Jody Enders

Homicidal Pigs and the Antisemitic Imagination

Abstract In truth, I cannot make up my mind which should astonish us more: the gentleness that is implanted in the fiercest of wild beasts or the brutishness that resides in the souls of men. —Isocrates, Antidosis

Introduction: Theatre History in the New Millennium

Dialogue. It comes from the Greek, and covers a host of meanings from conversation, to philosophy, to speaking articulately, to lecturing, to dealing with others. It can be as contentious as it is conciliatory and as hostile as it is friendly. It can be consensus-building or polarizing, controversial or anodyne. But, at its worst and at its best, it is engagement; and, throughout its worldwide history, it has consistently done a glorious thing. It produces knowledge—or, at a minimum, it puts on display the fact that knowledge is out there.

Rhétorique, « performance » et la mémoire de la violence

Without questioning here the genuine and deep beauty of faith, of the religious dimension of the mass, of the tropes, and of the liturgical pieces, the point is to explore a darker side of this beauty: the beauty of pain, the pleasure of sorrow, the joy of suffering. This paper analyses the links which appear between violence and faith in the light of their connection with three sorts of performance: rhetorical and especially mnemonic performance, theological performance, and musical performance. As soon as memory is integrated into the study of the liturgical drama, it sheds light on the interdependence between image, music, religion, pedagogy, and violence in the aesthetics of faith and in the methods - which are as painful and terrifying as they are beautiful - aiming at making one believe.