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Suzanne Owen

a way to apprehend true knowledge. As for “theory,” early Greek usage suggests that it is an observation of a spectacle—or apprehension of true knowledge. This then makes “theory” the apprehension of true knowledge while “method” is the path taken to arrive at that apprehension. Since Hart treats

John Burris

: Colonials and Spectacle at International Exposition, 1851- 1893 (2001) to embellish his response to my article and comment more widely on the dialogue commenced by it. Since this rejoinder is being published some time after the responses, I will try to give some shape to the whole of the conversation rather

, Catholic missions, Tibetan Buddhism, Buryat shamanism . . .) in a given sphere (the use of architecture, images, spectacle or masks etc.) and in a given context (healing, the Inquisition, conversion, evangelism . . .). And, above all, what are the ostensive methods by which these same policies have devised

Andrew P. Lyons

-74. Philadelphia: Temple University Press. Lévi-Strauss, Claude (1963). Structural Anthropology. New York: Basic Books. Myerhofh, Barbara (1984). A death in due time: Construction of self and culture in ritual drama. In T. J. MacAloon (ed.), Rite, Drama, Festival, Spectacle, 149-178. Philadelphia: Institute for

James J. Dicenso

averted, and other scenes 307 become substituted for the, perhaps, difficult-to-endure spectacle of origins. This deflected and displaced inquiry is, however, not without an indirect yield of insight. Masuzawa explores the problem of origins in psychoanalytic theory on several fronts. The key text

Harry O. Maier

interprets the term proegraphē as a reference to Paul’s speech as vivid performance, and goes on to relate it to the rhetorical practice of ekphrasis to make absent things present. Elsewhere the apostle refers to himself as a “spectacle”: “God has exhibited [ apedeixen ] us apostles as last of all, like

John Lardas

popular culture. 4 With the pub- lication of new editions of his works, critical studies, and biographies, Melville became a literary sensation and a media spectacle, capped o ff MTSR 18,1_f2_1-36I 2/24/06 6:04 PM Page 5 6   by The Sea Beast (1926), a silent screen dramatization of Moby

Patrick Hart

the tale about Pythogoras may be apocryphal, the word theōria itself can indeed be defined as “witnessing a spectacle,” though the nature of the spectacle could well vary. Andrea Wilson Nightingale articulates this point effectively: In the classical period, theoria took the form of

Manuel A. Vásquez

adoption of the posture of a motionless spectator installed at a point (of view)—and also the use of a frame that cuts out, encloses and abstracts the spectacle with a rigorous, immobile boundary” (Bourdieu 1997 : 22). The search for a sovereign gaze behind the scholastic vision both produces and is

Bruce Sullivan

employs archaic languages and esoteric gestures according to theatrical conventions ( nāt ̣ yadharmī ) rather than being realistic, accessible, and therefore popular ( lokadharmī ). Witnessing the spectacle of a Kūt ̣ iyāt ̣ t ̣ am performance, with its extraordinary costumes, lavishly colorful makeup