18 Matching Annotations
  1. Jan 2019
    1. performativity isactually a contestation of the unexamined habits of mind that grant lan-guage and other forms of representation more power in determining ourontologies than they deserve

      I'm reminded here of the Lit. Theory readings for this week. One of the theorists compares poetry to drama in its performativity, and its performativity is exactly the reason that a poem's "meaning" cannot be categorized or nailed down. In the same way, is Barad pointing to the subjectivity in examining what it means to be human? If being human involves performativity, our current rhetoric will never be able to come close to capturing it...which I suppose is where "posthumanism" comes into play as we search for new ways to grapple with articulating subjectivity.

  2. Jul 2018
    1. Remember that although many movies are not as good from an academic perspective as the literature they are based on, one of your objectives is to get them interested in that literature.

      The conflation of scripts and novels in this article is close to malpractice. Plays should ALWAYS be studied in performance. Most scripts are not meant to be read; they are meant to be produced. (There are, of course, many ways to study plays in production, including but not limited to watching a movie, and they all involve reading the script.)

  3. Oct 2017
    1. without being conscious of it, have stored up in idea the greater part of those strong marked varieties of human character,

      Unconscious knowledge of human character described by Joanna Baillie, Introductory Discourse

  4. Aug 2017
  5. May 2017
    1. Scene iii: 1130-1146

      Jupiter reveals himself and Amphitruo is eased and pleased and pays thanks to the god.

    2. Scene ii: 1072-1130

      Bromia recites the events that happened within the house to Amphitruo

    3. Scene i: 1039-1071

      Amphitruo shares his plans for revenge and rage, but faints. Bromia retells what happens within the house which mirrors Amphitruo’s feelings.

    4. Act IV: 1039-1146

      Alcmena gives birth and Jupiter reveals himself and his role to Amphitruo.

    5. Act III: 1008-1039

      The separation I create with the middle acts adds to the theme of duplicity in the theme of the play. I have one act start with the return of Amphitruo from war and the second as his return from the harbor.

    6. Scene iii: 861-1007

      Jupiter thickens the plot by apologizing on Amphitruo’s behalf and consoles her.

    7. Scene ii: 633-860

      Alcmena confesses her confusion of Amphitruo’s return and explains that he was here. Sosia argues her sanity.

    8. Scene i: 551-632

      Amphitruo and Sosia travel home and Sosia pleads his case that he is not insane about there being a second him.

    9. Act II: 551-1008

      Sosia argues his sanity, then threatens Alcmena’s sanity after she says Amphitruo just left.

    10. Scene ii: 496-550

      Jupiter leaves Alcmena to “return to war” The serious matter of the play.

    11. Scene i: 148-496

      Mercury delays Sosia and makes him think he is not himself. The two provide comic relief to open the play. Mercury ends the scene on a slight heavy note.

    12. Act I: 148-55

      The initial events of the play are laid out, where Sosia is to believe he is not himself and Jupiter has impregnated Alcmena with a second child.

    13. Prologue: Lines 1-147

      Mercury explains the purpose and premise of the play. He denotes of costume differences so that the audience is able to separate the disguised gods from the real Amphitruo and Sosia.

  6. Feb 2017
    1. a social aspect here as well, which is one of the ways that taste is rhetorical – it is a product of the dynamic relationship between the self and the world.

      A Lanham connection here.