Persona ficta. Schiller, Hegel, Nietzsche and the role of the chorus in Attic tragedy
Is it possible to represent, effectively, the potestas of the multitude? Can its impetus-its fearsome power, its wild inertia-be modelled, or modulated, ethically, aesthetically, politically or religiously? And its convivium, or communitas-that which gathers and reinforces its necessary plurality-ca...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2017 |
| País: | España |
| Institución: | Universidad Autónoma de Madrid |
| Repositorio: | Biblos-e Archivo. Repositorio Institucional de la UAM |
| Idioma: | inglés |
| OAI Identifier: | oai:repositorio.uam.es:10486/711362 |
| Acceso en línea: | http://hdl.handle.net/10486/711362 https://dx.doi.org/10.5281/zenodo.999143 |
| Access Level: | acceso abierto |
| Palabra clave: | Chorus Multitude People Political representation Revolution Theatre Filosofía |
| Sumario: | Is it possible to represent, effectively, the potestas of the multitude? Can its impetus-its fearsome power, its wild inertia-be modelled, or modulated, ethically, aesthetically, politically or religiously? And its convivium, or communitas-that which gathers and reinforces its necessary plurality-can these be outlined, at least, in a single figure? Could this last be a feigned or artificial person, or a moral one? Could that be the role of the tragic chorus? Or if not, what would that say to us, historically, about the efficacy of dramaturgy in the West in terms of structuring the city or the State, and what would its masks show us with respect to the limits of political representation? Taking our cue from Schiller's aesthetic conception, and from Hegel and Nietzsche's rejoinders on the subject of the tragic chorus, we mean to address these and other questions in what follows below |
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