| Description |
1 online resource (367 p.) |
| Series |
Law and Literature Ser |
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Law and Literature Ser
|
| Contents |
Cover -- Law as Performance: Theatricality, Spectatorship, and the Making of Law in Ancient, Medieval, and Early Modern Europe -- Copyright -- Dedication -- Acknowledgments -- Contents -- List of Illustrations -- Note on Citations, Texts, and Translations -- Introduction -- Tothill Fields (1571): Law versus Theatre in "the Last Trial by Battel" -- Law as Performance: Legal Theatricality and Antitheatricality as Idea and Practice -- Law as Spectatorship: Public Trials, Open Courts, and the "Audience" -- Performance, Theatricality, Gender, Law, and the Question of Anachronism |
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Representations of Legal Performance versus Legal Performance as Representation -- Chapter Summaries -- 1: Theatre, Theatrocracy, and the Politics of Pathos in the Athenian Lawcourt -- Introduction: Aeschines vs. Demosthenes -- Theatricality and Antitheatricality in the Athenian Lawcourt -- Trial as Theatre -- Against Histrionics -- Plato's Theatrocracies -- Theatrocracy and Theatrical Sophism versus the Laws -- The Law and Its Double: Rival Actors and the Laws as Noble Tragedy -- Aristotle on Hypokrisis and Pathos -- The Vulgar Crowd and the Power of Hypokrisis |
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The Poetics of Hypokrisis and Pathos -- Catharsis as Judgment and the Mobilizing of Emotion -- Against Alcibiades: Theatrical Tears versus RighteousOutrage in the Legal Theatrocracy -- Conclusion -- 2: The Roman Advocate as Actor: Actio, Pronuntiatio, Prosopopoeia, and Persuasive Empathy in Cicero and Quintilian -- Introduction: Posing Fonteius -- The Roman Legal Theatre -- Courtroom as Theatre -- The Art of Actio and Pronuntiatio -- The Actor's Apprentice: Be Theatrical . . . But Not Too Theatrical -- Staging Emotion -- Universal Languages: Emotion, Gesture, Voice |
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Speaking Scenes: Caesar's Robe, the Blood-Bespattered Plaintiff, the Litigant's Face -- Prosopopoeia as Impersonation and Ventriloquism: Weeping for Milo in Cicero's Pro Milone -- Emotion as Practice -- Masks and Faces: Personae and the Ethics of Decorum -- Training Empathy -- The Art of the Real -- Conclusion -- 3: Courtroom Oratory, Forensic Delivery, and the Wayward Body in Medieval Rhetorical Theory -- Introduction: Alain de Lille's Rhetorica (c.1182-84) in the Courtroom, or How to Win a Lawsuit in the Middle Ages -- Medieval Courtroom Actors |
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The Lawyer: Robed Vulture with Venal Tongue or Priest of the Laws? -- Forensic Oratory in Medieval Theory and Practice -- On Forensic Delivery -- Four Rhetorical Theorists on Courtroom Delivery -- Alcuin of York (c.735-804): Allegorical Insignia, Eschatological Space, and Bodily Decorum in the Carolingian Court -- Boncompagno da Signa (c.1165-1240): The Leaky Body as "Organic Instrument" and Courtroom Trickster -- Guilhem Molinier (fl. 1330-50): Delivery According to the Laws of Love -- Jean de Jandun (c.1285-1328): Signifying the Passions, Warping the Judge, Entertaining the Crowd -- Conclusion |
| Summary |
Explores the history of legal theatricality from antiquity to the eighteenth-century. It recovers a long tradition of jurisprudential thought about law as a form of theatre, a tradition that ancient, medieval, early modern, and later theorists transmitted across centuries, continually elaborating and reworking it to suit changing conditions |
| Notes |
Description based upon print version of record |
|
4: Irreverent Performances, Heterodox Subjects, and the Unscripted Crowd from the Medieval Courtroom to the Stocks and Scaffold |
| Form |
Electronic book
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| ISBN |
9780192653598 |
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0192653598 |
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