The City and the Stage. Performance, Genre, and Gender in Plato’s Laws, written by Folch, M.

The City and the Stage. Performance, Genre, and Gender in Plato’s Laws, written by Folch, M. The City and the Stage. Performance, Genre, and Gender in Plato’s Laws, Oxford, Oxford University Press. 2015, xiii, 386 pp. Pr. £ 47.99 (hb). isbn: 9780190266172The City and the Stage welcomes its readers warmly: the introduction states the author’s aims clearly, situates the book in the context of current scholarship, clarifies its methodology and provides a careful overview of the Laws targeted at the non-specialist reader. While the subtitle neatly points to the book’s three parts, ‘performance’ is no doubt the most important notion, and Folch succeeds in presenting a rich account of a Platonic theory of performance, a task made difficult by the lack of a corresponding Greek terminology. Folch is very careful in approaching a dialogue that is both normative and descriptive: while drawing from many different traditions, the Laws presents them in a purified and ultimately idealized form.This ‘idealizing’ method (orthē methodos, 1.638e) allows Plato to build his ‘second best city’ according to the time-honoured tradition of mousikē: while in the Republic he is busy making away with traditional poetry and music, in the Laws his ambition is to re-program (e.g. 41) them in an old-and-new form. To study Plato’s appropriation of Greek musical traditions requires http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Greek and Roman Musical Studies Brill

The City and the Stage. Performance, Genre, and Gender in Plato’s Laws, written by Folch, M.

Greek and Roman Musical Studies, Volume 6 (1): 3 – Mar 22, 2018

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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
2212-974X
eISSN
2212-9758
D.O.I.
10.1163/22129758-12341320
Publisher site
See Article on Publisher Site

Abstract

The City and the Stage. Performance, Genre, and Gender in Plato’s Laws, Oxford, Oxford University Press. 2015, xiii, 386 pp. Pr. £ 47.99 (hb). isbn: 9780190266172The City and the Stage welcomes its readers warmly: the introduction states the author’s aims clearly, situates the book in the context of current scholarship, clarifies its methodology and provides a careful overview of the Laws targeted at the non-specialist reader. While the subtitle neatly points to the book’s three parts, ‘performance’ is no doubt the most important notion, and Folch succeeds in presenting a rich account of a Platonic theory of performance, a task made difficult by the lack of a corresponding Greek terminology. Folch is very careful in approaching a dialogue that is both normative and descriptive: while drawing from many different traditions, the Laws presents them in a purified and ultimately idealized form.This ‘idealizing’ method (orthē methodos, 1.638e) allows Plato to build his ‘second best city’ according to the time-honoured tradition of mousikē: while in the Republic he is busy making away with traditional poetry and music, in the Laws his ambition is to re-program (e.g. 41) them in an old-and-new form. To study Plato’s appropriation of Greek musical traditions requires

Journal

Greek and Roman Musical StudiesBrill

Published: Mar 22, 2018

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