東華大學圖書館 |

The Motionscape of Greek Tragedy: Greek Drama Through the Prism of Movement /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Motionscape of Greek Tragedy: Greek Drama Through the Prism of Movement // Francesca Ginevra Maria Beretta.
作者:	Beretta, Francesca Ginevra Maria,
面頁冊數:	1 electronic resource (218 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-08, Section: A.
Contained By:	Dissertations Abstracts International86-08A.
標題:	Classical literature. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31334534
ISBN:	9798302881120

The Motionscape of Greek Tragedy: Greek Drama Through the Prism of Movement /
Beretta, Francesca Ginevra Maria,

The Motionscape of Greek Tragedy: Greek Drama Through the Prism of Movement /Francesca Ginevra Maria Beretta. - 1 electronic resource (218 pages)

Source: Dissertations Abstracts International, Volume: 86-08, Section: A.

This dissertation elucidates how tragedies construct meaning through movement. In basic terms, I understand movement as a form both of acting on and being acted upon by the world. Building on this basic concept of movement, I use dance theory to defamiliarize the dichotomy between text and performance. This project asks not what Greek tragedies may have looked like in performance, but rather, how movement creates meaning in tragedy before taking performance into account. Greek tragic drama was deeply embedded in a multilayered movement landscape, which I term a "motionscape." This idea of the motionscape is inspired by Joseph Roach's theory of "kinesthetic imagination" in performance studies, which he defines as "a way of thinking through movements [...] the otherwise unthinkable" (2021: 27). I ask how Greek tragic plays not only encompass and mirror the manifold expressions of movement surrounding them, but also how the plays themselves are the expression of a "kinesthetic imagination" in how they create meaning through movement. Throughout, I use the discipline and practice of choreography to indicate a way to understand, imagine, and categorize the world through movement. Over the course of this dissertation, choreography will come to signify, in turn, the kinetic production of space, time, and affective transmission. Additionally, it will also emerge as the invisible epistemological and narrative organizational principle that subtends tragic plots. My project points to the interdependency between the syntax of movement understood as a physical act and the idea that verbal language bears the traces of a kinetically-inflected approach to world making. The connection I draw between movement and language is indebted to dance dramaturgy, which attends to the interdependency between dance and language in the creation of meaning. Each chapter engages with one specific world-building element in Greek tragic drama. My approach offers a consistent reading of Greek tragic drama's construction of meaning through movement. Each chapter charts a different methodological entry point into the Greek tragic corpus. The resulting multifaceted and polykinetic interpretive landscape is what I am conveying with the title "Motionscape."I use four categories to describe the specific line of inquiry that I take in each chapter, namely Traces, Patterns, Repetitions, and Edges, each serving as a chapter title. The first chapter consists in an examination of how tragedies themselves problematize movement in scenes that feature characters questioning the kinetic traces around them. Tragedies discussed here include Euripides's Bacchae, Sophocles's Ajax, and Aeschylus's Choephori, Suppliants, and Seven Against Thebes. The second chapter is an exploration of spatial patterns as kinetically created, and it suggests that Greek tragedies do not just take place within a specific space, but that space itself is the result of a unique way of understanding movement. The analysis starts from Sophocles's Philoctetes and moves on to Euripides's Iphigenia in Tauris and Aeschylus's Agamemnon. The third chapter applies a choreographic understanding of time to tragedy, to unpack the different forms of repetition that pertain to Greek tragic drama, as well as the ways in which time is created through the interaction of bodies. Particular attention is paid to Aeschylus's Prometheus Bound and Agamemnon. The last chapter consists in a reading of affect in tragedy as kinetic. Through an analysis of Euripides's Medea, Sophocles's Oedipus Tyrannus, and Aeschylus's Persians, among others, the chapter explores the liminality of movement, something that inherently extends beyond bodies, as characteristic of the in-betweenness of affective transmission.

English

ISBN: 9798302881120Subjects--Topical Terms:

595959
Classical literature.
Subjects--Index Terms:

Affect theory

The Motionscape of Greek Tragedy: Greek Drama Through the Prism of Movement /
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