City and the Stage
-15%
portes grátis
City and the Stage
Performance, Genre, and Gender in Plato's Laws
Folch, Marcus (Assistant Professor of Classics, Columbia University)
Oxford University Press Inc
12/2015
400
Dura
Inglês
9780190266172
15 a 20 dias
The Polis and the Stage provides an exploration of Plato's final engagement with the poetic tradition. Special attention is given to the dialogue between philosophy and poetry, the performative properties of language, the psychology of aesthetic response, genre, gender, and the status of women in the ideal city envisaged in the Laws.
Introduction: Performance and the Second-Best City ; Abstract ; 1 Introduction ; 2 An Ancient Quarrel Revisited ; 3 The Laws, Its City, Its Scope ; 4 Paradigmatism and the 'Second-Best' Politeia ; 5 The Correct Method (orthe methodos) of Cultural Criticism ; 6 Conclusions ; Notes ; Chapter 1. Marionettes of the Soul: Performance and the Psychology of Mousike in Plato's Laws ; Abstract ; 1.1 Introduction ; 1.2 Theoretical Orientations: Performance, Performativity, Political Dissent ; 1.3 Of Puppets and Passions: The Moral Psychology of Performance in Plato's Laws ; 1.4 Virtue, Education, Aesthetic Response: A Model of Performativity ; 1.5 Inscription and the Making of a Philosophical Performance Culture ; 1.6 Conclusions ; Notes ; Chapter 2. The Chorus and the Critic: Literary Criticism, Theatrocracy, and the Performance of Philosophy ; Abstract ; 2.1 Introduction ; 2.2 Critical Errors: Genre, Theatrocracy, and the Unideal City ; 2.3 Setting the Stage: Pleasure, Judgment, and the Performance of Philosophy ; 2.4 Beyond the Choral Muse: The Chorus of Dionysus and the Metaphysics of Literary Criticism ; 2.5 Conclusions ; Notes ; Chapter 3. Laws' Genres: Hymns, Encomia, and the Remaking of Lament ; Abstract ; 3.1 Th Introduction: ; 3.2 The Laws' Genres: Hymns, Encomia, and the Politics of Euphemia ; 3.3 The Laws in Praise and Blame ; 3.4 Funerary Regained ; 3.5 Conclusions ; Notes ; Chapter 4. Unideal Genres and the Ideal City: Comedy, Tragedy, and the Limits of the City Dancing ; Abstract ; 4.1 Introduction ; 4.2 Comedy, Threnody, and the Performance of Alterity ; 4.3 From Antithesis to Identity: Comedic and Iambic Invective ; 4.4 Plato's Tragic Muse ; 4.5 Beyond the Politics of Performance: ta bakkheia and the Genres of Ecstasy ; 4.6 Conclusions ; Notes ; Chapter 5. Women's Statuses in Plato's Laws: Nature, Gender, Law, and the Performance of Citizenship ; Abstract ; 5.1 Introduction ; 5.2 'Natural' Heterosexuality ; 5.3 Transgendered Virtues and the Social Contract ; 5.4 Natural Correction: Feasting, Warfare, Schooling, and the 'Trope of Life' (tropos tou biou) ; 5.5 Unnatural Limitations: The Political Lives of Women ; 5.6 Conclusions ; Notes ; Chapter 6. Engendering Harmonies: Women's Songs in Plato's Laws ; Abstract ; 6.1 Introduction ; 6.2 Veils of Silence: Women, Theater, and Performance in Athens and Magnesia ; 6.3 Performance, Performativity, and the Making of Citizen Women ; 6.4 'Cultic Citizenship' Revisited: Lament and the Female Voice ; 6.5 Conclusions ; Notes ; Epilogue. Plato's Last Long: A Postlude on Law and the Preludes ; Bibliography
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The Polis and the Stage provides an exploration of Plato's final engagement with the poetic tradition. Special attention is given to the dialogue between philosophy and poetry, the performative properties of language, the psychology of aesthetic response, genre, gender, and the status of women in the ideal city envisaged in the Laws.
Introduction: Performance and the Second-Best City ; Abstract ; 1 Introduction ; 2 An Ancient Quarrel Revisited ; 3 The Laws, Its City, Its Scope ; 4 Paradigmatism and the 'Second-Best' Politeia ; 5 The Correct Method (orthe methodos) of Cultural Criticism ; 6 Conclusions ; Notes ; Chapter 1. Marionettes of the Soul: Performance and the Psychology of Mousike in Plato's Laws ; Abstract ; 1.1 Introduction ; 1.2 Theoretical Orientations: Performance, Performativity, Political Dissent ; 1.3 Of Puppets and Passions: The Moral Psychology of Performance in Plato's Laws ; 1.4 Virtue, Education, Aesthetic Response: A Model of Performativity ; 1.5 Inscription and the Making of a Philosophical Performance Culture ; 1.6 Conclusions ; Notes ; Chapter 2. The Chorus and the Critic: Literary Criticism, Theatrocracy, and the Performance of Philosophy ; Abstract ; 2.1 Introduction ; 2.2 Critical Errors: Genre, Theatrocracy, and the Unideal City ; 2.3 Setting the Stage: Pleasure, Judgment, and the Performance of Philosophy ; 2.4 Beyond the Choral Muse: The Chorus of Dionysus and the Metaphysics of Literary Criticism ; 2.5 Conclusions ; Notes ; Chapter 3. Laws' Genres: Hymns, Encomia, and the Remaking of Lament ; Abstract ; 3.1 Th Introduction: ; 3.2 The Laws' Genres: Hymns, Encomia, and the Politics of Euphemia ; 3.3 The Laws in Praise and Blame ; 3.4 Funerary Regained ; 3.5 Conclusions ; Notes ; Chapter 4. Unideal Genres and the Ideal City: Comedy, Tragedy, and the Limits of the City Dancing ; Abstract ; 4.1 Introduction ; 4.2 Comedy, Threnody, and the Performance of Alterity ; 4.3 From Antithesis to Identity: Comedic and Iambic Invective ; 4.4 Plato's Tragic Muse ; 4.5 Beyond the Politics of Performance: ta bakkheia and the Genres of Ecstasy ; 4.6 Conclusions ; Notes ; Chapter 5. Women's Statuses in Plato's Laws: Nature, Gender, Law, and the Performance of Citizenship ; Abstract ; 5.1 Introduction ; 5.2 'Natural' Heterosexuality ; 5.3 Transgendered Virtues and the Social Contract ; 5.4 Natural Correction: Feasting, Warfare, Schooling, and the 'Trope of Life' (tropos tou biou) ; 5.5 Unnatural Limitations: The Political Lives of Women ; 5.6 Conclusions ; Notes ; Chapter 6. Engendering Harmonies: Women's Songs in Plato's Laws ; Abstract ; 6.1 Introduction ; 6.2 Veils of Silence: Women, Theater, and Performance in Athens and Magnesia ; 6.3 Performance, Performativity, and the Making of Citizen Women ; 6.4 'Cultic Citizenship' Revisited: Lament and the Female Voice ; 6.5 Conclusions ; Notes ; Epilogue. Plato's Last Long: A Postlude on Law and the Preludes ; Bibliography
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