Abstract

Masks have a curious double effect: they simultaneously enable and impede discourse. The persona of Graeco-Roman theater was both the means by which an actor addressed the audienceliterally, the per-sona, the transmitter of sound-and a mask concealing the actor’s identity. Because of this double effect, discourse that is either consciously or unconsciously masked poses a profound hermeneutical challenge for interpreters. They must engage this discourse at its ’literal’ level and at the same

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