Double Binds: Existentialist Inspiration and Generic Experimentation in the Early Work of Jack RichardsonRodopi, 1993 - 261 Seiten |
Im Buch
Ergebnisse 1-5 von 43
Seite 2
... writers who shaped his writings . And only with regard to the last of this triad , has he given a hint about the specific nature of the influence : " as excellent a spectator of plays as he was a writer of them , [ Shaw ] spoke up for ...
... writers who shaped his writings . And only with regard to the last of this triad , has he given a hint about the specific nature of the influence : " as excellent a spectator of plays as he was a writer of them , [ Shaw ] spoke up for ...
Seite 5
... Ned Norem and Alexander Cockburn.19 Around 1973 the writer / critic also began his collaboration with Dan Greenburg . Terry Southern and David O'Dell on a four- part lampoon of sex fantasies , originally entitled Four Play Introduction 5.
... Ned Norem and Alexander Cockburn.19 Around 1973 the writer / critic also began his collaboration with Dan Greenburg . Terry Southern and David O'Dell on a four- part lampoon of sex fantasies , originally entitled Four Play Introduction 5.
Seite 8
... writer and director for theatre , television , and film , and his familiarity with the existentialistically inspired work of Lillian Hellman , whose last original play . Toys in the Attic ( 1960 ) , he staged , 35 Penn felt most at ease ...
... writer and director for theatre , television , and film , and his familiarity with the existentialistically inspired work of Lillian Hellman , whose last original play . Toys in the Attic ( 1960 ) , he staged , 35 Penn felt most at ease ...
Seite 10
... writer and the dramatic text in favour of physical expressiveness with the rise of Off Off Broadway . From now on plays became the product of a creative collaboration between actors and director , less the realization of the Double Binds ...
... writer and the dramatic text in favour of physical expressiveness with the rise of Off Off Broadway . From now on plays became the product of a creative collaboration between actors and director , less the realization of the Double Binds ...
Seite 12
... writers like Addison , Steele , and Goldsmith , and originating with Theophrastus ( 372-287 B.C ) , a student of Plato and Aristotle . Since some critics maintain that in its early development ( Irving , Hawthorne ) , Double Binds 12.
... writers like Addison , Steele , and Goldsmith , and originating with Theophrastus ( 372-287 B.C ) , a student of Plato and Aristotle . Since some critics maintain that in its early development ( Irving , Hawthorne ) , Double Binds 12.
Inhalt
6 | |
24 | |
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 |
Sacrificial Violence | 141 |
Sartre and Les mouches | 156 |
The Play Dismantled | 174 |
Conclusion | 218 |
Bibliography | 233 |
218 | 240 |
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Double Binds: Existentialist Inspiration and Generic Experimentation in the ... Johan Callens Eingeschränkte Leseprobe - 2022 |
Häufige Begriffe und Wortgruppen
Aegisthus Aeschylus Agamemnon alienation ambivalent Argos audience becomes bouc émissaire Broadway Camus Cassandra character choses cachées Christ's Clytemnestra Commentary contrast Credence Table critical death and rebirth del Rio divine double dramatic Duggert Electra Eliade Eliade's existence existential existentialist fantastic father fear fiction final Gallows Humor genre Girard Gothic Grace Hamlet Heidegger human initiation master interpretation Jack Richardson Kierkegaard L'existentialisme Les mouches literary Lorenzo Maily Maily's man's matter Maxwell Maxwell's metadrama metafictional metatheatrical mimetic mouches Mulloon murder myth mythical narrator narrator's nature Nicholas Nicholas's Nietzsche nonetheless novice ontological Oresteia Orestes paradoxical Paris Penelope performance perspective philosophy play play's playwright postmodern priest Prodigal Pylades reader reality reciprocal violence recognition-scene religious René Girard Rio's rites ritual role sacrificial violence Sartre Sartre's scapegoat scapegoat mechanism scene short stories social spectators story's supernatural symbolism Talmus Talmus's texts theatre theatrical traditional tragedy tragic tragicomedy tragicomic ultimately whereas writer York
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.