Double Binds: Existentialist Inspiration and Generic Experimentation in the Early Work of Jack Richardson, Band 87

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Rodopi, 1993 - 261 Seiten
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Ausgewählte Seiten

Inhalt

23
6
Synopsis
24
Existentialist Themes
36
The Scapegoat Scenario
50
The Credence Table
62
Initiation Revisited
69
Influence from the Gothic and the Fantastic Tale
84
The Eternal Recurrence of the Same
91
Anatomy of the Theatre
125
Watching the Myth Unfold The Prodigal
135
Sartre and Les mouches
156
The Play Dismantled
174
Conclusion
218
Bibliography
233
218
240
Urheberrecht

Talmus
106

Andere Ausgaben - Alle anzeigen

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Beliebte Passagen

Seite 15 - Pray can I not, Though inclination be as sharp as will: My stronger guilt defeats my strong intent; And, like a man to double business bound, I stand in pause where I shall first begin, And both neglect. What if this cursed hand Were thicker than itself with brother's blood, Is there not rain enough in the sweet heavens To wash it white as snow? Whereto serves mercy But to confront the visage of offence?
Seite 126 - Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embelished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions.
Seite 27 - An initiation story may be said to show its young protagonist experiencing a significant change of knowledge about the world or himself, or a change of character, or of both, and this change must point or lead him towards an adult world. It may or may not contain some form of ritual, but it should give some evidence that the change is at least likely to have permanent effects.
Seite 97 - ... fantasy characteristically attempts to compensate for a lack resulting from cultural constraints: it is a literature of desire, which seeks that which is experienced as absence and loss.
Seite 44 - Kellman, a self-begetting novel is one that projects the illusion of art creating itself: [I]t is an account, usually first person, of the development of a character to the point at which he is able to take up his pen and compose the novel we have just finished reading.
Seite 79 - Then the mariners were afraid, and cried every man unto his god, and cast forth the wares that were in the ship into the sea, to lighten it of them. But Jonah was gone down into the sides of the ship ; and he lay, and was fast asleep.
Seite 97 - In many cases fantastic literature fulfils both functions at once, for desire can be 'expelled' through having been 'told of and thus vicariously experienced by author and reader. In this way fantastic literature points to or suggests the basis upon which cultural order rests, for it opens up, for a brief moment, on to disorder, on to illegality, on to that which lies outside the law, that which is outside dominant value systems. The fantastic traces the unsaid and the unseen of culture: that which...
Seite 45 - ... point. In some of their work - Borges' Labyrinths (1964) and Nabokov's Pale Fire (1962), for example - fiction explicitly masquerades as formalized critical interpretation. In all their work, however, as in all other metafiction, there is a more complex implicit interdependence of levels than this. The reader is always presented with embedded strata which contradict the presuppositions of the strata immediately above or below. The fictional content of the story is continually reflected by its...
Seite 60 - The tendency of comedy is to include as many people as possible in its final society: the blocking characters are more often reconciled or converted than simply repudiated. Comedy often includes a scapegoat ritual of expulsion which gets rid of some irreconcilable character, but exposure and disgrace make for pathos, or even tragedy.
Seite 151 - And he, answering, said to his father, Lo, these many years do I serve thee, neither transgressed I at any time thy commandment ; and yet thou never gavest me a kid, that 1 might make merry with my friends ; 30.

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