By Erik Gunderson
Functionality was once one of many 5 canonical branches of oratory within the classical interval, however it provides designated difficulties that distinguish it from issues equivalent to composition and reminiscence. the traditional performer used to be imagined to be a "good guy" and his functionality a manifestation of an real and authoritative manliness. yet how can the orator be exclusive from an insignificant actor? and what's the correct position for the physique, provided that it's a power item of desire?Erik Gunderson explores those and different questions in historic rhetorical conception utilizing various theoretical ways, drawing particularly at the works of Judith Butler, Michel Foucault, and Jacques Lacan. His learn examines the prestige of rhetorical idea qua conception, the creation of a particular model of physique during its theoretical description, oratory as a kind of self-mastery, the actor because the orator's despised double, the hazards of homoerotic excitement, and Cicero's De Oratore, as what strong idea and perform should glance like.Erik Gunderson is Assistant Professor of Greek and Latin, Ohio kingdom college.
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Additional info for Staging Masculinity: The Rhetoric of Performance in the Roman World
However, the implications of this point are manifold. First, we cannot know what the right delivery of each fragment of a Vergilian line should be without knowing the whole line, the context of the line, and the emotions of the passage as a whole where we impute emotions to these verses in our reading of Vergil. Quintilian throws us back on an assumed orthodoxy of interpretation, a traditional reading to which we must appeal in order to decode the right reading of his own text. 22 Texts like Quintilian's, though, help to constitute these traditions and communities that make reading into a natural act.
To this end he again invokes Vergil. Returning to pronunciation, he takes as his evidence a variety of Vergilian passages: accedit enim vis et proprietas rebus tali adstipulatione, quae nisi adsit, aliud vox, aliud animus ostendat. quid, quod eadem verba mutata pronuntiatione indicant, adfirmant, exprobant, negant, mirantur, indignantur, interrogant, inrident, elevant? aliter enim dicitur: tu mihi quodcumque hoc regni et cantando tu ilium? et tune ille Aeneas? et meque timoris argue tu, Drance et ne morer, intra se quisque vel hoc vel aliud quod volet per omnis adfectus verset: verum esse quod dicimus sciet.
What is the desire lived in performance? On the other hand, ancient rhetorical theory offers the opportunity for a close and detailed 28 STAGING MASCULINITY examination of active interventions into this same set of questions. Rhetorical theory and practice and their interrelationship thus offer an overt example of the process of subject production. The commandment to be a good man experienced at speaking is not one to be taken lightly: an entire technology of subjects in the world is herein implicated.