Acting Like Men: Gender, Drama, and Nostalgia in Ancient by Karen Bassi
By Karen Bassi
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Additional resources for Acting Like Men: Gender, Drama, and Nostalgia in Ancient Greece
Feelings of pity and fear). To my mind, this willingness presents one of the most interesting and difficult conundrums in the Poetics, even though it is more or less ignored in the critical litera27· Segal 1996, 154· 28. v8o~, or "plot," as the first of the six elements at 1450a9-lO, where O'ljJL~ is listed fifth. But this ordering only attests again to the uncertain status of visual spectacle in Aristotle's scheme. Nostalgia and Drama ture, in favor of the persistent search for an accurate meaning of catharsis.
But the possibility that not 16. On this topic, see Spelman 1988; Hall 1989; Hartog 1988; Vidal-Naquet 1986; Loraux 1990; duBois 1982; Long 1986, 131-32; Lloyd 1983, 26-43; Arthur-Katz 1989, 172; Rousselle 1988,26. " De Ste. C. " 17. Courage, or t'1voQEia, is essential to the guardians' education and to the preservation of the city (Republic 429a-430c). " Nostalgia and Drama 23 all males are masculine, or that bodily acts and speech acts are transitory and illusory, only proves the need to postulate an essential core of immutable masculinity.
At the same time, this genderspecific opposition between nonmediated and mediated speech is analogous in the epics to an opposition between the warrior who fights man-to-man and the fighter who fights from a distance; the archer is the paradigmatic example of the latter. 7 These contested modes of communication and of combat are essential and related variables in the construction of the heroic male, who, like Achilles, is to be "experi- 4. This definition of scripted speech holds whether or not we insist on the literal existence of the dramatic script in the fifth century.