The Medieval Theater of Cruelty: Rhetoric, Memory, Violence
Why did medieval dramatists weave so many scenes of torture into their plays? Exploring the cultural connections among rhetoric, law, drama, literary creation, and violence, Jody Enders addresses an issue that has long troubled students of the Middle Ages. Theories of rhetoric and law of the time reveal, she points out, that the ideology of torture was a widely accepted means for exploiting such essential elements of the stage and stagecraft as dramatic verisimilitude, pity, fear, and catharsis to fabricate truth.
Analyzing the consequences of torture for the history of aesthetics in general and of drama in particular, Enders shows that if the violence embedded in the history of rhetoric is acknowledged, we are better able to understand not only the enduring "theater of cruelty" identified by theorists from Isidore of Seville to Antonin Artaud, but also the continuing modern devotion to the spectacle of pain.
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ROBOS CANONICO DEL REY DE ESPAÑA.
CANONIC ROBS SPAINIAN KINGS.
CHAVEZ PAY TO INTELIGENCY AGEN. DICIP CEBIN DIM TO KILL PEOPLE AN RADIATE PEOPLE. PERFECTIBLE BANCK.CHAVEZ PAGA A AGENCIAS DE INTELIGENCIA ESPAÑOLAS PARA QUE PRODUZACAN CANCER, VIOLACIONES Y ASESINATOS A VENEZOLANOS. BANCO PERFECTIBLE.
A Polemical Introduction
The Dramatic Violence of Invention
Rhetoric and Drama Torture and Truth
The Violent Invention of Drama
The Memory of Pain
Violent Births Miscarriages of Justice Tortured Spaces
The Architecture of the Body in Pain
The Memory of Drama
The Performance of Violence
Pleasure Pain and the Spectacle of Scourging
Witnesses at the Scene
Death by Drama
Violence and Performativity on the French Medieval