A grotesque act of ventriloquism: Raising and objectifying the dead on stage

2020 ◽  
Vol 8 (1) ◽  
pp. 45-56 ◽  
Author(s):  
Tobi Poster-Su
Keyword(s):  
Real Life ◽  
Historical Record ◽  
The Other ◽  
Medical Journals ◽  
Documentary Theatre ◽  
The Dead

As a real-life figure who was extensively written about in medical journals after his death, but whose voice is entirely absent from the historical record, the character of Tarrare presents the theatre-maker with a number of ethical and artistic considerations. In documenting Tarrare’s life through puppetry and opera, Wattle and Daub engaged in both a literal and a metaphorical act of ventriloquism, wherein we put our own words into the mouths of the dead. Drawing on Levinas’s ethics of the ‘other’ and Salverson’s reflections on the ethics of documentary theatre, this article interrogates The Depraved Appetite of Tarrare the Freak as an example of documentary theatre and explores the unique opportunities and challenges presented when using puppetry to represent the historical ‘other’.

Kant, Marginal Cases, and Moral Standing

2018 ◽  
Author(s):  
Christine M. Korsgaard
Keyword(s):  
Life Stage ◽  
The Other ◽  
Moral Standing ◽  
Human Beings ◽  
Identity Problem ◽  
The Subject ◽  
The Dead ◽  
Moral Difference

According to the marginal cases argument, there is no property that might justify making a moral difference between human beings and the other animals that is both uniquely and universally human. It is therefore “speciesist” to treat human beings differently just because we are human beings. While not challenging the conclusion, this chapter argues that the marginal cases argument is metaphysically misguided. It ignores the differences between a life stage and a kind, and between lacking a property and having it in a defective form. The chapter then argues for a view of moral standing that attributes it to the subject of a life conceived as an atemporal being, and shows how this view can resolve some familiar puzzles such as how death can be a loss to the person who has died, how we can wrong the dead, the “procreation asymmetry,” and the “non-identity problem.”

Kierkegaard, Metaphysics, and Love

2013 ◽  
Vol 2013 (1) ◽  
Author(s):  
George Pattison
Keyword(s):  
Sense Of Self ◽  
The Self ◽  
The Other ◽  
Gabriel Marcel ◽  
The Core ◽  
The Dead ◽  
Alternative Reading ◽  
The Way

AbstractNoting Heidegger’s critique of Kierkegaard’s way of relating time and eternity, the paper offers an alternative reading of Kierkegaard that suggests Heidegger has overlooked crucial elements in the Kierkegaardian account. Gabriel Marcel and Sharon Krishek are used to counter Heidegger’s minimizing of the deaths of others and to show how the deaths of others may become integral to our sense of self. This prepares the way for revisiting Kierkegaard’s discourse on the work of love in remembering the dead. Against the criticism that this reveals the absence of the other in Kierkegaardian love, the paper argues that, on the contrary, it shows how Kierkegaard conceives the self as inseparable from the core relationships of love that, despite of death, constitute it as the self that it is.

Comments on the Market Crash: Six Months After

1988 ◽  
Vol 2 (3) ◽  
pp. 45-50 ◽  
Author(s):  
Hayne Leland ◽  
Mark Rubinstein
Keyword(s):  
Standard Model ◽  
Real Life ◽  
The Other ◽  
Financial Equilibrium ◽  
The Standard Model ◽  
Trading Mechanisms

Six months after the market crash of October 1987, we are still sifting through the debris searching for its cause. Two theories of the crash sound plausible -- one based on a market panic and the other based on large trader transactions -- though there is other evidence that is difficult to reconcile. If we are to believe the market panic theory or the Brady Commission's theory that the crash was primarily caused by a few large traders, we must strongly reject the standard model. We need to build models of financial equilibrium which are more sensitive to real life trading mechanisms, which account more realistically for the formation of expectations, and which recognize that, at any one time, there is a limited pool of investors available with the ability to evaluate stocks and take appropriate action in the market.

Lxxix: Conrad's Revision of “the Lighthouse” in Nostromo

PMLA ◽  
1937 ◽  
Vol 52 (4) ◽  
pp. 1183-1190
Author(s):  
George W. Whiting
Keyword(s):  
Dead Wood ◽  
The Other ◽  
Final Version ◽  
Fresh Material ◽  
The Dead ◽  
To Come ◽  
The One ◽  
Consummate Skill

To the student of writing and literature few inquiries are more interesting and valuable than that into an author's practices in revising his own work. To observe the various stages in the evolution of the final version, to note carefully an artist at his work of pruning the dead wood, adding fresh material, smoothing away harsh phrases, selecting just words, and letting light into obscure places—to do this is to come somewhat nearer to an understanding of what in spite of all analysis will remain essentially a mystery. Especially fascinating and instructive is the study of Conrad's revision, for here one sees a supreme artist at work. In his vigorous hewing and rebuilding there is conclusive proof of the artist's untiring industry and consummate skill. Conrad's revision of Nostromo is of particular interest, for this novel occupies a critical place in the evolution of Conrad's prose. Mr. Richard Curie has justly characterized the change that came over Conrad's prose—a change perceptible in the “Amy Foster” of Typhoon and fully marked in from Under Western Eyes onward. This evolution has smoothed away the cadence, has concentrated the manner, has toned down the style of Conrad's former exuberance. At first glance the later and the earlier Conrad appear two totally different men. The unruly splendor of the one has given way to the subtle and elastic suavity of the other … His earlier prose is sometimes uncertain, sometimes exaggerated, but his later prose has the uniform temper of absolute mastery.

The image of a modern shaman. A literary example of Ida Brzezińska

2021 ◽  
Vol 37 (2) ◽  
pp. 117-134
Author(s):  
Angelika Moskal
Keyword(s):  
21St Century ◽  
Popular Literature ◽  
The Other ◽  
The World ◽  
Evil Spirits ◽  
The Dead ◽  
The Way

Abstract: The shaman figure is most often associated with primitive communities, inhabiting, among others Siberia. The shaman plays one of the most important roles in them - he is an intermediary between the world of people and the world of spirits. Responds to, among others for the safe passage of souls to the other side and protects her from evil spirits. However, is there room for representatives of this institution in contemporary Polish popular literature? How would they find themselves in the 21st century? The article aims to show the interpretation of the shaman on the example of Ida Brzezińska, the heroine of the books of Martyna Raduchowska. I intend to introduce the role and functions of the „shaman from the dead”, juxtaposing the way Ida works (including reading sleepy margins from a rather unusual dream catcher, carrying out souls and the consequences that await in the event of failure or making contact with the dead) with the methods described by scholars shamans. The purpose of the work is to show how much Raduchowska tried to adapt shamanism in her work by modernizing it, and how many elements she added from herself to make the story more attractive.

THE ROLE OF THE OBITUARY PAGES IN FACSBOOK, IS IT FOR IMMORTALIZATION OR FOR CRYING OVER THE RUINS

2021 ◽  
Vol 3 (4) ◽  
pp. 119-126
Author(s):  
Hadeel EJMAIL
Keyword(s):  
Content Analysis ◽  
Social Interaction ◽  
Qualitative Approach ◽  
The Other ◽  
Dead Person ◽  
Screen Capture ◽  
The Dead ◽  
The One ◽  
Facebook Pages

Death is one of the most difficult topics a person can talk about. The human being is busy with how to continue his life and improve its conditions. This study aims is to explore the writing of Facebook pages of the dead. The research used the qualitative approach through a content analysis, where (50) publications were found on fifteen pages of a dead person with an intentional sample, and the results of the research showed that writing people in the pages of the dead included two directions, the first direction is a desire to immortalize the dead and a kind of preserving their roots Alive. As for the other direction, it was weeping over their ruins and showing the end of a person's death and his end life. Sometimes in the same post include both directions together, meaning "the use of the deceased’s account by his family by changing the profile picture of the dead, and at the same time inviting the deceased’s friends through his page to the memorial event. People write on the pages of the dead in order to weep over their ruins on the one hand, and to immortalize their memories on the other side. Facebook as a social platform and the interaction of people with the pages of the dead shows the great social interaction that takes place in this space, and research in this field is not consistent with one and only claim, as some posts are either temporary or permanent; Therefore, I have used screen capture technology to collect and retain information. The pages of the dead included referring to them, writing memorials and longing, etc. Facebook has become a social platform that allows those who lose a dear person to share their grief through it, and enables them to deal with death and relieve their pain

FROM TESTIMONY TO HETEROGLOSSIA: THE VOICE(S) OF LAMENT IN WE ARE THE PERSIANS!

2021 ◽  
Vol 1 (46) ◽  
pp. 151-182
Author(s):  
Marios Chatziprokopiou ◽  
Keyword(s):  
Asylum Seekers ◽  
Real Life ◽  
Main Body ◽  
Original Play ◽  
Documentary Theatre ◽  
History Of ◽  
Audiovisual Archives ◽  
Displaced People ◽  
The Voice ◽  
Ancient Drama

We are the Persians! was a contemporary adaptation of Aeschy-lus’s The Persians presented in June 2015 at the Athens and Epidaurus Festival. Performed by displaced people from Afghanistan, Pakistan and Bangladesh, and directed by Yolanda Markopoulou, the piece grew out of the Station Athens group’s five-year theatre workshops. Extracts from the original play were intertwined with performative material brought to the project by the participants: from real-life testimonies to vocal improvisations, poems, and songs in different languages. High-lighting the historical thematic of the play, this adaptation was presented as a documentary theatre piece, and the participants as ‘modern-day heralds’ who provided on stage ‘shocking accounts’ concerning ‘contem-porary wars’ (programme notes, 2015). After briefly revisiting the main body of literature on the voice of lament in ancient drama and in Aeschylus’s The Persians in particular, but also after discussing the recent stage history of the play in Greece, I conduct a close reading of this adaptation. Based on semi-directed interviews and audiovisual archives from both the rehearsals and the final show,I argue that the participants’ performance cannot be limited to their auto-biographical testimonies, which identify their status as refugees and/or asylum seekers. By intertwining Aeschylus with their own voices and languages, they reappropriate and reinvent the voice(s) of lament in ancient drama. In this sense, I suggest that We are the Persians! can be read as a hybrid performance of heteroglossia, which disrupts and potentially transforms dominant ways of receiving ancient drama on the modern Greek stage.

Gendering grief: The Strī Parvan of the Mahābhārata

2020 ◽  
Vol 7 (2) ◽  
pp. 109-120
Author(s):  
Kumkum Roy
Keyword(s):  
The Other ◽  
Small Section ◽  
Other Hand ◽  
The Dead

The article focuses on Śānti Parvan, a small section of the Mahābhārata, describing the scene after the cataclysmic war. It explores the convergences and divergences between masculine and feminine expressions of grief in response to bereavement, as described here. The former appears to be concerned with identities of the dead as kshatriyas and kings. The latter, on the other hand, focuses more centrally on the dead as kinsmen-related through both natal and marital ties, even as there are overlaps.

Jewish Burial Traditions and the Resurrection of Jesus

2005 ◽  
Vol 3 (2) ◽  
pp. 233-248 ◽  
Author(s):  
Craig Evans
Keyword(s):  
Late Antiquity ◽  
The Other ◽  
Jewish Tradition ◽  
Scholarly Discussion ◽  
The Dead ◽  
Jewish Writers

AbstractThe burial of Jesus, in light of Jewish tradition, is almost certain for at least two reasons: (1) strong Jewish concerns that the dead—righteous or unrighteous—be properly buried; and (2) desire to avoid defilement of the land. Jewish writers from late antiquity, such as Philo and Josephus, indicate that Roman officials permitted executed Jews to be buried before nightfall. Only in times of rebellion—when Roman authorities did not honour Jewish sensitivities—were bodies not taken down from crosses or gibbets and given proper burial. It is highly improbable, therefore, that the bodies of Jesus and the other two men crucified with him would have been left unburied overnight, on the eve of a major Jewish holiday, just outside the walls of Jerusalem. Scholarly discussion of the resurrection of Jesus should reckon with the likelihood that Jesus was buried in an identifiable tomb, a tomb that may well have been known to have been found empty.

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