Hellenic Common argues that theatrical adaptations of Greek tragedy exemplify the functioning of a cosmopolitan cultural commonwealth.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Phillip Zapkin is Assistant Teaching Professor of English at Pennsylvania State University, USA.
Inhaltsangabe
Acknowledgements Introduction: Buying Piraeus, Owning Greece 1.1 A Very Brief History of Neoliberalism 1.2 McTheatre: Neoliberalism on Stage 1.3 Adaptation, Theatre, and Resistance to Neoliberal Hegemony 1.4 The Cultural Commons 1.5 Chapter Summaries 1.6 Conclusion 1.7 Works Cited Chapter I: Adaptation: Shared Cultural Myths 2.1 The Field of Adaptation 2.2 The Political Economy of Adaptation 2.3 Why the Greeks in the Twentieth and Twenty-First Centuries? 2.4 Global Greeks? 2.5 Adaptation's Cosmopolitan Political Potential 2.6 Conclusion 2.7 Works Cited Chapter II: Economic (Neo)Colonialism: Exploitation Makes Globalization Go 'Round 3.1 A Global Economy 3.2 Economic Anti-Colonialism: Protest in Femi Osofisan's Women of Owu 3.3 Art and Culture as Survival Tools 3.4 The God of Profit: Nation Building and Global Economics in Moira Buffini's Welcome to Thebes 3.5 Violence and Disaster Capitalism 3.6 Politics of Disavowal: Neoliberal Rhetoric and Results 3.7 Conclusion 3.8 Works Cited Chapter III: ...And Their Families: Neoliberal Family and the Dissolution of the Social 4.1 Family and the Neoliberal Paradox 4.2 Competing Models of Family in Marina Carr's By the Bog of Cats 4.3 Contradictions to Neoliberal Ideals: Travellers and Domestic Labor 4.4 Breaking Down Society, Building Society Through Theatre 4.5 Conclusion 4.6 Works Cited Chapter IV Korinthiazomai: Rewriting Desire and Perverse Enjoyment 5.1 The Psychology of Neoliberalism 5.2 New Plays from Old Fragments 5.3 Commodified Society: Sex, Religion, and Family 5.4 Alcmaeon's Symptom 5.5 Creon's Obsession 5.6 God from the Law 5.7 Conclusion 5.8 Works Cited Chapter V Ubuntu: Building a Common World 6.1 Cosmopolitan Ethics 6.2 Molora and Its Classical Intertexts 6.3 Molora and the Truth and Reconciliation Commission 6.4 African Languages and Performance Forms 6.5 The Humane Power of the Xhosa Chorus 6.6 Conclusion 6.7 Works Cited Conclusion Buying Greece: Or, You Get What You Pay For 7.1 Theatre Takes on Culture 7.2 Theatre Takes on Capitalism 7.3 Works Cited
Acknowledgements Introduction: Buying Piraeus, Owning Greece 1.1 A Very Brief History of Neoliberalism 1.2 McTheatre: Neoliberalism on Stage 1.3 Adaptation, Theatre, and Resistance to Neoliberal Hegemony 1.4 The Cultural Commons 1.5 Chapter Summaries 1.6 Conclusion 1.7 Works Cited Chapter I: Adaptation: Shared Cultural Myths 2.1 The Field of Adaptation 2.2 The Political Economy of Adaptation 2.3 Why the Greeks in the Twentieth and Twenty-First Centuries? 2.4 Global Greeks? 2.5 Adaptation's Cosmopolitan Political Potential 2.6 Conclusion 2.7 Works Cited Chapter II: Economic (Neo)Colonialism: Exploitation Makes Globalization Go 'Round 3.1 A Global Economy 3.2 Economic Anti-Colonialism: Protest in Femi Osofisan's Women of Owu 3.3 Art and Culture as Survival Tools 3.4 The God of Profit: Nation Building and Global Economics in Moira Buffini's Welcome to Thebes 3.5 Violence and Disaster Capitalism 3.6 Politics of Disavowal: Neoliberal Rhetoric and Results 3.7 Conclusion 3.8 Works Cited Chapter III: ...And Their Families: Neoliberal Family and the Dissolution of the Social 4.1 Family and the Neoliberal Paradox 4.2 Competing Models of Family in Marina Carr's By the Bog of Cats 4.3 Contradictions to Neoliberal Ideals: Travellers and Domestic Labor 4.4 Breaking Down Society, Building Society Through Theatre 4.5 Conclusion 4.6 Works Cited Chapter IV Korinthiazomai: Rewriting Desire and Perverse Enjoyment 5.1 The Psychology of Neoliberalism 5.2 New Plays from Old Fragments 5.3 Commodified Society: Sex, Religion, and Family 5.4 Alcmaeon's Symptom 5.5 Creon's Obsession 5.6 God from the Law 5.7 Conclusion 5.8 Works Cited Chapter V Ubuntu: Building a Common World 6.1 Cosmopolitan Ethics 6.2 Molora and Its Classical Intertexts 6.3 Molora and the Truth and Reconciliation Commission 6.4 African Languages and Performance Forms 6.5 The Humane Power of the Xhosa Chorus 6.6 Conclusion 6.7 Works Cited Conclusion Buying Greece: Or, You Get What You Pay For 7.1 Theatre Takes on Culture 7.2 Theatre Takes on Capitalism 7.3 Works Cited
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