Performance and the Politics of Space by Fischer-Lichte Erika Wihstutz Benjamin

Author:Fischer-Lichte, Erika, Wihstutz, Benjamin
Language: eng
Format: epub
ISBN: 9781136210266
Publisher: Taylor and Francis

NOTES

1. Michel Foucault, “Of Other Spaces,” trans. Jay Miskowiec, Diacritics 16:1 (Spring 1986), 24.

2. Ibid.

3. Ibid., 27.

4. On this observation cf. Christoph Menke, “Die Depotenzierung des Souveräns im Gesang: Claudio Monteverdis Die Krönung der Poppea und die Demokratie,” in Eva Horn, Bettine Menke, and Christoph Menke (eds.), Literatur als Philosophie—Philosophie als Literatur (Munich: Wilhelm Fink, 2005), 281–296, especially 284–285.

5. Jean-Jacques Rousseau, “The Letter to d'Alembert on the Theatre,” in Politics and the Arts. Letter to M. d'Alembert on the Theatre, trans. Allan Bloom (Glencoe, IL: The Free Press, 1960), 3–138.

6. Ibid., 79.

7. Ibid., 81.

8. Cf. ibid., 80.

9. Ibid.

10. Ibid.

11. Ibid.

12. Ibid.

13. That, at least, is the translation Quintilian proposes. He immediately adds, however, that “this latter name [i.e., dissimulatio] does not cover the whole range of this figure,” and expresses his preference for the Greek term. For our context, the essential point stands: Dissimulation can be described as being at least the central rhetorical import of irony. Cf. Marcus Fabius Quintilianus, The Institutio Oratoria, trans. Harold Edgeworth Butler (Cambridge, MA: Harvard University Press, 1922), IX 2, 44.

14. Gregory Vlastos, “Socratic Irony,” in Socrates: Ironist and Moral Philosopher (Ithaca, NY: Cornell University Press, 1991), 21–44.

15. For instance, when someone points at the pouring rain and says, “Nice weather today!” On this figure cf. Quintilianus, Institutio Oratoria, VI 2, 15.

16. Vlastos calls this form of irony complex because it creates the appearance that something is both intended and not intended, but that which is not intended and that which is are located on different levels—whence this complexity is fairly quickly resolved. Vlastos's example for complex irony is Socrates's claim that he is beautiful. That is not intended to be literally the case (Socrates looked like a satyr), but it is intended as figuratively true (with respect to his soul). Cf. Vlastos, “Socratic Irony,” 30–31.

17. The intended meaning of an ironic utterance is often apparent only to an audience that is in the know. That is one reason why irony is so often associated with superiority, if not even with elitism.

18. Derrida speaks with regard to irony of “a certain nonpublic public within the public” (Jacques Derrida, Rogues. Two Essays on Reason, trans. Pascale-Anne Brault and Michael Naas (Stanford, CA: Stanford University Press, 2005), 92).

19. Alexander Nehamas, “Socratic Irony. Character and Interlocutors,” in The Art of Living. Socratic Reflections from Plato to Foucault (Berkeley: University of California Press, 1998), 46–69, especially 62.

20. Denis Diderot, “The Paradox of the Actor,” in Selected Writings on Art and Literature, trans. Geoffrey Bremner (London: Penguin, 1994), 100–159.

21. Philippe Lacoue-Labarthe, “Diderot: Paradox and Mimesis,” in Typography. Mimesis, Philosophy, Politics, trans. Christopher Fynsk (Stanford, CA: Stanford University Press, 1998), 248–266.

22. Rousseau, “The Letter to d'Alembert on the Theatre,” 82.

23. Ibid., 90.

24. Ibid., 91.

25. Ibid., 81.

26. Ibid.

27. Ibid., 88.

28. Ibid., 88.

29. Fredric Jameson thus defined parody by its reference to an original; it is sustained by the “conviction that alongside the abnormal tongue you have momentarily borrowed, some healthy linguistic normality still exists.” (Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991), 17).

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