FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1996593227> ?p ?o ?g. }

• W1996593227 endingPage "161" @default.
• W1996593227 startingPage "153" @default.
• W1996593227 abstract "WHY WE DON'T GET NO RESPECT AND WHAT WE ARE DOING ABOUT IT; OR, THE RAPPROCHEMENT OF BODYAND MIND AND THE RETURN OF COMEDIA STUDIES CATHERINE CONNOR (SWIETLICKI) University ofVermont At the core of what we comediantes hope to revive in this Back to Basics session on What Every Comediante Should Know, is our role as scholar/teachers. Although most ofus teach and research in prose and poetry to one extent or another, in our capacity as theater and drama specialists we have been the Rodney Dangerfields of Golden Age studies. That situation developed, in part, because comediantes have to know everything; we have to do it all. Versus specialists in the Quixote or the baroque poets, we have to know all about poetry and narrative, dramatic genres and their histories, biography, bibliography, paleography, critical theory, readership, spectatorship, censorship, and other aspects ofliterary history as well as the histories ofintellectual and popular cultures, theater architecture, performance and production practices, costuming, dance, and many more visual-oral-aural or phenomenologically oriented aspects ofperformance studies. In short, we can get spread a little thin because our work is so necessarily diverse and dispersed. At the same time, this is an enormous advantage and the reason why I believe our field is poised for a renaissance based on doing what we do best. We are the only field of genre studies to deal in the most direct way with the real and material world. Early modern theater—overwhelmingly written to be per153 154BCom, Vol. 56, No. 1 (2004) formed—is the medium and the message; it is dramatic text in the context ofhuman bodies and human presence interacting to make meanings. After a period of about twenty years in the seventies and into the nineties in which we were surfing with or drifting away from successive waves of French literary criticism, we have come to float and to swim again. Things started to turn around for us when we started devoting more time to performance and performance history and saw that our special leadership in Golden Ages studies comes from our unique position straddling both the textual- and the performance-centered worlds, by connecting head and body matters. At about the same time, another body-focused approach—mainly of Judith Butler and of Foucault—showed us a more discursive way of looking at social performance. We have come to surpass , however, the limitations of Butler's dead-end version of performativity precisely because we know that the body does not perform as an automaton within the hegemonic orders. Today's comediantes can use all the arguments about performance as social construction of the body and self, but we can also see how individual performances have particular meanings for performers and spectators that resist the rigid meanings of the discursive system. Unlike Butler—who doesn't study the material reality oftheater as a multimedia and polysémie experience—we analyze real bodies in performance, bodies connected to minds and to all the rich intellectual and cultural information that we work with every day as comedia specialists. I would like to contribute to this panel by calling attention to the very real advantage we have in doing everything about bodies and everything about minds and the interrelationship of the two. I offer the audience a handout with a few core bibliographical items pertinent to this body/mind approach and to our realizing the richness of our position straddling the textual- and the performance-centered worlds. Two main developments in this engaging process strengthen our position. First I will mention what I call the body/mind rapprochement in theater studies, and then I will turn briefly to the embodied cognitive revolution that has wide implications for anyone studying literature, culture, and particularly theater. The rapprochement taking place in theater and drama studies—between the worlds of text and stage—has been described particularly well in the recent publications ofStanton Garner, Jr. He sees that we have been stuck in a critical gap between phenomenology and semiotics, i.e., between the subjectivity ofa certain selfand the selfas an object lost in the discursive Connor155 system. Garner's approach to theatrical space as a non-Cartesian [...] phenomenal..." @default.
• W1996593227 created "2016-06-24" @default.
• W1996593227 creator A5002682528 @default.
• W1996593227 date "2004-01-01" @default.
• W1996593227 modified "2023-09-23" @default.
• W1996593227 title "Why We Don't Get No Respect and What We Are Doing About It; Or, The Rapprochement of Body and Mind and the Return of Comedia Studies" @default.
• W1996593227 cites W103668507 @default.
• W1996593227 cites W1497251345 @default.
• W1996593227 cites W1521676125 @default.
• W1996593227 cites W1536258620 @default.
• W1996593227 cites W1536820036 @default.
• W1996593227 cites W1561016669 @default.
• W1996593227 cites W1581387623 @default.
• W1996593227 cites W1694447789 @default.
• W1996593227 cites W1963949534 @default.
• W1996593227 cites W1968060331 @default.
• W1996593227 cites W1987928808 @default.
• W1996593227 cites W1992596306 @default.
• W1996593227 cites W2004710345 @default.
• W1996593227 cites W2043486105 @default.
• W1996593227 cites W2048701323 @default.
• W1996593227 cites W2053501256 @default.
• W1996593227 cites W2054681708 @default.
• W1996593227 cites W2068794319 @default.
• W1996593227 cites W2070504231 @default.
• W1996593227 cites W2089396295 @default.
• W1996593227 cites W2331719462 @default.
• W1996593227 cites W3022135529 @default.
• W1996593227 cites W3129857645 @default.
• W1996593227 cites W423561919 @default.
• W1996593227 cites W568685209 @default.
• W1996593227 cites W602206963 @default.
• W1996593227 doi "https://doi.org/10.1353/boc.2004.0018" @default.
• W1996593227 hasPublicationYear "2004" @default.
• W1996593227 type Work @default.
• W1996593227 sameAs 1996593227 @default.
• W1996593227 citedByCount "0" @default.
• W1996593227 crossrefType "journal-article" @default.
• W1996593227 hasAuthorship W1996593227A5002682528 @default.
• W1996593227 hasConcept C124952713 @default.
• W1996593227 hasConcept C136410877 @default.
• W1996593227 hasConcept C142362112 @default.
• W1996593227 hasConcept C147446459 @default.
• W1996593227 hasConcept C164913051 @default.
• W1996593227 hasConcept C17744445 @default.
• W1996593227 hasConcept C199033989 @default.
• W1996593227 hasConcept C199539241 @default.
• W1996593227 hasConcept C523419034 @default.
• W1996593227 hasConcept C82307848 @default.
• W1996593227 hasConcept C95457728 @default.
• W1996593227 hasConceptScore W1996593227C124952713 @default.
• W1996593227 hasConceptScore W1996593227C136410877 @default.
• W1996593227 hasConceptScore W1996593227C142362112 @default.
• W1996593227 hasConceptScore W1996593227C147446459 @default.
• W1996593227 hasConceptScore W1996593227C164913051 @default.
• W1996593227 hasConceptScore W1996593227C17744445 @default.
• W1996593227 hasConceptScore W1996593227C199033989 @default.
• W1996593227 hasConceptScore W1996593227C199539241 @default.
• W1996593227 hasConceptScore W1996593227C523419034 @default.
• W1996593227 hasConceptScore W1996593227C82307848 @default.
• W1996593227 hasConceptScore W1996593227C95457728 @default.
• W1996593227 hasIssue "1" @default.
• W1996593227 hasLocation W19965932271 @default.
• W1996593227 hasOpenAccess W1996593227 @default.
• W1996593227 hasPrimaryLocation W19965932271 @default.
• W1996593227 hasRelatedWork W1600205091 @default.
• W1996593227 hasRelatedWork W2061721244 @default.
• W1996593227 hasRelatedWork W2350000257 @default.
• W1996593227 hasRelatedWork W2363496435 @default.
• W1996593227 hasRelatedWork W2365648407 @default.
• W1996593227 hasRelatedWork W2373617683 @default.
• W1996593227 hasRelatedWork W2383599784 @default.
• W1996593227 hasRelatedWork W2392951461 @default.
• W1996593227 hasRelatedWork W2621941019 @default.
• W1996593227 hasRelatedWork W2748952813 @default.
• W1996593227 hasVolume "56" @default.
• W1996593227 isParatext "false" @default.
• W1996593227 isRetracted "false" @default.
• W1996593227 magId "1996593227" @default.
• W1996593227 workType "article" @default.