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Mesopotamian Literature

Notes

Notes to Chapter 30. The performative dimension

Giorgio Buccellati – August 2023

30.1 Narration, dramaticity and performativity
30.2 Performance and audience
30.3 Performativity, staging and mise-en-scene
30.4 Staging: the space
30.5 Staging: the characters
30.6 The performative register
      30.6.1 Mediated referentiality
      30.6.2 Dialogic counterpoint
30.7 Grades in representation
30.8 Performative contexts
30.9 The religious ritual
30.10 On the origins of the dramatic forms

ERRORS in databases:
  • "Boson1918Assiriologia.d": duplicate bibliography "Boson1918Assiriologia" for site "Akk-lg".
  • "Bottero1992Reasoning.d": duplicate bibliography "Bottero1992Reasoning" for site "Mes-rel".
  • "Buccellati1972Teodicea.d": duplicate bibliography "Buccellati1972Teodicea" for site "Mes-lit".
  • "Cauvin2000Birth.d": duplicate bibliography "Cauvin2000Birth" for site "Mes-rel".
  • "DMB.d": duplicate bibliography "DMB" for site "Mes-rel".
  • "Edzard2003Sumerian.d": duplicate bibliography "Edzard2003Sumerian" for site "Mes-rel".
  • "Oshima2014Sufferers.d": duplicate bibliography "Oshima2014Sufferers" for site "Mes-rel".
  • "Trinkaus1983Shanidar.d": duplicate bibliography "Trinkaus1983Shanidar" for site "Mes-rel".

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30.1 Narration, dramaticity and performativity

  1. See Galter 1983 Woerter for a discussion of the terminology.

    For the notion of Siduri as the “goddess of wisdom” see Lambert 1995 N A B U, pp. 30-32 [CITED FROM ALSTER, APPARENTLY WRONG, CHECK], and see the comment by Alster 2005 Wisdom, p. 19a: “A singular example of the use of the Babylonian term nēmequ, «wisdom,» as a «way of life,» an existential attitude, a «philosophy of life,» similar to the Hebrew hokmā”.

    – [ Giorgio Buccellati, January 2022]

  2. For the notion of “tradition” applied to wisdom, see Buccellati 1981 Wisdom.

    For the notion of “school” see Pirovano 2016 Dolce.

    – [ Giorgio Buccellati, January 2022]

  3. The “exorcist” is generally defined as āšipu in Akkadian, and it is rendered by the logogram LÚ MAŠ.MAŠ; the Akkadian term mašmaššu is used as a learned word. See the following reference.

    CADA2, p. 435a: «The parallelism in contexts indicates that LÚ MAŠ.MAŠ represents the same person as the āšipu, and most likely is to be read as āšipu, except in a few literary texts where mašmaššu occurs as a learned word. It is to be noted, however, that in a few occurrences (e.g., LKA 108, see usage d), MAŠ.MAŠ seems to refer to a person other than the also mentioned LÚ.MU7.MU7. If the latter is to be read āšipu, MAŠ.MAŠ would have to be read mašmašmāu, or else the log. LÚ.MU7.MU7, very rare in Akkadian contexts, must be given another reading».

    – [ Giorgio Buccellati, January 2022]

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30.2 Performance and audience

  1. See Denning 1987 Numen; and more atlength, also with regard to the dialogs of Plato, see Denning 1992 Wisdom.

    – [ Giorgio Buccellati, January 2022]

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30.3 Performativity, staging and mise-en-scene

  1. It is interesting what Pirovano 2016 Dolce, p. 208 f. writes concerning the relative “absence” of the figure of the woman in the Stil Novo: «La donna non è al centro della lirica stilnovistica, ed è un’affermazione che potrebbe sembrare contraddittoria rispetto al carattere laudatorio che contraddistingue tanta parte di questa poesia. Al centro del discorso c’è sempre l’io lirico. Le figure femminili hanno un fascino irresistibile e una straordinaria potenza seduttiva, ma non si vedono. Del loro aspetto fisico appaiono, infatti, solo poche scintille. A differenza dei trovatori e anche dei poeti siciliani e siculo-toscani,… gli stilnocisti non ritraggono l’avvenenza delle loro amate. Quello che esclusivamente li attrae è l’effetto che il potere fascinoso della bellezza ha sull’animo umano».

    – [ Giorgio Buccellati, January 2022]