Acting Like Men. Gender, Drama, and Nostalgia in Ancient Greece.

Aus der Bibliothek von Prof. Wolfgang Haase, langj�igem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - sehr guter Zustand / very good condition - �Greek drama demands a story of origins,� writes Karen Bassi'm Acting Like Aien. Abandoning the search for ritual and autochthonous origins of Greek drama, Bassi argues for a more secular and less formalist approach to the emergence of theatrical production in ancient Greece. Taking a broad view of drama as a cultural phenomenon, Bassi looks at theatrical performance as part of what Foucault has called a discursive formation. Based on the representation of practices and experiences that can be predicted of formal theatrical performance - spectatorship and disguise, for example - this formation also includes the representation of such practices where they occur outside of and prior to the formal confines of theatrical performance in fifth-century Athens. -- Bassi�s discussion of such theaterlike practices and experiences encompasses a wide variety of texts and artifacts including epic poetry, historical narrative, philosophical treatises, visual media, and the dramatic texts themselves, and she proposes new conceptual categories for understanding Greek drama as a cultural institution. Bassi argues that spectatorship is a distinguishing but problematic feature of Athenian citizenship. This feature is vividly illustrated in sixth and fifth century accounts of the Pisistratid tyranny as a theaterlike phenomenon, in which the Athenian citizens are complicit in the tyrant�s rise to power and where that complicity is assured by their role as passive spectators. Not confined to the representation of political life under the tyrant, however, the citizens� complicity and passivity characterize the representation of the Athenian theater and Athenian democracy as mutually reinforcing mimetic regimes. To illustrate this point, the book ends with a revisionist look at Dionysus as the tyrannical god of the theater in Euripides� Bacchae and Aristophanes� Frogd. ISBN 9780472106257