Antigone’s Choice: Tragedy and philosophy from dialectic to aporia

Shaped by Hegel, philosophy’s approach to Antigone has always been firmly rooted in all the assumptions of realism, with proper, true-to-life, consistent, and plausible characters. These characterological mimetic interpretations often feed off of each other within the context of what’s perceived as “realist” drama, with its focus on characters and their insoluble, hence tragic, conflict. Starting with the twentieth-century avant-garde, however, theatre became less and less interested in characterological mimicry as a foundation of drama and what follows, as the foundation of the theatrical experience itself. Along with the shift in our approach to character, we have also experienced a shift in our understanding of other Aristotelian components of drama (“Plot” and “Thought”) and dramatic genres (“Tragedy”). As our sense of character and Thought shifted from stable to unstable, so did our understanding of tragedy and its role at the junction of theatre and philosophy. Tragedy has shifted from dialectic to aporia, from binary to polynary. Antigone—with its multiple interpretations and critical lenses—illuminates this fundamental shift in our understanding of tragedy and, thus, the fundamental shift in the relationship between theatre and philosophy in postdramatic theatre. &nbsp

Performing the Covenant: Akedah and the Origins of Masculinity

Following Derrida\u27s open-ended question why woman is excluded from the biblical covenant, I suggest that the feminine ethics of self-sacrifice evolved from the Judeo-Christian discourse of the sacred: the contract between man and God is grounded in the economy of sacrifice. In fact, woman\u27s self-sacrifice, though irrelevant for the sacrificial economy, is the satellite around which the performative language of ethics and theology could revolve.

The Post-traumatic Theatre of Grotowski and Kantor

Despite its international influence, Polish theatre remains a mystery to many Westerners. This volume attempts to fill in current gaps in English-language scholarship by offering a historical and critical analysis of two of the most influential works of Polish theatre: Jerzy Grotowski’s ‘Akropolis’ and Tadeusz Kantor’s ‘Dead Class’. By examining each director’s representation of Auschwitz, this study provides a new understanding of how translating national trauma through the prism of performance can alter and deflect the meaning and reception of theatrical works, both inside and outside of their cultural and historical contexts

Antigone’s Choice: Tragedy and philosophy from dialectic to aporia

Shaped by Hegel, philosophy’s approach to Antigone has always been firmly rooted in all the assumptions of realism, with proper, true-to-life, consistent, and plausible characters. These characterological mimetic interpretations often feed off of each other within the context of what’s perceived as “realist” drama, with its focus on characters and their insoluble, hence tragic, conflict. Starting with the twentieth-century avant-garde, however, theatre became less and less interested in characterological mimicry as a foundation of drama and what follows, as the foundation of the theatrical experience itself. Along with the shift in our approach to character, we have also experienced a shift in our understanding of other Aristotelian components of drama (“Plot” and “Thought”) and dramatic genres (“Tragedy”). As our sense of character and Thought shifted from stable to unstable, so did our understanding of tragedy and its role at the junction of theatre and philosophy. Tragedy has shifted from dialectic to aporia, from binary to polynary. Antigone—with its multiple interpretations and critical lenses—illuminates this fundamental shift in our understanding of tragedy and, thus, the fundamental shift in the relationship between theatre and philosophy in postdramatic theatre. &nbsp

CD151 Regulates Tumorigenesis by Modulating the Communication between Tumor Cells and Endothelium

The tetraspanin CD151 forms stoichiometric complexes with laminin-binding integrins (e.g., alpha 3 beta 1, alpha 6 beta 1, and alpha 6 beta 4) and regulates their ligand-binding and signaling functions. We have found that high expression of CD151 in breast cancers is associated with decreased overall survival (3.44-fold higher risk of death). Five-year estimated survival rates were 45.8% (95% confidence interval, 16.4-71.4%) for CD151-positive Patients and 79.9% (95% confidence interval, 62.2-90.0%) for CD151-negative Patients. Furthermore, CD151 was positively associated with axillary lymph node involvement. To study the biological significance of this observation, we investigated the contribution of CD151 in breast cancer tumorigenesis using MDA-MB-231 cells as a model system. Stable down-regulation of this tetraspanin by short-hairpin RNA decreased the tumorigenicity of these cells in mice. Detailed immunohistologic analysis of CD151 (+) and CD151(-) xenografts showed differences in tumor vascular pattern. Vascularization observed at the subcutaneous border of the CD151 (+) tumors was less pronounced or absent in the CD151(-) xenografts. In vitro experiments have established that depletion of CD151 did not affect the inherent proliferative capacity of breast cancer cells in three-dimensional extracellular matrices, but modified their responses to endothelial cells in coculture experiments. The modulatory activity of CD151 was dependent on its association with both alpha 3 beta 1 and alpha 6 beta 4 integrins. These data point to a new role of CD151 in tumorigenesis, whereby it functions as an important regulator of communication between tumor cells and endothelial cells. These results also identify CD151 as a potentially novel prognostic marker and target for therapy in breast cancer

Funny walking : the rise, fall and rise of the Anglo-American comic eccentric dancer

This article will attempt to reposition comic eccentric dance as a metamorphic form that still, surprisingly, exists, and is to be found with reasonable ubiquity, in renewed incarna-tions within twenty first century media. Tracing the origins of comic eccentric dance through examples of earlier comedy performance, and drawing from Bergson’s comic theory of body misalliance, this article will dis-cuss this particularly ludic fusion of music and comedy. Further changes to the form affected by modernist preoccupations during the new Jazz Age at the turn of the twentieth century will be suggested. Finally, ways in which the formulation lives on in twenty-first century in-carnations in the comedy work of, for instance, Jimmy Fallon and Ricky Gervase, and in popular television shows such as Strictly Come Dancing (BBC 2004 - ) and Britain’s Got Talent (ITV 2006 - ) will be posited