Emotion Memory and the Medieval Performance of Violence
Identifieur interne : 001342 ( Istex/Corpus ); précédent : 001341; suivant : 001343Emotion Memory and the Medieval Performance of Violence
Auteurs : Jody EndersSource :
- Theatre Survey [ 0040-5574 ] ; 1997-05.
Abstract
When Constantin Stanislavski's An Actor Prepares first appeared in English translation in 1936, the Moscow Art Theater had already made a great impact on American theatre. Particularly influential in the Soviet director's theories of acting was his concept of emotion memory. In An Actor Prepares, the young actor, Kostya, tries to understand how to access the “memory of life” rather than the “theatrical archives of his mind” and has an epiphany at the moment when he recalls and relives the violence of an isolated vehicular accident that had dismembered its victim:
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DOI: 10.1017/S0040557400001873
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Particularly influential in the Soviet director's theories of acting was his concept of emotion memory. In An Actor Prepares, the young actor, Kostya, tries to understand how to access the “memory of life” rather than the “theatrical archives of his mind” and has an epiphany at the moment when he recalls and relives the violence of an isolated vehicular accident that had dismembered its victim:</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Jody Enders</name></json:item></author><articleId><json:string>00187</json:string></articleId><arkIstex>ark:/67375/6GQ-FD4VQVHB-B</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>When Constantin Stanislavski's An Actor Prepares first appeared in English translation in 1936, the Moscow Art Theater had already made a great impact on American theatre. 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In An Actor Prepares, the young actor, Kostya, tries to understand how to access the “memory of life” rather than the “theatrical archives of his mind” and has an epiphany at the moment when he recalls and relives the violence of an isolated vehicular accident that had dismembered its victim:</abstract><qualityIndicators><score>8.092</score><pdfWordCount>9691</pdfWordCount><pdfCharCount>56186</pdfCharCount><pdfVersion>1.5</pdfVersion><pdfPageCount>24</pdfPageCount><pdfPageSize>413.28 x 611.28 pts</pdfPageSize><refBibsNative>true</refBibsNative><abstractWordCount>91</abstractWordCount><abstractCharCount>569</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Emotion Memory and the Medieval Performance of Violence</title><pii><json:string>S0040557400001873</json:string></pii><genre><json:string>research-article</json:string></genre><host><title>Theatre Survey</title><language><json:string>unknown</json:string></language><issn><json:string>0040-5574</json:string></issn><eissn><json:string>1475-4533</json:string></eissn><publisherId><json:string>TSY</json:string></publisherId><volume>38</volume><issue>1</issue><pages><first>139</first><last>162</last><total>24</total></pages><genre><json:string>journal</json:string></genre></host><ark><json:string>ark:/67375/6GQ-FD4VQVHB-B</json:string></ark><categories><inist><json:string>1 - sciences humaines et sociales</json:string></inist></categories><publicationDate>1997</publicationDate><copyrightDate>1997</copyrightDate><doi><json:string>10.1017/S0040557400001873</json:string></doi><id>39407F0BF6B0A2BD20AD23BD32040CB29773C2E0</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-FD4VQVHB-B/fulltext.pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-FD4VQVHB-B/bundle.zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/ark:/67375/6GQ-FD4VQVHB-B/fulltext.tei"><teiHeader><fileDesc><titleStmt><title level="a">Emotion Memory and the Medieval Performance of Violence</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://scientific-publisher.data.istex.fr">Cambridge University Press</publisher><pubPlace>New York, USA</pubPlace><availability><licence><p>Copyright © American Society for Theatre Research 1997</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</p></availability><date>1997</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note><note>Jody Enders is a professor of French at the University of California, Santa Barbara, and is the author of the forthcoming The Medieval Theater of Cruelty (Cornell) and of Rhetoric and the Origins of Medieval Drama (Cornell, 1992).</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a">Emotion Memory and the Medieval Performance of Violence</title><author xml:id="author-0000"><persName><forename type="first">Jody</forename><surname>Enders</surname></persName></author><idno type="istex">39407F0BF6B0A2BD20AD23BD32040CB29773C2E0</idno><idno type="ark">ark:/67375/6GQ-FD4VQVHB-B</idno><idno type="DOI">10.1017/S0040557400001873</idno><idno type="PII">S0040557400001873</idno><idno type="article-id">00187</idno></analytic><monogr><title level="j">Theatre Survey</title><title level="j" type="abbrev">Theat Surv</title><idno type="pISSN">0040-5574</idno><idno type="eISSN">1475-4533</idno><idno type="publisher-id">TSY</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>New York, USA</pubPlace><date type="published" when="1997-05"></date><biblScope unit="volume">38</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="139">139</biblScope><biblScope unit="page" to="162">162</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1997</date></creation><langUsage><language ident="en">en</language></langUsage><abstract style="text-abstract"><p>When Constantin Stanislavski's An Actor Prepares first appeared in English translation in 1936, the Moscow Art Theater had already made a great impact on American theatre. Particularly influential in the Soviet director's theories of acting was his concept of emotion memory. In An Actor Prepares, the young actor, Kostya, tries to understand how to access the “memory of life” rather than the “theatrical archives of his mind” and has an epiphany at the moment when he recalls and relives the violence of an isolated vehicular accident that had dismembered its victim:</p></abstract></profileDesc><revisionDesc><change when="1997-05">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-FD4VQVHB-B/fulltext.txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="2.2" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">TSY</journal-id><journal-title>Theatre Survey</journal-title><abbrev-journal-title>Theat Surv</abbrev-journal-title><issn pub-type="ppub">0040-5574</issn><issn pub-type="epub">1475-4533</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>New York, USA</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040557400001873</article-id><article-id pub-id-type="pii">S0040557400001873</article-id><article-id pub-id-type="publisher-id">00187</article-id><title-group><article-title>Emotion Memory and the Medieval Performance of Violence</article-title><alt-title alt-title-type="left-running">Theatre Survey</alt-title><alt-title alt-title-type="right-running">Emotion Memory and Performance of Violence</alt-title></title-group><contrib-group><contrib><name><surname>Enders</surname><given-names>Jody</given-names></name><xref ref-type="fn" rid="fn01">*</xref></contrib></contrib-group><author-notes><fn id="fn01" symbol="*"><label>*</label><p><italic>Jody Enders is a professor of French at the University of California, Santa Barbara, and is the author of the forthcoming The Medieval Theater of Cruelty (Cornell) and of Rhetoric and the Origins of Medieval Drama (Cornell, 1992).</italic></p></fn></author-notes><pub-date pub-type="ppub"><month>05</month><year>1997</year></pub-date><volume>38</volume><issue>1</issue><fpage seq="10">139</fpage><lpage>162</lpage><permissions><copyright-statement>Copyright © American Society for Theatre Research 1997</copyright-statement><copyright-year>1997</copyright-year><copyright-holder>American Society for Theatre Research</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>When Constantin Stanislavski's <italic>An Actor Prepares</italic> first appeared in English translation in 1936, the Moscow Art Theater had already made a great impact on American theatre. Particularly influential in the Soviet director's theories of acting was his concept of emotion memory. In <italic>An Actor Prepares</italic>, the young actor, Kostya, tries to understand how to access the “memory of life” rather than the “theatrical archives of his mind” and has an epiphany at the moment when he recalls and relives the violence of an isolated vehicular accident that had dismembered its victim:</p></abstract><counts><page-count count="24"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040557400001873a.pdf</meta-value></custom-meta><custom-meta><meta-name>dispart</meta-name><meta-value>Articles</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn02" symbol="1."><label>1.</label><p><citation id="ref001" citation-type="book"><name><surname>Stanislavski</surname><given-names>Constantin</given-names></name>, <source>An Actor Prepares</source> (hereafter <italic>AP</italic>), trans. <name><surname>Hapgood</surname><given-names>E. R.</given-names></name> (<publisher-loc>New York</publisher-loc>: <publisher-name>Theatre Arts</publisher-name>, <year>1936</year>), <fpage>165</fpage>; 170–71</citation>. See also <citation id="ref002" citation-type="book"><name><surname>Cousin</surname><given-names>Geraldine</given-names></name>, “A Note on Mimesis: Stanislavski's and Brecht's Street Scenes,” in <source>Drama, Dance and Music</source>, ed. <name><surname>Redmond</surname><given-names>James</given-names></name>, <italic>Themes in Drama</italic>, <volume>3</volume> (<publisher-loc>Cambridge</publisher-loc>: <publisher-name>Cambridge University Press</publisher-name>, <year>1981</year>), esp. 236</citation>. On the controversy surrounding Hapgood's translation, see <citation id="ref003" citation-type="book"><name><surname>Gray</surname><given-names>Paul</given-names></name>, “From Russia to America: A Critical Chronology,” in <source>Stanislavski and America: An Anthology from the Tulane Drama Review</source>, ed. <name><surname>Munk</surname><given-names>Erika</given-names></name> (<publisher-loc>New York</publisher-loc>: <publisher-name>Hill and Wang</publisher-name>, <year>1966</year>), <fpage>154</fpage>–<lpage>155</lpage></citation>; and <citation id="ref004" citation-type="book"><name><surname>Benedetti</surname><given-names>Jean</given-names></name>, <source>Stanislavski: A Biography</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>Routledge</publisher-name>, <year>1990</year>), <fpage>315</fpage>–<lpage>318</lpage></citation>. On the contemporaneous American responses to the Moscow Art Theater, see Chapter 8 of <citation id="ref005" citation-type="book"><name><surname>Edwards'</surname><given-names>Christine</given-names></name> <source>The Stanislavski Heritage: Its Contribution to the Russian and American Theatre</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>New York University Press</publisher-name>, <year>1965</year>)</citation>. I wish to take this opportunity to thank Michal Kobialka for his incisive critique of the first version of this essay.</p></fn><fn id="fn03" symbol="2."><label>2.</label><p>See, e.g. [Cicero], <citation id="ref006" citation-type="book"><source>Ad C. Herennium</source> (hereafter <italic>RAH</italic>), ed. and trans. <name><surname>Caplan</surname><given-names>Harry</given-names></name>, Loeb Classical Library (<year>1954</year>; reprint, <publisher-loc>Cambridge</publisher-loc>: <publisher-name>Harvard University Press</publisher-name>, <year>1977</year>), <volume>3</volume>:<fpage>30</fpage></citation>. The five rhetorical canons are invention, disposition, style, memory, and delivery (e.g., <italic>RAH</italic>, 1:3). An <italic>actor</italic> in early rhetoric was originally a speaker, performer, legal advocate, or prosecutor. The finest introductions to the general history of rhetoric remain <citation id="ref007" citation-type="book"><name><surname>Murphy's</surname><given-names>James J.</given-names></name> <source>Rhetoric in the Middle Ages: A History of Rhetorical Theory from Saint Augustine to the Renaissance</source> (<year>1974</year>; reprint, <publisher-loc>Berkeley</publisher-loc>: <publisher-name>University of California Press</publisher-name>, <year>1981</year>)</citation> and <citation id="ref008" citation-type="book"><name><surname>Kennedy's</surname><given-names>George A.</given-names></name> <source>Classical Rhetoric and its Christian and Secular Tradition from Ancient to Modern Times</source> (<publisher-loc>Chapel Hill</publisher-loc>: <publisher-name>University of North Carolina Press</publisher-name>, <year>1980</year>)</citation>. For memory, see <citation id="ref009" citation-type="book"><name><surname>Yates</surname><given-names>Frances</given-names></name>, <source>The Art of Memory</source> (<publisher-loc>Chicago</publisher-loc>: <publisher-name>University of Chicago Press</publisher-name>, <year>1966</year>)</citation>; <citation id="ref010" citation-type="book"><name><surname>Carruthers</surname><given-names>Mary</given-names></name>, <source>The Book of Memory</source> (<publisher-loc>Cambridge</publisher-loc>: <publisher-name>Cambridge University Press</publisher-name>, <year>1990</year>)</citation>; and <citation id="ref011" citation-type="book"><name><surname>Coleman</surname><given-names>Janet</given-names></name>, <source>Ancient and Medieval Memories</source> (<publisher-loc>Cambridge</publisher-loc>: <publisher-name>Cambridge University Press</publisher-name>, <year>1992</year>)</citation>.</p></fn><fn id="fn04" symbol="3."><label>3.</label><p>It bears mentioning that this legend really shows a short-term memory in action more than the long-term practices of mnemotechnics. It appears in numerous rhetorical treatises, including <citation id="ref012" citation-type="book"><name><surname>Cicero</surname></name>, <source>De oratore</source>, ed. and trans. <name><surname>Rackham</surname><given-names>H.</given-names></name>, Loeb Classical Library (<year>1942</year>; reprint, <publisher-loc>Cambridge</publisher-loc>: <publisher-name>Harvard University Press</publisher-name>, <year>1976</year>), <volume>2</volume>:<fpage>351</fpage>–<lpage>355</lpage></citation>; and <citation id="ref013" citation-type="book"><name><surname>Quintilian</surname></name>, <source>lnstitutio oratoria</source> (hereafter <italic>IO</italic>), ed. and trans. <name><surname>Butler</surname><given-names>H.E.</given-names></name>, Loeb Classical Library (<year>1920</year>; reprint <publisher-loc>Cambridge</publisher-loc>: <publisher-name>Harvard University Press</publisher-name>, 1980), 11, 2.11–16</citation>. (I offer a detailed textual reading of the various texts of the Simonides legend in Chapter 2 of my <italic>Medieval Theater of Cruelty</italic>, hereafter <italic>MTOC</italic> (forthcoming Cornell University Press). While the <italic>Institutio oratoria</italic> was only partially accessible to the early Middle Ages in the mutilist tradition, it had a greater influence than was once thought. See, e.g., <citation id="ref014" citation-type="journal"><name><surname>Ward</surname><given-names>John O.</given-names></name>, “<article-title>Quintilian and the Rhetorical Revolution of the Middle Ages</article-title>,” <source>Rhetorica</source> <volume>13</volume> (<year>1995</year>): <fpage>231</fpage>–<lpage>284</lpage></citation>.</p></fn><fn id="fn05" symbol="4."><label>4.</label><p>Classical rhetorical treatises tend to privilege forensic over the other rhetorical genres (deliberative/political or epideictic/praise and blame). To these, the Middle Ages also added the <italic>ars praedicandi</italic>, or art of preaching, the best introduction to which remains <citation id="ref015" citation-type="book"><name><surname>Zink's</surname><given-names>Michel</given-names></name> <source>La prédication en langue romane: avant 1300</source> (<publisher-loc>Paris</publisher-loc>: <publisher-name>Champion</publisher-name>, <year>1976</year>)</citation>.</p></fn><fn id="fn06" symbol="5."><label>5.</label><p>I discuss the rhetorical ramifications of accidental vs. intentional and “natural” versus “unnatural” mnemonic violence in <citation id="ref016" citation-type="book">“Rhetoric, Coercion, and the Memory of Violence,” in <source>Criticism and Dissent in the Middle Ages, 24–55</source>, ed. <name><surname>Copeland</surname><given-names>Rita</given-names></name> (<publisher-loc>Cambridge</publisher-loc>: <publisher-name>Cambridge University Press</publisher-name>, <year>1996</year>)</citation>; I argue at length for the fluidity of rhetorical and dramatic modes of representation in <citation id="ref017" citation-type="book">Rhetoric and the Origins of Medieval Drama, hereafter <source>ROMD, Rhetoric and Society</source> (<publisher-loc>Ithaca</publisher-loc>: <publisher-name>Cornell University Press</publisher-name>, <year>1992</year>), <fpage>1</fpage></citation>.</p></fn><fn id="fn07" symbol="6."><label>6.</label><p>My focus here on the rhetorical episteme of the most educated groups of society obviously sheds more light on learned conception and intention than on popular reception. My use of the term “episteme” follows Foucault's definition from “Politics and the Study of Discourse,” in which he describes it as “not a sort of grand underlying theory” but a “space of dispersion,” an “open and doubtless indefinitely describable field of relationships,” in <citation id="ref018" citation-type="book"><source>The Foucault Effect</source>, eds. <name><surname>Burchell</surname><given-names>Graham</given-names></name>, <name><surname>Gordon</surname><given-names>Colin</given-names></name>, and <name><surname>Miller</surname><given-names>Peter</given-names></name> (<publisher-loc>London</publisher-loc>: <publisher-name>Harvester Wheatsheaf</publisher-name>, <year>1991</year>), <fpage>55</fpage></citation>. By “learned” I mean medieval men who were trained in rhetoric during a formal, university education. I also hasten to underscore that medieval law was not identical to classical law nor always consistent.</p></fn><fn id="fn08" symbol="7."><label>7.</label><p>I elaborate on these points in my <italic>MTOC</italic>, esp. Chapter 2. Important discussions of the conflation of violence, creation, and “mortuary circulation” include <citation id="ref019" citation-type="book"><name><surname>Scarry</surname><given-names>Elaine</given-names></name>, <source>The Body in Pain: The Making and Unmaking of the World</source> (<year>1985</year>; reprint <publisher-loc>New York</publisher-loc>: <publisher-name>Oxford University Press</publisher-name>, 1987), <fpage>184</fpage></citation>; and <citation id="ref020" citation-type="other"><name><surname>Smith</surname><given-names>D. Vance</given-names></name>, <conf-name>“In Place of Memory: Remembering Practices after 1348 and 1983,” paper,</conf-name>International Congress for Medieval Studies,<conf-loc>Kalamazoo, MI,</conf-loc><conf-date>5 May 1994.</conf-date></citation></p></fn><fn id="fn09" symbol="8."><label>8.</label><p>For the classic discussion of the trope, “quem quaeritis in sepulchro, o Christicole?” as a likely origin of medieval drama, see, e.g., <citation id="ref021" citation-type="book"><name><surname>Hardison</surname><given-names>O. B.</given-names><suffix>Jr.</suffix></name>, <source>Christian Rite and Christian Drama in the Middle Ages: Essays in the Origin and Early History of Modern Drama</source> (<publisher-loc>Baltimore</publisher-loc>: <publisher-name>Johns Hopkins University Press</publisher-name>, <year>1965</year>), especially essay 5</citation>.</p></fn><fn id="fn10" symbol="9."><label>9.</label><p>Sarah Beck with sees an “extreme cultural ambivalence” in Christ's body, which was <citation id="ref022" citation-type="book">“loved and adored, but…also violated repeatedly,” <source>Christ's Body</source> (<publisher-loc>London and New York</publisher-loc>: <publisher-name>Routledge</publisher-name>, <year>1994</year>), <fpage>5</fpage></citation>.</p></fn><fn id="fn11" symbol="10."><label>10.</label><p><citation id="ref023" citation-type="book"><name><surname>Lydgate</surname><given-names>John</given-names></name>, Exortacion to prestys when they shall sey theyr masse, in <source>The Minor Poems of John Lydgate</source>, ed. <name><surname>MacCracken</surname><given-names>H. N.</given-names></name>, <italic>EETS ES</italic>, <volume>107</volume> (<publisher-loc>London</publisher-loc>: <publisher-name>Oxford University Press</publisher-name>, <year>1909</year>), <fpage>86</fpage>, II. 33–34</citation>; cited and discussed by <citation id="ref024" citation-type="book"><name><surname>Rubin</surname><given-names>Miri</given-names></name>, <source>Corpus Christi: The Eucharist in Late Medieval Culture</source>, hereafter <italic>CC</italic> (<publisher-loc>Cambridge</publisher-loc>: <publisher-name>Cambridge University Press</publisher-name>, <year>1991</year>), <fpage>94</fpage></citation>.</p></fn><fn id="fn12" symbol="11."><label>11.</label><p>I discuss memory as re-enactment at length in <italic>ROMD</italic>, 51–54.</p></fn><fn id="fn13" symbol="12."><label>12.</label><p><citation id="ref025" citation-type="book"><name><surname>Blau</surname><given-names>Herbert</given-names></name>, <source>Blooded Thought: Occasions of Theater</source>, hereafter <italic>BT</italic> (<publisher-loc>New York</publisher-loc>: <publisher-name>Performing Arts Journal</publisher-name>, <year>1982</year>)</citation>; and <citation id="ref026" citation-type="book"><source>Le Mystère de Saint Christofle</source>, ed. <name><surname>Runnalls</surname><given-names>Graham A.</given-names></name>, (<publisher-loc>Exeter</publisher-loc>: <publisher-name>University of Exeter</publisher-name>, <year>1973</year>)</citation>: “Sire, par amour, je vous prie, / Si voulez la veue recouvrer, / Il vous convient agenoiller, / Et dorer le corps du geant, / Et <underline>oindre vostre oeil de son sang;/Si recouvrerés la veüe</underline>,” 2412–2417, emphasis mine. For dating, see Runnalls, vii.</p></fn><fn id="fn14" symbol="13."><label>13.</label><p><citation id="ref027" citation-type="book"><name><surname>Plato</surname></name>, <source>Laws</source>, Loeb Classical Library (<year>1926</year>; reprint <publisher-loc>Cambridge</publisher-loc>: <publisher-name>Harvard University Press</publisher-name>, 1942), 817B</citation>. On pleasure, pain, and the law, see also <citation id="ref028" citation-type="book"><name><surname>de Certeau</surname><given-names>Michel</given-names></name>, <source>The Practice of Everyday Life</source>, trans. <name><surname>Rendall</surname><given-names>Steven</given-names></name> (<publisher-loc>Berkeley</publisher-loc>: <publisher-name>University of California Press</publisher-name>, <year>1988</year>), <fpage>140</fpage></citation>; and <citation id="ref029" citation-type="book"><name><surname>States</surname><given-names>Bert</given-names></name>, <source>The Pleasure of the Play</source> (<publisher-loc>Ithaca</publisher-loc>: <publisher-name>Cornell University Press</publisher-name>, <year>1994</year>)</citation>, Chapter 12, “The Pleasure of Pain.”</p></fn><fn id="fn15" symbol="14."><label>14.</label><p>For an important discussion of the interconnected history of empathy and theatricality, see <citation id="ref030" citation-type="book"><name><surname>Marshall</surname><given-names>David</given-names></name>, <source>The Surprising Effects of Sympathy: Marivaux, Diderot, Rousseau, and Mary Shelley</source> (<publisher-loc>Chicago</publisher-loc>: <publisher-name>University of Chicago Press</publisher-name>, <year>1988</year>)</citation>, especially his introduction.</p></fn><fn id="fn16" symbol="15."><label>15.</label><p><citation id="ref031" citation-type="book"><name><surname>Nietzsche</surname><given-names>Friedrich</given-names></name>, <source>The Birth of Tragedy and the Genealogy of Morals</source>, hereafter <italic>GM</italic>, trans. <name><surname>Golffing</surname><given-names>Francis</given-names></name> (<publisher-loc>Garden City, NY</publisher-loc>: <publisher-name>Doubleday</publisher-name>, <year>1956</year>), <fpage>192</fpage>–<lpage>193</lpage></citation>.</p></fn><fn id="fn17" symbol="16."><label>16.</label><p><citation id="ref032" citation-type="book"><name><surname>Foucault</surname><given-names>Michel</given-names></name>, <source>Discipline and Punish: The Birth of the Prison</source>, trans. <name><surname>Sheridan</surname><given-names>Alan</given-names></name> (<publisher-loc>New York</publisher-loc>: <publisher-name>Pantheon</publisher-name>, <year>1977</year>)</citation>.</p></fn><fn id="fn18" symbol="17."><label>17.</label><p><citation id="ref033" citation-type="book"><name><surname>de Lauretis</surname><given-names>Teresa</given-names></name>, <source>Technologies of Gender: Essays on Theory, Film, and Fiction</source> (<publisher-loc>Bloomington</publisher-loc>: <publisher-name>Indiana University Press</publisher-name>, <year>1987</year>), <fpage>32</fpage></citation>.</p></fn><fn id="fn19" symbol="18."><label>18.</label><p><citation id="ref034" citation-type="book"><name><surname>Goldhill</surname><given-names>Simon</given-names></name>, “Violence in Greek Tragedy,” in <source>Violence in Drama</source>, ed. <name><surname>Redmond</surname><given-names>James</given-names></name>, <italic>Themes in Drama</italic> <volume>13</volume> (<publisher-loc>Cambridge</publisher-loc>: <publisher-name>Cambridge University Press</publisher-name>, <year>1991</year>), <fpage>15</fpage></citation>.</p></fn><fn id="fn20" symbol="19."><label>19.</label><p><citation id="ref035" citation-type="other"><name><surname>Gatton</surname></name>, “‘There must be blood:’ Mutilation and Martyrdom on the Medieval Stage,” in <italic>Violence in Drama</italic>, in Redmond, ed., <fpage>77</fpage></citation>. It was <citation id="ref036" citation-type="book"><name><surname>Cohen</surname><given-names>Gustave</given-names></name>, however, who first proposed this idea in <source>Histoire de la mise-en-scène dans le théâtre religieux français du moyen-âge</source>, 2d ed. (<publisher-loc>Paris</publisher-loc>: <publisher-name>Champion</publisher-name>, <year>1951</year>)</citation> when he wrote that “one may extend this epithet to all the mystery plays this stage direction (rubrique) which appears in the ‘Mystère du Vieil Testament:’ ‘il faut du sang’” (152).</p></fn><fn id="fn21" symbol="20."><label>20.</label><p><citation id="ref037" citation-type="book"><name><surname>Haidu</surname><given-names>Peter</given-names></name>, <source>The Subject of Violence: The Song of Roland and the Birth of the State</source> (<publisher-loc>Bloomington</publisher-loc>, <publisher-name>Indiana University Press</publisher-name>, <year>1993</year>), <fpage>195</fpage></citation>.</p></fn><fn id="fn22" symbol="21."><label>21.</label><p><citation id="ref038" citation-type="book"><name><surname>Kubiak</surname><given-names>Anthony</given-names></name>, <source>Stages of Terror: Terrorism, Ideology, and Coercion as Theatre History</source>, hereafter <italic>ST</italic> (<publisher-loc>Bloomington</publisher-loc>: <publisher-name>Indiana University Press</publisher-name>, <year>1991</year>), <fpage>29</fpage>, 24–25</citation>.</p></fn><fn id="fn23" symbol="22."><label>22.</label><p>See, e.g., <citation id="ref039" citation-type="book"><name><surname>Lucian</surname></name>, “Saltatio,” ed. and trans. <name><surname>Harmon</surname><given-names>A. M.</given-names></name>, in <source>Works</source>, Loeb Classical Library (<year>1936</year>; reprint, <publisher-loc>Cambridge</publisher-loc>: <publisher-name>Harvard University Press</publisher-name>, 1972), 5:36</citation>; on Martianus's muttering, see Yates, 52; and the citation from Geoffrey is from <citation id="ref040" citation-type="book"><source><italic>The</italic> Poetria Nova <italic>and its Sources in Early Rhetorical Doctrine</italic></source>, ed. and trans. <name><surname>Gallo</surname><given-names>Ernest</given-names></name> (<publisher-loc>The Hague</publisher-loc>: <publisher-name>Mouton</publisher-name>, <year>1971</year>), <fpage>2022</fpage>; 2036</citation>.</p></fn><fn id="fn24" symbol="23."><label>23.</label><p><citation id="ref041" citation-type="book"><name><surname>Longinus</surname></name>, “On the Sublime,” ed. and trans. <name><surname>Fyfe</surname><given-names>W. Hamilton</given-names></name>, in <source>Aristotle, Longinus, Demetrius</source>, Loeb Classical Library. (<year>1927</year>; reprint, <publisher-loc>Cambridge</publisher-loc>: <publisher-name>Harvard University Press</publisher-name>, 1946), 15, 1–2</citation>; see also <italic>RAH</italic>, 3:30. I demonstrate this at length in “The Mnemonic Alphabet of Dramatic Images,” <italic>ROMD</italic>, 44–54.</p></fn><fn id="fn25" symbol="24."><label>24.</label><p>He also mentions that comic effects render images more memorable—a phenomenon with great potential for gallows humor that I cannot treat adequately within the scope of this study. Marjorie Curry Woods has recently published a superb essay on “Rape and the Pedagogical Rhetoric of Sexual Violence,” in <italic>Criticism and Dissent</italic>, ed. Rita Copeland, which is devoted to the extreme violence of such works as Ovid's <italic>Ars amatoria</italic>, Statius's <italic>Achilleid</italic>, Claudian's <italic>De raptu Prosperpine</italic>, and the anonymous <italic>Pamphilus</italic>, which were compiled into a “basic reader for medieval boys” (58).</p></fn><fn id="fn26" symbol="25."><label>25.</label><p>On <italic>ut pictura poesis</italic>, see, e.g., <italic>RAH</italic>, 4:39. The Pseudo-Cicero also uses the term <italic>simulacra</italic> when defining memory images as “formae quaedam et notae et <underline>simulacra</underline> eius rei quam meminisse volumus” (<italic>RAH</italic>, 3:29). For modern perspectives on <italic>simulacra</italic>, see <citation id="ref042" citation-type="book"><name><surname>Baudrillard</surname><given-names>Jean</given-names></name>, “Simulations,” in <source>Selected Writings</source>, ed. <name><surname>Poster</surname><given-names>Mark</given-names></name> (<publisher-loc>Stanford</publisher-loc>: <publisher-name>Stanford University Press</publisher-name>, <year>1988</year>)</citation>; and <citation id="ref043" citation-type="book"><name><surname>Artaud</surname><given-names>Antonin</given-names></name>, <source>The Theater and its Double</source>, trans. <name><surname>Richards</surname><given-names>Mary Caroline</given-names></name> (<publisher-loc>New York</publisher-loc>: <publisher-name>Grove Weidenfeld</publisher-name>, <year>1958</year>), <fpage>71</fpage></citation>.</p></fn><fn id="fn27" symbol="26."><label>26.</label><p>“Conformatio est cum aliqua quae <underline>non adest persona confingitur quasi adsit</underline>, aut cum res muta aut informis fit eloquens, et forma ei et oratio adtribuitur ad dignitatem adcommodata aut <underline>actio</underline> quaedam” (<italic>RAH</italic>, 4, 66; emphasis mine). For a superb discussion of this passage, see <citation id="ref044" citation-type="book"><name><surname>Paxson</surname><given-names>James J.</given-names></name>, <source>The Poetics of Personification</source> (<publisher-loc>Cambridge</publisher-loc>: <publisher-name>Cambridge University Press</publisher-name>, <year>1994</year>), <fpage>13</fpage>–<lpage>15</lpage></citation>. See Yates' insight that memory images might have been “moralised into beautiful or hideous human figures as ‘corporeal similitudes’ of spiritual intentions of gaining Heaven or avoiding Hell” (<italic>Art of Memory</italic>, 77).</p></fn><fn id="fn28" symbol="27."><label>27.</label><p>For a compelling reading of the terror of an absent presence, see Kubiak on Christ's empty tomb, <italic>ST</italic>, 53–56. For the larger perspective on the compatibility of “pagan” rhetoric with Christianity, see <citation id="ref045" citation-type="book"><name><surname>Kinneavy</surname><given-names>James L.</given-names></name>, <source>Greek Rhetorical Origins of Christian Faith: An Inquiry</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>Oxford</publisher-name>, <year>1987</year>)</citation>; and <citation id="ref046" citation-type="book"><name><surname>Jaeger</surname><given-names>Werner</given-names></name>, <source>Early Christianity and Greek Paideia</source> (<publisher-loc>Cambridge, MA</publisher-loc>: <publisher-name>Belknap Press</publisher-name>, <year>1961</year>)</citation>. Kinneavy, e.g., urges an investigation into Greek authors' use of words like “faith” and “persuasion” and supports Jaeger's theory that, “in calling Christianity the paideia of Christ, the imitator stresses the intention of the apostle to make Christianity to be a continuation of the classical paideia, which it would be logical for those who possessed the older one to accept” (Jaeger, 7; Kinneavy, 149).</p></fn><fn id="fn29" symbol="28."><label>28.</label><p>For examples of training in mnemonic visualization exercises, see <italic>RAH</italic>, 3:31–32; and Yates, 50–76.</p></fn><fn id="fn30" symbol="29."><label>29.</label><p>Christ is normally tied to a pillar, a classic memory image. For an excellent resumé of the key metaphors of mnemotechnics, see Carruthers, Chapter 1, “Models for Memory.”</p></fn><fn id="fn31" symbol="30."><label>30.</label><p>“Puis souffri que sa char fust mise/Pour nous au plus crüel martire, / <underline>Que nulz puisse conter ne dire</underline>. / Or veul venir a ma memoire,” <citation id="ref047" citation-type="book"><source>Le Mystère de la Passion Nostre Seigneur du manuscrit 1131 de la Bibliothèque Sainte-Geneviève</source>, ed. <name><surname>Runnalls</surname><given-names>Graham A.</given-names></name> (<publisher-loc>Geneva</publisher-loc>: <publisher-name>Droz</publisher-name>, <year>1974</year>), <fpage>48</fpage>–<lpage>51</lpage></citation>, emphasis mine. For the sake of simplicity, I refer to this text as the Saint Geneviève <italic>Passion</italic>. In Old French, the verb <italic>memorer</italic> and the noun <italic>memoire</italic> (which could be masculine or feminine) covered a wide range of terms, including remember, commemorate, memorialize, and custom, relics, and memoir. My reference to deception and disguise stems from the ambiguity of the term <italic>guise</italic> denoting either in the line: “Qui le deçoit en mainte guise.”</p></fn><fn id="fn32" symbol="31."><label>31.</label><p>“Prïons ly tuit que par sa grace / De nos meffais pardon face, / Et nous doint cuer de ly servir / Par quoy nous puissons deservir / Sa tres haulte saintisme gloire, / <underline>Et nous manteigne en son memoire</underline>,” Saint Geneviève <italic>Passion</italic>, 4468–4473, emphasis mine.</p></fn><fn id="fn33" symbol="32."><label>32.</label><p>“Las, aussi pleurer m'en convient / Souventesfoiz piteusement, / <underline>Quant me souvient du grant tourment</underline> / Qu'il souffrit,” emphasis mine; and “Je ne pourroye mes yeulx garder / De plourer, quant j'en ay memoire,” <citation id="ref048" citation-type="book"><source>Le Mystère de la Résurrection Angers</source> (1456), ed. <name><surname>Servet</surname><given-names>Pierre</given-names></name> (<publisher-loc>Geneva</publisher-loc>: <publisher-name>Droz</publisher-name>, <year>1993</year>), <volume>1</volume>:<fpage>11608</fpage>–<lpage>11611</lpage>, 1:11640–11641</citation>.</p></fn><fn id="fn34" symbol="33."><label>33.</label><p>“Quant pur home qui n'a rien / For de Dieu sa volenté france / Ne soubzmet toute a l'ordenance / Et a la volenté divine / N'est merveille se mal chemine, / Car Dieu sa grace ly soutrait / Et l'anemy a soy le trait / Qui le deçoit en mainte guise / Et a mal faire adez l'atise. / Ainssy fait l'un apostater / Et ly autres ydolatrer / Institüer <underline>mahommeries</underline> / Selonc diversses <underline>fantasies</underline> / Dont ly uns aourent <underline>figures</underline> / De pécheresses créatures, / Lez autres bestes ou serpens. / Et lez autres, les elemens, / Les autres, <underline>faintes</underline> vanitez / Afin que leur iniquitez / Puissent faire a leur apetis,“ <citation id="ref049" citation-type="book"><source>Le Geu Saint Denis du Manuscrit 1131 de la Bibliothèque Sainte-Geneviève</source>, hereafter <italic>GSD</italic>, ed. <name><surname>Seubert</surname><given-names>Bernard James</given-names></name> (<publisher-loc>Geneva</publisher-loc>: <publisher-name>Droz</publisher-name>, <year>1974</year>), <fpage>213</fpage>–<lpage>228</lpage></citation>, emphasis mine. In modern French, <italic>momerie</italic> (from Old French momer) is mummery, masquerade, dance, farce, parody. But it is reasonable to speculate that the extra syllable in <italic>mahomerie</italic> (as opposed to <italic>momerie</italic>) would drop out, rendering the two terms identical. Contrary to Greimas' finding, in his Old French dictionary, that the origin of the term <italic>momer</italic> is obscure, and, in addition to Meyer-Lübke's etymological derivation of the term <italic>momerie</italic> from the Latin <italic>momo</italic> meaning “wry face or grimace,” the etymological origin might also have racist underpinnings. I am indebted to my colleague William Ashby for helping me to confirm this theory. Needless to say, the fear of the East is a topic far too vast to tackle in the scope of the present study.</p></fn><fn id="fn35" symbol="34."><label>34.</label><p>A similar allusion to <italic>memoire</italic> and <italic>faintisce</italic> appears in the <citation id="ref050" citation-type="book"><source>Mystère de la Passion à Amboise au moyen âge: représentations théâtrales et texte</source>, ed. <name><surname>Runnalls</surname><given-names>Graham A.</given-names></name> (<publisher-loc>Montreal</publisher-loc>: <publisher-name>CERES</publisher-name>, <year>1990</year>), <fpage>637</fpage>–<lpage>639</lpage></citation>. Such passages echo the varying meanings of the Greek <italic>hypokrisis</italic> as delivery, counterfeit, theatrical acting, and even hypocrisy along with the medieval practice of using <italic>faintes</italic> or dummies to stage the most violent scenes. I discuss that topic at greater length in a forthcoming essay called “Medieval Snuff Drama,” <italic>Exemplaria</italic> 10.</p></fn><fn id="fn36" symbol="35."><label>35.</label><p><citation id="ref051" citation-type="book">Le Martire Saint Père et Saint Pol, in <source>Le Cycle de Mystères des Premiers Martyrs</source>, ed. <name><surname>Runnalls</surname><given-names>Graham A.</given-names></name> (<publisher-loc>Geneva</publisher-loc>: <publisher-name>Droz</publisher-name>, <year>1976</year>), <fpage>1383</fpage>–<lpage>1385</lpage></citation>, emphasis mine. Runnalls did not include the <italic>Geu Saint Denis</italic> in his own edition, because Seubert's edition was already available; see his introduction, 16–18. In the intertext of the entire manuscript, however, these images “<italic>qui ne parlent ne ne cheminent</italic>” recall the worshiper of icons above, described as one “[<italic>qui] mal chemine</italic>.”</p></fn><fn id="fn37" symbol="36."><label>36.</label><p><citation id="ref052" citation-type="journal"><name><surname>Gibson</surname><given-names>Gail McMurray</given-names></name>, “<article-title>Writing Before the Eye: The N-Town Woman Taken in Adultery and the Medieval Ministry Play</article-title>,” <source>Comparative Drama</source> <volume>27</volume> (<year>1994</year>): <fpage>401</fpage>–<lpage>402</lpage></citation>.</p></fn><fn id="fn38" symbol="37."><label>37.</label><p><citation id="ref053" citation-type="book">“…et quiescente lingua ac silente gutture canto quantum volo.” <source>Confessions</source>, ed. and trans. <name><surname>Watts</surname><given-names>William</given-names></name>, Loeb Classical Library (<publisher-loc>Cambridge</publisher-loc>: <publisher-name>Harvard University Press</publisher-name>, <year>1950</year>): bk. 10, chap. 8</citation>.</p></fn><fn id="fn39" symbol="38."><label>38.</label><p>Similar examples of the violent pairing of <italic>former/reformer</italic> within a pillared memory scene appear in <citation id="ref054" citation-type="book"><name><surname>Gréban</surname><given-names>Arnoul</given-names></name>, <source>Le Mystère de la Passion</source>, ed. <name><surname>Jodogne</surname><given-names>Omer</given-names></name> (<publisher-loc>Brussels</publisher-loc>: <publisher-name>Académie Royale</publisher-name>, <year>1965</year>), 22705–22706</citation>; and <citation id="ref055" citation-type="book"><source>Le Livre de conduite du Régisseur et Le Compte des dépenses pour le</source> Mystère de la Passion <italic>joué à Mons en 1501</italic>, ed. <name><surname>Cohen</surname><given-names>Gustave</given-names></name> (<publisher-loc>Paris</publisher-loc>: <publisher-name>Champion</publisher-name>, <year>1925</year>), <fpage>326</fpage>–<lpage>327</lpage></citation>.</p></fn><fn id="fn40" symbol="39."><label>39.</label><p><citation id="ref056" citation-type="book"><name><surname>Brook</surname><given-names>Peter</given-names></name>, <source>The Empty Space</source> (<publisher-loc>Middlesex</publisher-loc>: <publisher-name>Penguin</publisher-name>, <year>1972</year>), <fpage>152</fpage></citation>; as discussed by <citation id="ref057" citation-type="book"><name><surname>Garner</surname><given-names>Stanton B.</given-names><suffix>Jr.</suffix></name>, <source>Bodied Spaces: Phenomenology and Performance in Contemporary Drama</source> (<publisher-loc>Ithaca</publisher-loc>: <publisher-name>Cornell University Press</publisher-name>, <year>1994</year>), <fpage>161</fpage></citation>. For an interesting discussion of the Derridaean <italic>trace</italic> in the history of memory, see <citation id="ref058" citation-type="book"><name><surname>Krell</surname><given-names>David Farrell</given-names></name>, <source>Of Memory, Reminiscence, and Writing: On the Verge</source> (<publisher-loc>Bloomington</publisher-loc>: <publisher-name>Indiana University Press</publisher-name>, <year>1990</year>)</citation>, especially Chapter 4. In <italic>GSD</italic>, the desire for and the desirability of violence is all the more apparent in the emphatic poetic alternation of <italic>lier</italic> (to bind) and <italic>liesse</italic> (joy), especially v. 62–70, in which variations of the term appear in every line.</p></fn><fn id="fn41" symbol="40."><label>40.</label><p>“Doulz Jhesucrist, je vous rens graces / De cen [sic] qui vos plaist que <underline>les traces</underline> / De vostre sainte passion / Ont en mon corps impression,” <italic>GSD</italic>, 518–521, emphasis mine.</p></fn><fn id="fn42" symbol="41."><label>41.</label><p><citation id="ref059" citation-type="journal"><name><surname>Fradenburg</surname><given-names>Louise O.</given-names></name> with <name><surname>Freccero</surname><given-names>Carla</given-names></name>, “<article-title>The Pleasures of History</article-title>,” <source>Gay and Lesbian Quarterly</source> <volume>1</volume> (<year>1995</year>): <fpage>371</fpage></citation>.</p></fn><fn id="fn43" symbol="42."><label>42.</label><p>“Haquin, je voy de grosses bosses / Sus son dos que faictes luy as. … Je vueil que de moy ly <underline>souveigne</underline>,” Saint Geneviève <italic>Passion</italic>, 1624–1627, emphasis mine.</p></fn><fn id="fn44" symbol="43."><label>43.</label><p>“Chascun congnoist ja vostre fait: / vous ne serés pas oblÿé,” <citation id="ref060" citation-type="book"><source>Le Mystère de la Passion de Troyes</source>, ed. <name><surname>Bibolet</surname><given-names>Jean-Claude</given-names></name>, (<publisher-loc>Geneva</publisher-loc>: <publisher-name>Droz</publisher-name>, <year>1987</year>), <fpage>768</fpage>–<lpage>769</lpage></citation>. An identical section appears in Gréban, 19736–19741.</p></fn><fn id="fn45" symbol="44."><label>44.</label><p>“Batez le moy par tel party / que sur tout son corps n'y ait place / ou il n'appere playe ou trace,” Gréban, 22729–22731.</p></fn><fn id="fn46" symbol="45."><label>45.</label><p>“Je le <underline>tesmoing</underline>, car <underline>bien m'en membre</underline>, / Qu'il n'y a celui qui ait <underline>membre</underline> / Ne soit lïé de feu ardant,” Saint Geneviève <italic>Passion</italic>, 879–881, emphasis mine.</p></fn><fn id="fn47" symbol="46."><label>46.</label><p>This philological alternation between memory and dismemberment also proves highly compatible with recent work in feminist theology by such scholars as <citation id="ref061" citation-type="book"><name><surname>Bynum</surname><given-names>Caroline Walker</given-names></name>, <source>Fragmentation and Reàemption: Essays on Gender and the Human Body in Medieval Religion</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>Zone Books</publisher-name>, <year>1991</year>)</citation>, and Phyllis Trible, who offers a compelling reading of the mutilated concubine from the book of <italic>Judges</italic> in Chapter 3 of <citation id="ref062" citation-type="book"><source>Texts of Terror: Literary-Feminist Readings of Biblical Narratives</source> (<publisher-loc>Philadelphia</publisher-loc>: <publisher-name>Fortress Press</publisher-name>, <year>1984</year>)</citation>.</p></fn><fn id="fn48" symbol="47."><label>47.</label><p><italic>De laude sanctorum</italic> 9, <italic>Patrologia latina</italic> 20.452A, cited and discussed by <citation id="ref063" citation-type="book"><name><surname>Roberts</surname><given-names>Michael</given-names></name>, <source>Poetry and the Cult of the Martyrs: The Liber Peristephanon <italic>of Prudentius, Recentiores: Later Latin Texts and Contexts</italic></source> (<publisher-loc>Ann Arbor</publisher-loc>: <publisher-name>University of Michigan Press</publisher-name>, <year>1993</year>), <fpage>191</fpage></citation>.</p></fn><fn id="fn49" symbol="48."><label>48.</label><p>Alger, canon of Liège (1050-c. 1132), “De sacramento altrais,” <italic>PL</italic>, 180, cols. 786–787 (cited in Rubin, <italic>CC</italic>, 21, emphasis mine). Hence, observes Miri Rubin, the function of the Eucharist “was not the actual immolation of Christ, which had occurred hundreds of years earlier, but the sacrament which could bring forth an image of it” (<italic>CC</italic>, 21). This function is consistent with the dual status of memory as both birthplace and repository.</p></fn><fn id="fn50" symbol="49."><label>49.</label><p><citation id="ref064" citation-type="book"><name><surname>Tertullian</surname></name>, <source>De Spectaculis</source>, ed. and trans. <name><surname>Glover</surname><given-names>T. R.</given-names></name>, Loeb Classical Library (<year>1931</year>; reprint, <publisher-loc>Cambridge</publisher-loc>: <publisher-name>Harvard University Press</publisher-name>, 1977), Chapter 30</citation>.</p></fn><fn id="fn51" symbol="50."><label>50.</label><p><citation id="ref065" citation-type="book"><name><surname>Derrida</surname><given-names>Jacques</given-names></name>, <source>Writing and Difference</source>, trans. <name><surname>Bass</surname><given-names>Alan</given-names></name> (<publisher-loc>Chicago</publisher-loc>: <publisher-name>University of Chicago Press</publisher-name>, <year>1978</year>), <fpage>202</fpage></citation>.</p></fn><fn id="fn52" symbol="51."><label>51.</label><p>A particularly vivid depiction of this figural process occurs in the fourteenth-century English <italic>Life of Saint Erkenwald</italic>, in which the saintly hero literally unearths from a crypt the perfectly preserved body of a pagan man of laws who “melts out of memory” and begins to speak. See <citation id="ref066" citation-type="book"><source>The Complete Works of the Pearl Poet</source>, trans. <name><surname>Finch</surname><given-names>Casey</given-names></name> (<publisher-loc>Berkeley</publisher-loc>: <publisher-name>University of California Press</publisher-name>, <year>1993</year>), especially 39–180</citation>. I discuss this text at length in Chapter 2 of my <italic>MTOC</italic>.</p></fn><fn id="fn53" symbol="52."><label>52.</label><p>So real that some of Stanislavski's actors apparently suffered psychological disorders, a phenomenon that would ultimately call the method into question. Yet there is an age-old tradition exemplified by Lucian of Samosata's story of an actor going mad while playing the role of Ajax (“Saltatio,” 83–84). On this topic, see <citation id="ref067" citation-type="book"><name><surname>Moore</surname><given-names>Sonia</given-names></name>, <source>The Stanislavski Method: The Professional Training of an Actor</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>Viking</publisher-name>, <year>1960</year>)</citation>. For a more general approach, see <citation id="ref068" citation-type="book"><name><surname>Riffaterre</surname><given-names>Michael</given-names></name>, <source>Fictional Truth</source> (<publisher-loc>Baltimore</publisher-loc>: <publisher-name>Johns Hopkins University Press</publisher-name>, <year>1990</year>)</citation>. I am grateful to Gary Williams for bringing the former reference to my attention.</p></fn><fn id="fn54" symbol="53."><label>53.</label><p>See, e.g., René Girard's famous comment that “evil and the violent measures taken to combat evil are essentially the same. … Ritual is nothing more than the regular exercise of ‘good’ violence,” <citation id="ref069" citation-type="book"><source>Violence and the Sacred</source>, trans. <name><surname>Gregory</surname><given-names>Patrick</given-names></name> (<publisher-loc>Baltimore</publisher-loc>: <publisher-name>Johns Hopkins University Press</publisher-name>, <year>1977</year>), <fpage>37</fpage></citation>.</p></fn><fn id="fn55" symbol="54."><label>54.</label><p><citation id="ref070" citation-type="book">John of Garland, <source><italic>The</italic> Parisiana Poetria <italic>of John of Garland</italic></source>, ed. <name><surname>Lawler</surname><given-names>Traugott</given-names></name>, <italic>Yale Studies in English</italic>, <volume>182</volume> (<publisher-loc>New Haven</publisher-loc>: <publisher-name>Yale University Press</publisher-name>, <year>1974</year>), <fpage>98</fpage>–<lpage>105</lpage>, emphasis mine</citation>.</p></fn><fn id="fn56" symbol="55."><label>55.</label><p><citation id="ref071" citation-type="book">Cited by <name><surname>Schechner</surname><given-names>Richard</given-names></name>, “Introduction: Exit Thirties, Enter Sixties,” in <source>Stanislavski and America: An Anthology from the Tulane Drama Review</source>, ed. <name><surname>Munk</surname><given-names>Erika</given-names></name> (<publisher-loc>New York</publisher-loc>: <publisher-name>Hill and Wang</publisher-name>, <year>1966</year>), <fpage>18</fpage></citation>.</p></fn><fn id="fn57" symbol="56."><label>56.</label><p>In <italic>Laws</italic>, 700–701, Plato argues that only the lawmaker could replace an anarchic <italic>theatrocracy</italic> with a civilized orthodoxy. In this connection, see Helen Solterer's fascinating discovery of a modern usage of this term by the Russian director Evreinov, who wrote in 1908: “We shall realize that the population of our planet is governed not by democracies, aristocracies or autocracies, but by a theatrocracy” (cited by Solterer, “A Sixth Sense: Evreinov, Artaud, and Medieval Theatricality,” paper, Third Colloquium on Medieval Theatricality, Bad Homburg, Germany, 28 March 1994.)</p></fn><fn id="fn58" symbol="57."><label>57.</label><p><citation id="ref072" citation-type="book"><name><surname>Augustine</surname></name>, <source>On Christine Doctrine</source>, trans. <name><surname>Robertson</surname><given-names>D.W.</given-names><suffix>Jr.</suffix></name> (<year>1958</year>; reprint, <publisher-loc>Indianapolis</publisher-loc>: <publisher-name>Bobbs Merrill</publisher-name>, 1980), 61</citation>.</p></fn><fn id="fn59" symbol="58."><label>58.</label><p><citation id="ref073" citation-type="book"><name><surname>Turner</surname><given-names>Victor</given-names></name>, <source>Dramas, Fields, and Metaphors: Symbolic Action in Human Society</source> (<publisher-loc>Ithaca</publisher-loc>: <publisher-name>Cornell University Press</publisher-name>, <year>1974</year>), <fpage>123</fpage></citation>, emphasis mine. Pierre Bourdieu also enumerated the ways in which societies entrust the “arbitrary content of culture” to the body as memory “in abbreviated and practical, i.e., mnemonic form,” <citation id="ref074" citation-type="book"><source>Outline of a Theory of Practice</source>, trans. <name><surname>Nice</surname><given-names>Richard</given-names></name> (<publisher-loc>Cambridge</publisher-loc>: <publisher-name>Cambridge University Press</publisher-name>, <year>1977</year>), <fpage>94</fpage></citation>.</p></fn><fn id="fn60" symbol="59."><label>59.</label><p>Excellent explorations of this paradox include <citation id="ref075" citation-type="book"><name><surname>DeLeuze</surname><given-names>Gilles</given-names></name> and <name><surname>Guattari</surname><given-names>Félix</given-names></name>, <source>Anti-Oedipus: Capitalism and Schizophrenia</source> (<publisher-loc>Minneapolis</publisher-loc>: <publisher-name>University of Minnesota Press</publisher-name>, <year>1983</year>), <fpage>144</fpage>–<lpage>145</lpage></citation>; <citation id="ref076" citation-type="book"><name><surname>Geary</surname><given-names>Patrick J.</given-names></name>, <source>Living with the Dead in the Middle Ages</source> (<publisher-loc>Ithaca</publisher-loc>: <publisher-name>Cornell University Press</publisher-name>, <year>1995</year>)</citation>; <citation id="ref077" citation-type="book"><name><surname>Worsham</surname><given-names>Lynn</given-names></name>, “Eating History, Purging Memory, Killing Rhetoric,” in <source>Writing Histories of Rhetoric, 139–155</source>, ed. <name><surname>Vitanza</surname><given-names>Victor</given-names></name> (<publisher-loc>Carbondale</publisher-loc>: <publisher-name>Southern Illinois University Press</publisher-name>, <year>1994</year>)</citation>; and Umberto Eco's tongue-in-cheek <citation id="ref078" citation-type="journal">“<article-title>An <italic>Ars Oblivionalis</italic>? Forget It!</article-title>,” <source>PMLA</source> <volume>103</volume> (<year>1988</year>): <fpage>254</fpage>–<lpage>261</lpage></citation>.</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>Emotion Memory and the Medieval Performance of Violence</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>Emotion Memory and the Medieval Performance of Violence</title></titleInfo><name type="personal"><namePart type="given">Jody</namePart><namePart type="family">Enders</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">New York, USA</placeTerm></place><dateIssued encoding="w3cdtf">1997-05</dateIssued><copyrightDate encoding="w3cdtf">1997</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">When Constantin Stanislavski's An Actor Prepares first appeared in English translation in 1936, the Moscow Art Theater had already made a great impact on American theatre. Particularly influential in the Soviet director's theories of acting was his concept of emotion memory. In An Actor Prepares, the young actor, Kostya, tries to understand how to access the “memory of life” rather than the “theatrical archives of his mind” and has an epiphany at the moment when he recalls and relives the violence of an isolated vehicular accident that had dismembered its victim:</abstract><note type="footnotes">Jody Enders is a professor of French at the University of California, Santa Barbara, and is the author of the forthcoming The Medieval Theater of Cruelty (Cornell) and of Rhetoric and the Origins of Medieval Drama (Cornell, 1992).</note><relatedItem type="host"><titleInfo><title>Theatre Survey</title></titleInfo><titleInfo type="abbreviated"><title>Theat Surv</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0040-5574</identifier><identifier type="eISSN">1475-4533</identifier><identifier type="PublisherID">TSY</identifier><part><date>1997</date><detail type="volume"><caption>vol.</caption><number>38</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>139</start><end>162</end><total>24</total></extent></part></relatedItem><identifier type="istex">39407F0BF6B0A2BD20AD23BD32040CB29773C2E0</identifier><identifier type="ark">ark:/67375/6GQ-FD4VQVHB-B</identifier><identifier type="DOI">10.1017/S0040557400001873</identifier><identifier type="PII">S0040557400001873</identifier><identifier type="ArticleID">00187</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © American Society for Theatre Research 1997</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © American Society for Theatre Research 1997</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-FD4VQVHB-B/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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