ranging implications. (shrink)

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

The view that an agent’s cognitive processes sometimes include proper parts found outside the skin and skull of the agent is gaining increasing acceptance in philosophy of mind. One main empirical touchstone for this so-called active externalism is Edwin Hutchins’ theory of distributed cognition (DCog). However, the connection between DCog and active externalism is far from clear. While active externalism is one component of DCog, the theory also incorporates other related claims, which active externalists may not want to take on (...) board. DCog implies a shift away from an organism-centred cognitive science to a focus on larger socio-technical-cum-cognitive systems. In arguing for this shift, proponents of DCog seem to accept that socio-cultural systems have some form of agency apart from the agencies of the individuals inside them. I will tentatively suggest a way in which such a notion of agency can be cashed out. (shrink)

A Socio-Linguistic Approach to the Development of Folk Psychology One of the most interesting issues central to folk psychology is how it develops in humans. Over the past few decades, two distinct theories have emerged known as the Theory-Theory and Simulation Theory. Theory-theory supporters argue that children construct theories to explain behavior, while simulation theorists extol the virtues of empathy—putting yourself in another person's shoes. I argue that each position falls short of an adequate account of how folk psychology (...) develops. Instead, explaining behavior is a matter of acquiring folk psychological concepts within a culture and then learning how to deploy such terms with competence. (shrink)

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)

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.

The adverse effects of the Covid-19 pandemic have exposed the lack of multi-scalar community resilient strategies that catalyze the development of alternative coping mechanisms for future challenges. To address the immediate needs of vulnerable and marginalized groups, especially in times of crisis, as evidenced by the pandemic, micro-networks within communities have mitigated and reduced harm through self-devised ingenuity based on local ways of life. Socio-spatial micro-networks have the potential to empower communities to self-organize, engage, collaborate, co-design, co-build, and connect (...) with other communities to improve their resilience. This paper focuses on the impact of micro-networks of care, participatory action research, community health, solidarity and mutual aid in Nairobi (Kenya), comparing their resilience strategies, pre- and post Covid-19 pandemic era. Through analytical, empirical, and comparative studies, this paper envisions viable ways of augmenting and enhancing self-devised, self-sufficient, and resilient culture in marginalized communities in Africa and worldwide. -/- . (shrink)

Scrutinizing the critical tendency to label texts or writers as "postmodern", scholar Stephen Watt argues that "reading post modernly" merely implies reading culture more broadly. In contemporary drama, Watt considers postmodernity less a question of genre or media than a mode of subjectivity shared by both playwright and audience. 6 illustrations.

An increasing amount of very diverse scholarship self-identifies as belonging to the field of neuroethics, illuminating a need to provide some reference points for what that field actually entails. We argue that neuroethics is a single field with distinct perspectives, roles, and subspecialties. We propose that—in addition to the three traditional perspectives delineated by Eric Racine—a fourth, socio-political perspective, must be recognized in neuroethics. The socio-political perspective in neuroethics focuses on the interplay between the behavioral as well as (...) the brain sciences and the socio-political system; this interplay includes social regulation in addition to all other realistic elements of social and political neurodiscourses. Thus, defining what—if any—roles the socio-political perspective in neuroethics might have is a pressing issue. Doing so could provide guidance for defining the criteria for prospective ethical evaluations in neuroethics. A promising approach to doing this could be by describing the roles of neuroethics in terms of the more concrete examples of the roles of political philosophy in general, as in the tradition of John Rawls. We take klotho, the supposed “longevity protein,” as a modern neuroethics case to exemplify the obstacles faced in securing neuroethics’ legitimacy and how the Rawlsian framework we propose may be applied to handle cases such as this. Ultimately, the socio-political perspective in neuroethics should not be swayed by the media hype and ought to offer useful ethical guidance and articulation of genuine ethical concerns to policy makers and the public alike. (shrink)

Gustav Aulen's starting point in this book is that God can only reveal himself in the form of symbols; in himself he remains beyond our comprehension. The symbols we use will determine our image of God. A bewildering variety of such images is to be found in modern literature, but the Christian image of God is inseparably linked with the drama of Christ.

Considering the overwhelming amount of media products that we are subjected to in the 21stcentury and the way in which those inevitably influence our perception of reality, this research pays specific attention to the role of the media in the construction and enhancement of stereotypes in everyday life, via the language or, more specifically, specialized languages. In particular, this paper aims to investigate an American legal TV series in order to analyze the way in which legal English is used in (...) dialogues. The major research questions are: to what extent such a kind of specialized discourse may be really understood by the greater audience? How does legal drama participate in the shaping of stereotypes relating to the legal environment in the country where it is produced, and cross-culturally, bearing in mind the prominence of “made in the USA” products in the television programming across the world? Ultimately, in the light of the previous questions, should the growing field of research in audiovisual translation extend its investigation into the area of legal English? Taking into consideration the seminal work of Pedersen and Diaz Cintas in the field of Audiovisual Translation, the study will examine the subtitling techniques employed for this atypical genre. Through the analysis of a corpus comprising several dialogues from a collection of episodes of the legal show Reckless, the paper will mostly focus on gender representations and their most common linguistically enhanced stereotypes. (shrink)