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Titel och upphov How the world became a stage : presence, theatricality, and the question of modernity
Utgivning, distribution etc. State University of New York Press, Albany : cop. 2003
Utgivningsår
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Term
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Antal i kö:
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*00148430
*00520181030230000.0
*008020722s2003 nyu||||||||||s001 0|eng|c
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*041 $aeng
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*1001 $aEgginton, William,$d1969-$4aut
*24510$aHow the world became a stage :$bpresence, theatricality, and the question of modernity /$cWilliam Egginton.
*264 1$aAlbany :$bState University of New York Press,$ccop. 2003
*300 $a208 s.
*504 $aIncludes bibliographical references and index.
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*650 0$aTheater$zEurope$xHistory$y16th century.
*650 0$aTheater$zEurope$xHistory$y17th century.
*650 0$aTheater and society$zEurope$xHistory$y16th century.
*650 0$aTheater and society$zEurope$xHistory$y17th century.
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What is special, distinct, modern about modernity? In How the World Became a Stage, William Egginton argues that the experience of modernity is fundamentally spatial rather than subjective and proposes replacing the vocabulary of subjectivity with the concepts of presence and theatricality. Following a Heideggerian injunctive to search for the roots of epochal change not in philosophies so much as in basic skills and practices, he describes the spatiality of modernity on the basis of a close historical analysis of the practices of spectacle from the late Middle Ages to the early modern period, paying particular attention to stage practices in France and Spain. He recounts how the space in which the world is disclosed changed from the full, magically charged space of presence to the empty, fungible, and theatrical space of the stage.
Acknowledgments p. vii Introduction: The Legend of Saint Genesius p. 1 Actors, Agents, and Avatars p. 9 Avatars p. 10 Performativity p. 13 Theatricality p. 20 Real Presence, Sympathetic Magic, and the Power of Gesture p. 33 Magic p. 36 Presence p. 42 Performances p. 47 Religious Spectacle p. 51 Political Spectacle p. 56 Seeds of Theatricality p. 60 Saint Genesius on the Stage of the World p. 67 Diderot's Paradox p. 69 Metatheater p. 74 Actors and Martyrs p. 80 A Tale of Two Cities: The Evolution of Renaissance Stage Practices in Madrid and Paris p. 85 Italian Innovations p. 87 Theories and Theaters in Paris p. 91 Theories and Theaters in Madrid p. 99 Tales from the Crypt p. 105 True Pretense: Lope's Lo fingido verdadero and the Structure of Theatrical Space p. 113 Theatricality versus Subjectivity p. 123 Philosophical Subjectivity p. 125 Political Subjectivity p. 140 Aesthetic Subjectivity p. 153 Theatricality and Media Theory p. 164 Epilogue p. 167 Notes p. 171 Index p. 205