This book argues for a new way of reading tragedy that attends to how bodies on the ancient Athenian stage pivot between subject and object, human and not, and so serve as vehicles for confronting the edges of the human, for thinking beyond or without or instead of it. At the same time, Greek tragedy pulls up close to human bodies, examining their physical edges, their surfaces and parts, their coverings or nakedness, and their postures.
Drawing on and leading forward the latest interplays of posthumanism and materialism in their relation to classical literature, Nancy Worman shows how enactment such as this may seem to emphasize the "human" body, but in effect it does something quite different, treating the body as a thing that has the status and implications of other objects - such as a sieve, an urn, a toy for a dog.
This book urges attention to key scenes in Greek tragedy that foreground such bodily identifiers as materializations of signs, whose symbolic resonances become concrete sites for contention and imbrication on the dramatic stage, as well as for closeness, contact, and sensory dynamics. This way of reading the dramatic script affords a consideration of how bodies - compellingly abject, barely human, strangely assembled, too proximate - register at tragedy's unique intersections, that is, at points where directive, enacted, and figurative language points up visual, tactile, and aural details.
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Höhe: 234 mm
Breite: 156 mm
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Nancy Worman is Ann Whitney Olin Professor of Classics and Comparative Literature at Barnard College and Columbia University, New York, USA. She is the author of articles and books on style, performance, and the body in Greek literature and culture. Her books include Virginia Woolf's Greek Tragedy (Bloomsbury Academic, 2018) and Landscape and the Spaces of Metaphor in Ancient Literary Theory and Criticism (2015).
Prologue: Skin to Skin in Greek Tragedy
Chapter 1. Touching Oedipus: Proximities, Contact, and Affective Intimacies
Chapter 2. The Sibling Hand: Manual Erotics and Violence
Chapter 3. Familial Coverings: Skin, Cloaks, and Other Outerwear
Chapter 4. Strange Containers: Bodies and Other Tragic Vessels
Chapter 5. Bodily Extensions: Undress, Prosthesis, and Assemblage
Chapter 6. Mysterious Objects: Corpses, Ghosts, Statues
Final Scenes: Beyond the Human