www.ssoar.info Rhetoric and Drama Mayfield, DS (Ed.) Veröffentlichungsversion / Published Version Konferenzband / conference proceedings Empfohlene Zitierung / Suggested Citation: Mayfield, D. (Ed.). (2017). Rhetoric and Drama. Berlin: De Gruyter. https://doi.org/10.1515/9783110484663 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/3.0 https://creativecommons.org/licenses/by-nc-nd/3.0/deed.de Diese Version ist zitierbar unter / This version is citable under: https://nbn-resolving.org/urn:nbn:de:0168-ssoar-70692-0 Rhetoric and Drama Rhetoric and Drama Edited by D. S. Mayfield This book is published in cooperation with the DramaNet project, funded by the European Research Council ISBN 978-3-11-048459-5 e-ISBN (PDF) 978-3-11-048466-3 e-ISBN (EPUB) 978-3-11-048500-4 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2017 D. S. Mayfield, published by Walter de Gruyter GmbH, Berlin/Boston Cover illustration: photodeedooo/iStock/Thinkstock Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com dedicated to my mentor Joachim Küpper on the occasion of his 65th birthday Acknowledgements The editor wishes to thank Joachim Küpper for his tireless efforts to the benefit of DramaNet, the present volume, and the conference preceding it. A distinguished group of international scholars made the latter most memorable: DramaNet is grateful to Kathy Eden, Glenn W. Most, Martha Feldman, Maria Galli Stampino, Jan Bloemendal, and Jörg Wesche for accepting the invitation to speak at the conference. DramaNet thanks the invited discussants from HSE Moscow, Gasan Gusejnov and Natalia Sarana. It is grateful to Freie Universität Berlin for hosting the conference. The same as the DramaNet project overall, the conference and volume on ‘Rhetoric and Drama’ were funded by a grant from the European Research Council (ERC). The preparations for the conference were largely performed during a research stay at The Humanities Center of Johns Hopkins University: for providing an advantageous environment, the present editor is most grateful to its director, Hent de Vries, and its administrator, Marva Philip. The editor wishes to thank the Friedrich Schlegel Graduate School at Freie Universität Berlin, particularly its scholarly coordinator, Rebecca Mak, as well as the Peter Szondi Institute of Comparative Literature, especially Regula von Schintling, for their support in terms of promoting and advertising the conference. The present editor wishes to thank the conference team—Andrea Dueñas Paredes, Lena Maria Hein, and Anna Lena Schächinger—for their consummate industry and attentiveness in preparation and performance. Reliable technical assistance was provided by Paolo Brusa. The editor is especially grateful to DramaNet’s administrator, Agnes Kloocke, for her nonpareil diligence. The editor wishes to thank de Gruyter—particularly Ulrike Krauß and Daniel Gietz—for actively supporting the present volume from the very beginning; as well as the publisher’s production editor for this volume, Antje-Kristin Mayr. For her invaluable patience and precision in assisting the proofreading of the final version, the present editor is most grateful to Lena Maria Hein. He wishes to thank Bernhard Asmuth for authorizing the translation of his entry “Drama” from the Historical Dictionary of Rhetoric. Most of all, the present editor is grateful to this volume’s contributors. May it conduce to future research on rhetoric and drama. Contents Preface DS Mayfield Interplay with Variation: Approaching Rhetoric and Drama 3 Case Studies Kathy Eden From the Refutation of Drama to the Drama of Refutation 55 Martha Feldman The Castrato as a Rhetorical Figure 71 Maria Galli Stampino Family, City or State, and Theater: Carlo Gozzi and the Rhetoric of Conservatism 97 Jan Bloemendal Rhetoric and Early Modern Latin Drama. The Two Tragedies by the ‘Polish Pindar’ Simon Simonides (1558–1629): Castus Ioseph and Pentesilea 115 Jörg Wesche Verse Games. Meter and Interactional German in the Baroque Plays of Andreas Gryphius 135 Joachim Küpper Rhetoric and the Cultural Net: Transnational Agencies of Culture 151 Appendix Bernhard Asmuth Drama 179 DS Mayfield (ed.) Proceedings 203 X & Contents Contributors 231 Index 235 Preface DS Mayfield Interplay with Variation: Approaching Rhetoric and Drama Interdisciplinarity […] does not signify the mere exchange of results and methods, but the reciprocal illumination of the [respective] specialist approaches […], so as to attain to novel aspects on a matter from various points of view, which […] may lead to a statement of the problem that emerges only in the leeway [‘Spielraum’] between the disciplines. Jauß (528; trans. dsm) In this preface, a synopsis of the conference preceding this volume is followed by a concise description of the DramaNet project; after an outline of various ties between rhetoric and drama, including copious references for heuristic purposes and future research, each contributor’s previous work in this field is briefly referred to, complemented by an abstract of the essay in the present volume. The international conference laying the groundwork for this volume took place at Freie Universität Berlin from February 11 to 12, 2016—conceived, organized, and implemented by the present editor, a member of the DramaNet project, headed by Joachim Küpper. The project, the conference, and this volume were funded by a five-year European Research Council (ERC) Advanced Grant (2011 to 2016). The conference’s speakers have contributed to the volume at hand: Kathy Eden (Columbia U, New York), Martha Feldman (Chicago), Maria Galli Stampino (Miami), Jan Bloemendal (The Hague/Amsterdam), Jörg Wesche (Duisburg–Essen), and Joachim Küpper (FU Berlin).1 Gasan Gusejnov and Natalia Sarana (HSE Moscow) participated as invited guests. DramaNet members and alumni, faculty and students from Freie Universität, including from the Friedrich Schlegel Graduate School, and the general public constituted the audience. The DramaNet project is concerned with conceptualizations of cultural dynamics: the disseminating, circulating, extracting, reassembling, alloying, GG 1 With the exception of Glenn W. Most (Pisa/Chicago), whose presentation had previously been promised for publication elsewhere; for a synopsis of his talk, as well as his comments during the discussions, see the minutes in the appendix. DS Mayfield, Freie Universität Berlin DS Mayfield amalgamating of notional and material forms, artifacts, structures.2 While extending to Antiquity and Modernity, a particular focus in this respect is on Early Modern drama—a highly virulent phenomenon of audiovisual mass culture, most attentive to its assorted audiences.3 Throughout Europe, the Early Modern Eras are a heyday of rhetoric, an age of the stage. DramaNet’s approach (decidedly pan-European, and extending beyond) suggests theorizing these dynamics by recourse to the metaphor of a (virtual, material) cultural network— qua human-made, non-hierarchical, poly-purposive, multi-directional structure, transcending the particularistic confines of individual ‘national’ frameworks and literatures.4 The transcultural comparative case studies within the project trace GG 2 See Küpper’s essay herein, as well as the synopsis of his talk in the appendix; for the concept of ‘hypólepsis’ in this regard, see the present editor’s respective article (“Variants of hypólepsis” passim; spec. part III). Cf. Valéry’s rhetorico-technical approach to writing: “tout ce qu’il [sc. the poet] aura imaginé, senti, songé, échafaudé, passera au crible, sera pesé, épuré, mis à la forme et condensé le plus possible pour gagner en force ce qu’il sacrifie en longueur: un sonnet, par exemple, sera une véritable quintessence, un osmazôme, un suc concentré, et cohobé, réduit à quatorze vers, soigneusement composé en vue d’un effet final et foudroyant” (1786). If read without its biochemical or idealistic implications, Eliot’s model for a poetics of accumulating and reassembling may seem compatible with a rhetorical view of inventio: “The poet’s mind is in fact a receptacle for seizing and storing up numberless feelings, phrases, images, which remain there until all the particles which can unite to form a new compound are present together” (“Tradition” 19); one might call the ensuing a ‘rhetorical poetics’: “the larger part of the labour of an author in composing his work is critical labour; the labour of sifting, combining, constructing, expunging, correcting, testing” (“Function of Criticism” 30). 3 For Early Modern operas, plays as mass phenomena, see Feldman’s, Stampino’s contributions herein. Referring to (staged, dialogic, internal) practices of (self-)refutation, Eden’s essay