Neuschwanstein, or, The Sorrows of Priapus

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Abstract

Much contemporary theory “sees allegory everywhere,” in Joel Fineman's words, and generalizes the concept into “the status of trope of tropes.” Performance scholars might use the term with more precision, however, by subdividing it: by locating the allegorical impulse between two competing desires, which might be termed tautegorical and amphigorical. These terms assist in the description of a nineteenth‐century architectural “folly,” the Bavarian castle of Neuschwanstein, considered through a series of performance grids: as tourist venue; as pilgrimage site and shrine; as “symbolic” performance environment; as setting for allegorical performances of personal narrative; and as the source of images appropriated into other performances.
Original languageEnglish
Pages (from-to)271-306
JournalText and Performance Quarterly
Volume19
DOIs
StatePublished - 1999

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