MARC Record from marc_columbia

LEADER: 03412cam a2200469 a 4500
001 5571011
005 20221121184037.0
008 050422s2005 nyu b 001 0 eng
010 $a 2005011726
020 $a052185282X (hardback)
035 $a(OCoLC)489622753
035 $a(OCoLC)ocn489622753
035 $a(DLC) 2005011726
035 $a(NNC)5571011
035 $a5571011
040 $aDLC$cDLC$dDLC$dOrLoB-B
043 $ae------$aff-----$aaw-----
050 00 $aPA3203$b.D76 2005
082 00 $a792.08/0938/0901$222
100 1 $aDuncan, Anne.$0http://id.loc.gov/authorities/names/n2005029748
245 10 $aPerformance and identity in the classical world /$cAnne Duncan.
260 $aNew York :$bCambridge University Press,$c2005.
263 $a0510
300 $aviii, 242 pages ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references.
505 00 $tIntroduction : the hypocritical self -- $g1.$tDrag queens and in-betweens : Agathon and the mimetic body -- $g2.$tDemosthenes versus Aeschines : the rhetoric of sincerity -- $g3.$tThe fraud and the flatterer : images of actors on the comic stage -- $g4.$tInfamous performers : comic actors and female prostitutes in Rome -- $g5.$tThe actor's freedom : Roscius and the slave actor at Rome -- $g6.$tExtreme mimesis : spectacle in the empire.
520 1 $a"Performance and Identity in the Classical World traces attitudes toward actors in Greek and Roman culture as a means of understanding ancient conceptions of, and anxieties about, the self. The actor's ability to impersonate different characters might be considered a threat to a philosophical commitment to the stability of the self, or a political commitment to the stability of the social order. Actors were thus often viewed as frauds and impostors, capable of deliberately fabricating their identities. Conversely, they were sometimes viewed as possessed by the characters that they played, or as merely playing themselves onstage. Numerous sources reveal an uneasy fascination with actors and acting, from the writings of elite intellectuals (philosophers, orators, biographers, historians) to the abundant theatrical anecdotes that can be read as a body of "popular performance theory." Performance and Identity in the Classical World examines these sources, along with dramatic texts, and addresses the issue of impersonation from the late fifth century B.C.E. to the early Roman Empire."--BOOK JACKET.
650 0 $aActing$xHistory$yTo 1500.
650 0 $aPerforming arts$zGreece$xHistory$yTo 1500.
650 0 $aClassical drama$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2008101118
650 0 $aTheater$zGreece$xHistory$yTo 500.$0http://id.loc.gov/authorities/subjects/sh2008112857
650 0 $aIdentity (Psychology) in literature.$0http://id.loc.gov/authorities/subjects/sh94004952
650 0 $aTheater$xHistory$yTo 500.$0http://id.loc.gov/authorities/subjects/sh85134532
650 0 $aPerforming arts$zRome.
650 0 $aSelf in literature.$0http://id.loc.gov/authorities/subjects/sh94009300
650 0 $aActors$zGreece.
650 0 $aTheater$zRome.$0http://id.loc.gov/authorities/subjects/sh2008112858
650 0 $aActors$zRome.
856 41 $3Table of contents$uhttp://www.loc.gov/catdir/toc/ecip0511/2005011726.html
852 00 $bglx$hPA3203$i.D76 2005