Theatres of Human Sacrifice: From Ancient Ritual to Screen ViolenceState University of New York Press, 18 Νοε 2004 - 275 σελίδες Contemporary debates about mass media violence tend to ignore the long history of staged violence in the theatres and rituals of many cultures. In Theatres of Human Sacrifice, Mark Pizzato relates the appeal and possible effects of screen violence todayin sports, movies, and television newsto specific sacrificial rites and performance conventions in ancient Greek, Aztec, and Roman culture. Using the psychoanalytic theories of Lacan, Kristeva, and Zðizûek, as well as the theatrical theories of Artaud and Brecht, the book offers insights into the ritual lures and effects of current mass media spectatorship, especially regarding the pleasures, purposes, and risks of violent display. Updating Aristotle's notion of catharsis, Pizzato identifies a sacrificial imperative within the human mind, structured by various patriarchal cultures and manifested in distinctive rites and dramas, with both positive and negative potential effects on their audiences. |
Αναζήτηση στο βιβλίο
Αποτελέσματα 1 - 5 από τα 82.
Σελίδα vii
... Body Parts From Solar to Proscenium Mirrors The Bottom of the Frame Animistic Psychology, Puppetry, and Dancing Hearts Cathartic Encounters with the Real TWO Roman, Aztec, and NFL “Gladiators” 47 Sacrificial Shades The Metaphysics of ...
... Body Parts From Solar to Proscenium Mirrors The Bottom of the Frame Animistic Psychology, Puppetry, and Dancing Hearts Cathartic Encounters with the Real TWO Roman, Aztec, and NFL “Gladiators” 47 Sacrificial Shades The Metaphysics of ...
Σελίδα viii
... Body and Blood Offerings Between Animal and Divine Lucifer Within Sacrifices That Cannot Be Refused The Sympathetic Inheritance of Evil Postmodern Flower War EXODOS 179 NOTES 185 BIBLIOGRAPHY 227 INDEX 253 Acknowledgments Parts of ...
... Body and Blood Offerings Between Animal and Divine Lucifer Within Sacrifices That Cannot Be Refused The Sympathetic Inheritance of Evil Postmodern Flower War EXODOS 179 NOTES 185 BIBLIOGRAPHY 227 INDEX 253 Acknowledgments Parts of ...
Σελίδα 9
... body representing the Greek spectators. (The first and last odes of the drama, for the entry and exit of the chorus, were called the parodos and exodos. The first episode, prior to the parodos, was the prologos.) The Greek audience ...
... body representing the Greek spectators. (The first and last odes of the drama, for the entry and exit of the chorus, were called the parodos and exodos. The first episode, prior to the parodos, was the prologos.) The Greek audience ...
Σελίδα 10
... body did not involve actual bloodshed, but it did show the actor's psychological and physical alienation from the communal womb of the ritual chorus. (I will apply Nietzsche's theory of this to modern cinema, via Bazin and Kristeva, in ...
... body did not involve actual bloodshed, but it did show the actor's psychological and physical alienation from the communal womb of the ritual chorus. (I will apply Nietzsche's theory of this to modern cinema, via Bazin and Kristeva, in ...
Σελίδα 11
... body to screen idealism and of the spectator to the pseudocommunion of a mass audience. Of course, the screen actor and spectator are not present together in time and space as in theatre. At the rare moments when fans do find a star's body ...
... body to screen idealism and of the spectator to the pseudocommunion of a mass audience. Of course, the screen actor and spectator are not present together in time and space as in theatre. At the rare moments when fans do find a star's body ...
Άλλες εκδόσεις - Προβολή όλων
Theatres of Human Sacrifice: From Ancient Ritual to Screen Violence Mark Pizzato Δεν υπάρχει διαθέσιμη προεπισκόπηση - 2004 |
Theatres of Human Sacrifice: From Ancient Ritual to Screen Violence Mark Pizzato Δεν υπάρχει διαθέσιμη προεπισκόπηση - 2004 |
Συχνά εμφανιζόμενοι όροι και φράσεις
actor alienation American ancient animal appears audience Aztec becomes blood body calls catharsis cathartic chapter characters choral cinema communal continued Coppola costumes create culture dance dead death desire display drama edges effects especially evil experience face fans fate father fear fight figure film finds football forces Frankenstein further give gladiator god-actor Godfather gods Greek head heart Henry hero human ideal identity individual involving Jesus kill Lacanian later live male mass melodramatic Michael mirror Monster mortal mother movie natural novel object offering onscreen original Pachuco performance play players postmodern potential present Real relates reveals rites ritual role Roman sacred sacrifice sacrificed sacrificial says scene Scorsese screen sense shows social society space spectators stage Suit symbolic theatre theatrical theory today’s tragedy tragic University Press various victim villains violence warriors watching York Zoot