Cao Gu
Biographic Data
| ID | 3892334 |
|---|---|
| NAME | Cao Gu |
| GIVEN NAMES | Cao |
| FAMILY NAME | Gu |
| SIGNATURE | GU C |
| AFFILIATIONS | Nanjing Normal University |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Sacred Theatres
Although John Chrysostom is critical of the theatre, delivering a homily was never a tiresome monologue of the preacher in Byzantium; it was a theatrical performance combining text-reading and multiple ceremonies, during which spaces, lights, and materials were manipulated to create marvellous spectacles and enslave the audience spiritually and emotionally. At times, orators described the physical features of the venues where they spoke, as did L…
Théâtre du pouvoir
Les matériaux fondamentaux de la présente recherche sont les discours déclamés par les orateurs qui gravitaient autour des empereurs de la dynastie macédonienne, y compris ceux qui n’appartenaient pas à la famille impériale. Bien que les βασιλικοί λόγοι, excellents véhicules de l’idéologie impériale, soient rares à cette époque, beaucoup d’autres discours de natures variées jouaient le même rôle. Mais les contenus de l’idéologie impériale, qui on…
Constructing the ‘theatre of power’
Emperor Leo VI the Wise made speeches on various occasions, and the surviving texts have attracted numerous philological and historical studies. However, delivering a speech was never merely a monologue, especially in the court milieu where life was highly ritualized. It combined text-reading and multiple ceremonies and thus became a theatrical performance. In this ‘theatre’, the emperor's elegant appearance, the audience reaction to the orator's…
Constructing the ‘theatre of power’
Emperor Leo VI the Wise made speeches on various occasions, and the surviving texts have attracted numerous philological and historical studies. However, delivering a speech was never merely a monologue, especially in the court milieu where life was highly ritualized. It combined text-reading and multiple ceremonies and thus became a theatrical performance. In this ‘theatre’, the emperor's elegant appearance, the audience reaction to the orator's…
Théâtre du pouvoir
Les matériaux fondamentaux de la présente recherche sont les discours déclamés par les orateurs qui gravitaient autour des empereurs de la dynastie macédonienne, y compris ceux qui n’appartenaient pas à la famille impériale. Bien que les βασιλικοί λόγοι, excellents véhicules de l’idéologie impériale, soient rares à cette époque, beaucoup d’autres discours de natures variées jouaient le même rôle. Mais les contenus de l’idéologie impériale, qui on…
Constructing the ‘theatre of power’
Emperor Leo VI the Wise made speeches on various occasions, and the surviving texts have attracted numerous philological and historical studies. However, delivering a speech was never merely a monologue, especially in the court milieu where life was highly ritualized. It combined text-reading and multiple ceremonies and thus became a theatrical performance. In this ‘theatre’, the emperor's elegant appearance, the audience reaction to the orator's…
Sacred Theatres
Although John Chrysostom is critical of the theatre, delivering a homily was never a tiresome monologue of the preacher in Byzantium; it was a theatrical performance combining text-reading and multiple ceremonies, during which spaces, lights, and materials were manipulated to create marvellous spectacles and enslave the audience spiritually and emotionally. At times, orators described the physical features of the venues where they spoke, as did L…
Byzantine Studies and History (3 works) · Historical and Religious Studies of Rome (3 works) · Ancient history (2 works) · Art (2 works) · History (2 works) · Literature (2 works) · Philosophy (2 works) · Sociology (2 works) · Active listening (1 works) · Aesthetics (1 works)