DOCSLIB.ORG

Antigone Claimed, "I Am a Stranger": Democracy, Membership and Unauthorized Immigration

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Antigone Claimed, University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses Fall November 2014 ANTIGONE CLAIMED, "I AM A STRANGER": DEMOCRACY, MEMBERSHIP AND UNAUTHORIZED IMMIGRATION ANDRES FABIAN HENAO CASTRO University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Ancient Philosophy Commons, Classical Literature and Philology Commons, Comparative Literature Commons, Continental Philosophy Commons, Dramatic Literature, Criticism and Theory Commons, Ethics and Political Philosophy Commons, Feminist Philosophy Commons, Law and Philosophy Commons, Law and Politics Commons, Legal Theory Commons, Other Feminist, Gender, and Sexuality Studies Commons, Performance Studies Commons, Political Theory Commons, Politics and Social Change Commons, Race, Ethnicity and Post-Colonial Studies Commons, Social and Cultural Anthropology Commons, Theory, Knowledge and Science Commons, and the Visual Studies Commons Recommended Citation HENAO CASTRO, ANDRES FABIAN, "ANTIGONE CLAIMED, "I AM A STRANGER": DEMOCRACY, MEMBERSHIP AND UNAUTHORIZED IMMIGRATION" (2014). Doctoral Dissertations. 211. https://doi.org/10.7275/5842739.0 https://scholarworks.umass.edu/dissertations_2/211 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. ANTIGONE CLAIMED, “I AM A STRANGER”: DEMOCRACY, MEMBERSHIP AND UNAUTHORIZED IMMIGRATION A Dissertation Presented by ANDRÉS FABIÁN HENAO CASTRO Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY September 2014 Department of Political Science © Copyright by Andrés Fabián Henao Castro 2014 All Rights Reserved ANTIGONE CLAIMED, “I AM A STRANGER”: DEMOCRACY, MEMBERSHIP AND UNAUTHORIZED IMMIGRATION A Dissertation Presented by ANDRÉS FABIÁN HENAO CASTRO Approved as to style and content by: __________________________________________ Nicholas Xenos, Chair __________________________________________ Ivan Ascher, Member __________________________________________ James Hicks, Member __________________________________________ Adam Sitze, Member ________________________________________ Brian F. Schaffner, Department Chair Department of Political Science ACKNOWLEDGMENTS Spinoza defines gratitude as the “desire, or eagerness of love, by which we strive to benefit one who has benefited us from a like affect of love” (Spinoza 1996, p. 110). No one has benefited me more in this process than my adviser, Nicholas Xenos, who has accompanied this dissertation since before it was even conceived, when I first met him in his seminar on critical theory during my first semester as a PhD student. To acknowledge his role as a mentor means to recognize my obligation towards him, unknowing how his own participation in this project—following my often-scattered way of presenting ideas—might have also benefited him. This dissertation, which owes much to him, is the offspring of that intellectual affect of love between us. He has not only encouraged my way of thinking, his theoretical reflection on the problem of form has also greatly impacted my effort to seek in ancient tragedy a way of rethinking contemporary problems of political membership. As great as my indebtedness towards Nick is, this is also the proper place to release him from any responsibility for the shortcomings of this dissertation, which are all mine. A dissertation is, by its very nature, the proposal of a debate—a conversation that does not end but starts here and, in that paradoxical sense, retroactively produces the final product as an unfinished text. Once I heard Professor Ivan Ascher say that paradoxes are not the problem but the solution, a troubling thought that has bring some peace to a dissertation that is completely surrounded by paradoxes—to start with, the paradox of looking for a less canonical interpretation in probably the most canonical classical play, Sophocles’ Antigone. If from Nick I inherited a preoccupation with the form of the text, from Ivan I inherited a desire iv for what Roland Barthes (1975) called the pleasure of the text. Anyone who has had the privilege of meeting Ivan knows how addictive a conversation with him is. There is a danger involved in meeting Ivan, the danger of having so many thoughts in your mind after talking to him that four years would not be enough to organize them in a paper. Barthes and Lacan were absent from his wonderful seminar on French Theory, now I know why they did not make it—the pleasure of the text was already there, as was the jouissance that we all continue to feel under his presence. I had a similar experience when I attended Professor James Hicks’ seminar on truth and representation, which could have been the alternative subtitle for my dissertation. Jim has been the best reader of my work and I asked him to be a part of my committee because of that. He returned my texts with so much of his own ink that I was no longer sure if I could still claim them as my own. But Jim gave me something far more important than a rigorous and thought provoking reading of my texts—he gave me a second home. I had two homes at the University of Massachusetts Amherst: the political science department and the comparative literature program, an academic community that welcomed me as if I were one of their own. The question of truth and representation, which has haunted philosophy since its origins in Plato’s Socratic dialogues, continues to bring me back to Jim’s scholarship as one of those beginnings whose gravitational force makes you constantly orbit around them. Professor Adam Sitze was first described to me, in the corridors of the Clark House in Amherst College, as scarily smart. Soon I understood why the adverb was so appropriate. Slavoj Žižek once said—referring to Alain Badiou—that a figure like Plato walks among us. Adam, who has written the best article I have read on Badiou and Plato, v is another of those figures walking among us. To have walked so close to him is, indeed, a scary privilege. It is scary because figures like Plato are rather scarce. Referring to Plato, Anne Carson (1998, p. 145) once made the connection between the affect of the lover and the affect of the reader, claiming that as much as lovers “[want] ice to be ice and yet not melt in [their] hands,” readers also “want knowledge to be knowledge and yet lie fixed on a written page.” The thought of having Adam no longer walking around me, as this dissertation comes to completion, is terrifying. So much that I feel almost compelled to act against Plato’s dictum, to avoid fixing anything on the written page so as to extend that walking adventure forever. Much like Jim, who offered me another home, Adam too offered me a third one. Because of his active intervention, Amherst College came to my aid when my first home faced economic difficulties to continue supporting my work, and the College awarded me their prestigious Karl Loewenstein Fellowship, creating the perfect conditions for me to finish my work. When I speak positively about homelessness in reference to Antigone’s refusal to be confined in one singular space, I cannot fail to notice a subtle connection with my own personal experience, having received in my two other homes (the comparative literature program at UMass and the departments of political science and law, jurisprudence and social thought at Amherst College) the kind of hospitality that makes homelessness no longer a condition of dispossession and injury but one of empowerment and happiness. Instead of one I had three homes in Amherst, an excess of homes that is only appropriate for a work devoted to tragedy—always a text bounded to excess. As a dissertation about membership, my own membership in a variety of academic and non-academic communities has made this dissertation possible. The vi department of political science at the University of Massachusetts Amherst constitutes the first community, and the support that I received from its faculty, students and staff has been enormous. I would like to thank, first of all, my professors in political theory: Roberto Alejandro, Angelica Bernal and Barbara Cruikshank, all of who commented on different sections of this dissertation and influenced, with their own work, its final outcome. I owe much to Professor Roberto Alejandro, whose expertise on ancient political theory and enviable close-textual reading skills I wanted so much to imitate. Roberto Alejandro always showed me what was missing in my reading, what was furthered silenced within my own efforts to hear the voices still speaking in those silences, which is probably the greatest gift you can receive from a reader. Great, too, is my debt towards Professor Angelica Bernal, whose support and encouragement knows no limits, and with whom I share many theoretical interests and intellectual passions. The very first draft of this dissertation came from my comprehensive examination on contemporary social and political thought, which I undertook under her and my adviser’s direction. Both of them first gave form to what ended up becoming a fascinating four- year exploration of texts. Professor Barbara Cruikshank has been a wonderful friend and companion, constantly reassuring me on the value of my thoughts and on the need to share them with others as she so generously shared hers. Many other professors in political science and in other departments at UMass also added to my work with their friendship, their diligent readings, their theoretical suggestions and countless contributions to my thought. I would like to especially thank professors Sonia Alvarez, John Brigham, Agustin Lao-Montes, Jane Anderson and Leah Wing. This dissertation would also not have been possible without the input from my colleagues at UMass and vii the support I received from the staff at the political science department.
Load more

Recommended publications
  • The Three Phases of Arendt's Theory of Totalitarianism*
    The Three Phases of Arendt's Theory of Totalitarianism* X~1ANNAH Arendt's The Origins of Totalitarianism, first published in 1951, is a bewilderingly wide-ranging work, a book about much more than just totalitarianism and its immediate origins.' In fact, it is not really about those immediate origins at all. The book's peculiar organization creates a certain ambiguity regarding its intended subject-matter and scope.^ The first part, "Anti- semitism," tells the story of tbe rise of modern, secular anti-Semi- tism (as distinct from what the author calls "religious Jew-hatred") up to the turn of the twentieth century, and ends with the Drey- fus affair in Erance—a "dress rehearsal," in Arendt's words, for things still worse to come (10). The second part, "Imperialism," surveys an assortment of pathologies in the world politics of the late nineteenth and early twentieth centuries, leading to (but not direcdy involving) the Eirst World War. This part of the book examines the European powers' rapacious expansionist policies in Africa and Asia—in which overseas investment became the pre- text for raw, openly racist exploitation—and the concomitant emergence in Central and Eastern Europe of "tribalist" ethnic movements whose (failed) ambition was the replication of those *Earlier versions of this essay were presented at the University of Virginia and at the conference commemorating the fiftieth anniversary of The Origins of Toudilarianism hosted by the Hannah Arendt-Zentrum at Carl Ossietzky University in Oldenburg, Ger- many. I am grateful to Joshua Dienstag and Antonia Gnmenberg. respectively, for arrang- ing these (wo occasions, and also to the inembers of the audience at each—especially Lawrie Balfour, Wolfgang Heuer, George KJosko, Allan Megili, Alfons Sollner, and Zoltan Szankay—for their helpful commeiiLs and criticisms.
    [Show full text]
  • Download File
    Cultural Experimentation as Regulatory Mechanism in Response to Events of War and Revolution in Russia (1914-1940) Anita Tárnai Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Anita Tárnai All rights reserved ABSTRACT Cultural Experimentation as Regulatory Mechanism in Response to Events of War and Revolution in Russia (1914-1940) Anita Tárnai From 1914 to 1940 Russia lived through a series of traumatic events: World War I, the Bolshevik revolution, the Civil War, famine, and the Bolshevik and subsequently Stalinist terror. These events precipitated and facilitated a complete breakdown of the status quo associated with the tsarist regime and led to the emergence and eventual pervasive presence of a culture of violence propagated by the Bolshevik regime. This dissertation explores how the ongoing exposure to trauma impaired ordinary perception and everyday language use, which, in turn, informed literary language use in the writings of Viktor Shklovsky, the prominent Formalist theoretician, and of the avant-garde writer, Daniil Kharms. While trauma studies usually focus on the reconstructive and redeeming features of trauma narratives, I invite readers to explore the structural features of literary language and how these features parallel mechanisms of cognitive processing, established by medical research, that take place in the mind affected by traumatic encounters. Central to my analysis are Shklovsky’s memoir A Sentimental Journey and his early articles on the theory of prose “Art as Device” and “The Relationship between Devices of Plot Construction and General Devices of Style” and Daniil Karms’s theoretical writings on the concepts of “nothingness,” “circle,” and “zero,” and his prose work written in the 1930s.
    [Show full text]
  • The Dark Night of the Soul: the Archetype and Its Occurrence in Modern Fiction
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1973 The aD rk Night of the Soul: the Archetype and Its Occurrence in Modern Fiction. Ibry Glyn-francis Theriot Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Theriot, Ibry Glyn-francis, "The aD rk Night of the Soul: the Archetype and Its Occurrence in Modern Fiction." (1973). LSU Historical Dissertations and Theses. 2577. https://digitalcommons.lsu.edu/gradschool_disstheses/2577 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.
    [Show full text]
  • SENATE March 12 Repair, Or Construction; to the Committee on by Mr.AVERY: - by Mr
    3824 CONGRESSIONAL RECORD-- SENATE March 12 repair, or construction; to the Committee on By Mr.AVERY: - By Mr. McDONOUGH: Banking and Currency. H.R. 10670. A bill to declare that certain H.R.10673. A bill for the relief-of Eng (Ng) By Mr. WILLIAMS: land of the United States is held by the Yook Gee; to the Committee on the Judi­ H.R. 10654. A bill to support the price of United States in trust for the Prairie Band ciary. soybeans; to the Committee on Agriculture. of Pottawatomie Indians In Kansas; to the H.R. 10674. A bill for the relief of Toshi­ H.R. 10655. A bill to amend section 402 of Conunittee on Interior and· Insular Affairs. nori Kondo; to the Committee on the Judi­ the Federal Aviation Act of 1958 to require By Mr. ARENDS: ciary. approval by the Civil Aeronautics Board of H.J. Res. 656. Joint resolution authoriz­ H.R. 10675. A bill for the relief of Mrs. certain schedules of foreign air carriers; ing the Secretary of the Navy to receive for Umeno Taga; to the Committee on the Judi­ to the Committee on Interstate and Foreign instruction at the U.S. Naval\ Academy at ciary. Commerce. Annapolis two citizens and subjects of the By Mr. MACGREGOR: H.R. 10656. A bill to prescribe the oath of Kingdom of Belgium; to the Committee on H.R. 10676. A bill for the relief of Dr. office of justices and judges of the United Armed Services. Shaoul G. S. Shashoua; to the Committee States; to the Committee on the Judicia~y.
    [Show full text]
  • Brecht's Antigone in Performance
    PERFORMANCE PHILOSOPHY RHYTHM AND STRUCTURE: BRECHT’S ANTIGONE IN PERFORMANCE BRUNO C. DUARTE FCSH UNIVERSIDADE NOVA DE LISBOA Brecht’s adaptation of Sophocles’ Antigone in 1948 was openly a political gesture that aspired to the complete rationalization of Greek Tragedy. From the beginning, Brecht made it his task to wrench ancient tragic poetry out of its ‘ideological haze’, and proceeded to dismantle and eliminate what he named the ‘element of fate’, the crucial substance of tragic myth itself. However, his encounter with Hölderlin's unorthodox translation of Antigone, the main source for his appropriation and rewriting of the play, led him to engage in a radical experiment in theatrical practice. From the isolated first performance of Antigone, a model was created—the Antigonemodell —that demanded a direct confrontation with the many obstacles brought about by the foreign structure of Greek tragedy as a whole. In turn, such difficulties brought to light the problem of rhythm in its relation to Brecht’s own ideas of how to perform ancient poetry in a modern setting, as exemplified by the originally alienating figure of the tragic chorus. More importantly, such obstacles put into question his ideas of performance in general, as well as the way they can still resonate in our own understanding of what performance is or might be in a broader sense. 1947–1948: Swabian inflections It is known that upon returning from his American exile, at the end of 1947, Bertolt Brecht began to work on Antigone, the tragic poem by Sophocles. Brecht’s own Antigone premiered in the Swiss city of Chur on February 1948.
    [Show full text]
  • Dissertation After Crash 4-7-10
    Roma De Profundis: Post-Economic Miracle Rome and the Films of Dario Argento (1970-1982) By Michael Loren Siegel B.A., University of Michigan, 2000 M.A., Brown University, 2003 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Modern Culture and Media at Brown University Providence, Rhode Island May 2010 © Copyright 2010 by Michael Loren Siegel This dissertation by Michael Loren Siegel is accepted in its present form by the Department of Modern Culture and Media as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date___________ ___________________________________ Professor Mary Ann Doane, Advisor Recommended to the Graduate Council Date___________ ___________________________________ Professor Philip Rosen, Reader Date___________ ___________________________________ Professor Massimo Riva, Reader Approved by the Graduate Council Date___________ ___________________________________ Professor Sheila Bonde, Dean of the Graduate School iii VITA Michael Loren Siegel was born on July 31, 1978 in Pittsburgh, Pennsylvania. He earned his B.A. in Film and Video Studies at the University of Michigan in Ann Arbor, Michigan in 2000, and his M.A. in Modern Culture and Media at Brown University in Providence, Rhode Island in 2003. His work on Italian cinema, television, urbanity, and visual culture has been published in the anthologies Cinematic Rome (ed. Richard Wrigley) and The Place of the Moving Image (eds. John David Rhodes and Elena Gorfinkel), and is forthcoming in A Companion to Italian Cinema (ed. Peter Brunette) and the British Film Institute’s centenary collection on Michelangelo Antonioni (ed. John David Rhodes). ! iv ACKNOWLEDGEMENTS Writing a dissertation can be an intensely isolating experience.
    [Show full text]
  • 3.1 Anti-Colonial Terrorism: the Algerian Struggle
    1 EMMANOUIL ARETOULAKIS National and Kapodistrian University of Athens, Greece Terrorism and Literariness: The terrorist event in the 20th and 21st centuries 2 Terrorism and Literariness: The terrorist event in the 20th and 21st centuries Author Emmanouil Aretoulakis NATIONAL AND KAPODISTRIAN UNIVERSITY OF ATHENS, GREECE Critical Reader William Schultz Editor Anastasia Tsiadimou ISBN: 978-960-603-462-6 Copyright © ΣΔΑΒ, 2015 Το παρόν έργο αδειοδοηείηαι σπό ηοσς όροσς ηης άδειας Creative Commons. Αναθορά Γημιοσργού - Μη Δμπορική Χρήζη - Παρόμοια Γιανομή 3.0. Για να δείηε ένα ανηίγραθο ηης άδειας ασηής επιζκεθηείηε ηον ιζηόηοπο https://creativecommons.org/licenses/by-nc-sa/3.0/gr/ HELLENIC ACADEMIC LIBRARIES Δθνικό Μεηζόβιο Πολσηετνείο Ζρώων Πολσηετνείοσ 9, 15780 Εωγράθοσ www.kallipos.gr 3 Front cover picture Baricades set up during the Algerian War of Independence. January 1960. Street of Algier. Photo by Michel Marcheux, CC-BY-SA-2.5,wikipedia http://fr.wikipedia.org/wiki/Image 4 Table of Contents Abbreviation List ........................................................................................................... 7 INTRODUCTION ......................................................................................................... 8 The end of History, the Clash of Civilizations and the question of the Real: Historico-Political Peregrinations ............................................................................ 12 Revolutionary Art, Theory, and Literature as Violence ........................................... 18 Notes........................................................................................................................
    [Show full text]
  • The Complete Stories
    The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York.
    [Show full text]
  • Mary in Film
    PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas
    [Show full text]
  • Cinemeducation Movies Have Long Been Utilized to Highlight Varied
    Cinemeducation Movies have long been utilized to highlight varied areas in the field of psychiatry, including the role of the psychiatrist, issues in medical ethics, and the stigma toward people with mental illness. Furthermore, courses designed to teach psychopathology to trainees have traditionally used examples from art and literature to emphasize major teaching points. The integration of creative methods to teach psychiatry residents is essential as course directors are met with the challenge of captivating trainees with increasing demands on time and resources. Teachers must continue to strive to create learning environments that give residents opportunities to apply, analyze, synthesize, and evaluate information (1). To reach this goal, the use of film for teaching may have advantages over traditional didactics. Films are efficient, as they present a controlled patient scenario that can be used repeatedly from year to year. Psychiatry residency curricula that have incorporated viewing contemporary films were found to be useful and enjoyable pertaining to the field of psychiatry in general (2) as well as specific issues within psychiatry, such as acculturation (3). The construction of a formal movie club has also been shown to be a novel way to teach psychiatry residents various aspects of psychiatry (4). Introducing REDRUMTM Building on Kalra et al. (4), we created REDRUMTM (Reviewing [Mental] Disorders with a Reverent Understanding of the Macabre), a Psychopathology curriculum for PGY-1 and -2 residents at Rutgers Robert Wood Johnson Medical School. REDRUMTM teaches topics in mental illnesses by use of the horror genre. We chose this genre in part because of its immense popularity; the tropes that are portrayed resonate with people at an unconscious level.
    [Show full text]
  • What to Do with Gestus Today Version II
    Abstract This thesis explores the common and dialectical features of pedagogy, Bertolt Brecht’s Gestus, and identity construction. It speaks from the perspectives of pedagogue, actor and subject. It argues that in each of these modes the subject is necessarily engaged in both an ontological dilemma and opportunity, which is performative. It exposes embodiment as an oscillatory process of absence and presence. This is predicated on the impossibility of arriving at a fixed notion of being in the world. The thesis is set within an autobiographical frame. First because each mode marks an encounter in the life of Rob Vesty, and second because the practice-based-research uses autobiographical performance. It advances by constructing a piece of performative writing, an autobiographical timeline, to affect an experience of the practice, which informs this thesis. This piece introduces a montage of three juxtaposing studies. The first draws on Rob Vesty’s work in TIE with Splendid Productions and uses the company’s 2007/2008 performance and workshop tour of Brecht’s The Good Woman of Szechuan. It argues that a dialectic, rather than didactic, process must occur in the pedagogic setting and that this is dependent on the presence of a creative gap produced by a strong aesthetic. The second study then argues that the Gestic actor embodies and ‘writes’ this creative gap in a parodic way and that a virtue is made of showing its construction. The final study turns to Rob Vesty’s (2008) solo theatre show – One Man Good Woman – to chart the way identity impacts upon autobiography. It argues that the ‘written’ nature of autobiography and identity renders the subject both absent and present and retains dialectical features in its construction.
    [Show full text]
  • "Why Should I Dance?": Choral Self-Referentiality in Greek Tragedy Author(S): Albert Henrichs Source: Arion, Third Series, Vol
    Trustees of Boston University "Why Should I Dance?": Choral Self-Referentiality in Greek Tragedy Author(s): Albert Henrichs Source: Arion, Third Series, Vol. 3, No. 1, The Chorus in Greek Tragedy and Culture, One (Fall, 1994 - Winter, 1995), pp. 56-111 Published by: Trustees of Boston University Stable URL: http://www.jstor.org/stable/20163565 . Accessed: 06/11/2014 16:39 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Trustees of Boston University is collaborating with JSTOR to digitize, preserve and extend access to Arion. http://www.jstor.org This content downloaded from 140.247.80.84 on Thu, 6 Nov 2014 16:39:55 PM All use subject to JSTOR Terms and Conditions "Why Should IDance?": Choral Self-Referentiality inGreek Tragedy ALBERTHENRICHS How can we know the dancer from the dance? ?Yeats was An the beginning, there the "chorus"?a collec tive of khoreutai performing the dance-song {khoreia).1 Greek musical culture is defined by khoroi whose performance combines song and dance, a feature which characterizes numerous forms of cultic poetry and which choral lyric, whether cultic or not, shares with drama. The polymorphous Dionysiac chorus forms the nucleus of Greek comedy and satyr-play, in historical as well as structural terms.
    [Show full text]