lunes, 31 de enero de 2022
domingo, 30 de enero de 2022
sábado, 29 de enero de 2022
jueves, 27 de enero de 2022
A Narratology of Drama
Schwanecke, Christine. (U of Graz). A Narratology of Drama: Dramatic Storytelling in Theory, History, and Culture from the Renaissance to the Twenty-First Century. (Narratologia, 80). Berlin and Boston: de Gruyter, 2022. (I. Towards a Transgeneric and Contextual Theory of Narrative in Drama, Or, Reframing 'Drama' as a Narrative Genre; II. The History of Narrative and Narration in British Drama - The Cultural Dynamics and Performative Power of Dramatic Storytelling).
https://doi.org/10.1515/9783110724110
https://www.degruyter.com/document/doi/10.1515/9783110724110/html
2022
Schwanecke, Christine. "1. 'Enter Drama!' Putting the Genre (Back) Centre Stage in the Study of Literature and Culture." A Narratology of Drama. Berlin and Boston: de Gruyter, 2022. 1-34.*
https://doi.org/10.1515/9783110724110
https://www.degruyter.com/document/doi/10.1515/9783110724110/html
2022
Schwanecke, Christine. "2. Rising Action: Towards a Narratology of Drama." A Narratology of Drama. Berlin and Boston: de Gruyter, 2022. 35-56.*
https://doi.org/10.1515/9783110724110
https://www.degruyter.com/document/doi/10.1515/9783110724110/html
2022
Schwanecke, Christine. "3. Suggestions for a Peripeteia in Drama and Narrative Theory: A Culturally Sensitive Narratology of Drama and Dramatic Narration." A Narratology of Drama. Berlin and Boston: de Gruyter, 2022. 57-94.*
https://doi.org/10.1515/9783110724110
https://www.degruyter.com/document/doi/10.1515/9783110724110/html
2022
Schwanecke, Christine. "4. Stories in Conflict and Competition: Alternative Histories, Complementary Tales, and Lies in Early Modern Drama." A Narratology of Drama. Berlin and Boston: de Gruyter, 2022. 97-147. (Henry IV, Webster's The White Devil, Pericles; dissimulation)
https://doi.org/10.1515/9783110724110
https://www.degruyter.com/document/doi/10.1515/9783110724110/html
2022
Schwanecke, Christine. "5. The Containment of Different Narratives and of Narratives of Difference in Drama: The Renewal and Self-Definition of a 'Sleeping' Genre as well as Theatrical Configurations of Restoration and Early Eighteenth-Century (Drama) Cultures." A Narratology of Drama. Berlin and Boston: de Gruyter, 2022. 148-98.* (Dryden's Marriage à la Mode, Behn's The Rover, Gay's The Beggar's Opera; politics and drama).
https://doi.org/10.1515/9783110724110
https://www.degruyter.com/document/doi/10.1515/9783110724110/html
2022
Schwanecke, Christine. "6. From Stage to Page, from the Publicly Politic to the Metaphysically Private: Late Eighteenth-Century and Romantic Drama as a Genre in Transformation, Dramatising Diegetic Storytelling and Narrativising (Revolutionary) Change in Society and Conflict in Selves." A Narratology of Drama. Berlin and Boston: de Gruyter, 2022. 199-253.* (Richard Cumberland, The West Indian; Joanna Baillie, Orra; Byron, Manfred; Revolt).
https://doi.org/10.1515/9783110724110
https://www.degruyter.com/document/doi/10.1515/9783110724110/html
2022
Schwanecke, Christine. "7. Expanding the Allowances of Drama by Generic Encounters with Narrative in Victorian and Early Twentieth-Century Plays: Intersecting Drama and Narrative as Means to Fight against Hypocritical Hegemonies as well as to Perform and Forestall Political Change." A Narratology of Drama. Berlin and Boston: de Gruyter, 2022. 254-303.* (Shaw, Mrs Warren's Profession, Cicely Hamilton and Christopher St John, How the Vote Was Won, J. M. Barrie, Mary Rose, politics of drama).
https://doi.org/10.1515/9783110724110
https://www.degruyter.com/document/doi/10.1515/9783110724110/html
2022
Schwanecke, Christine. "8. From Stories in Drama to the Drmaa of (Performed) Stories: Late-Twentieth and Early-Twentieth-First-Century Dissolutions of Established Generic Traditions." A Narratology of Drama. Berlin and Boston: de Gruyter, 2022. 304-57.* (Peter Shaffer, Amadeus; debbie tucker green, stoning mary; Lucy Prebble, Enron; Intermediality).
https://doi.org/10.1515/9783110724110
https://www.degruyter.com/document/doi/10.1515/9783110724110/html
2022
Schwanecke, Christine. "9. Conclusion: 'The Contextual Dynamics of Dramatic Storytelling' and the 'Performative Power of Narrative in British Plays'." A Narratology of Drama. Berlin and Boston: de Gruyter, 2022. 358- 78.* (Function of drama, British drama).
https://doi.org/10.1515/9783110724110
https://www.degruyter.com/document/doi/10.1515/9783110724110/html
2022
miércoles, 26 de enero de 2022
The Great Theatre of Nature
Although each of the SEASONS appears to have been intended as a complete piece, and contains within itself the natural order of beginning, middle, and termination, yet, as they were at length collected and modelled by their author, they have all a mutual relation to each other, and concur in forming a more comprehensive whole. The annual space in which the earth performs its revolution round the sun is so strongly marked by nature for a perfect period, that all mankind have agreed in forming their computations of time upon it. In all the temperate climes of the globe, the four seasons are so many progressive stages in this circuit, which, like the acts in a well-constructed drama, gradually disclose, ripen, and bring to an end the various business transacted on the great theatre of Nature. The striking analogy which this period with its several division bears to the course of human existence, has been remarked and pursued by writers of all ages and countries. Spring has been represented as the youth of the year—the season of pleasing hope, lively energy, and rapid increase. Summer has been resembled to pefect manhood—the season of steady warmth, confirmed strength, and unremitting vigour. Autumn, which , while it bestows the rich products of full maturity, is yet ever hastening to decline, has been aptly compared to that period, when the man, mellowed by age, yields the most valuable fruits of experience and wisdom, but daily exhibits increasing symptoms of decay. The cold, cheerless, and sluggish Winter has almost without a metaphor been termed the decrepid and hoary old age of the year. Thus the history of the year, pursued through its changing seasons, is that of an individual, whose existence is marked by a progressive course from its origin to its termination. It is thus represented by our Poet; this idea preserves an unity and connection through his whole work, and the accurate observer will remark a beautiful chain of circumstances in his description, by which the birth, vigour, decline, and extinction of the vital principle of the year are pictured in the most lively manner.
This order and gradation of the whole runs, as has been already hinted, through each division of the poem. Every season has its incipient, confirmed, and receding state, of which its historian ought to give distinct views, arranged according to the succession in which they appear. Each, too, like the prismatic colours, is indistinguishably blended in its origin and termination with that which precedes, and which follows it; and it may be expected from the pencil of an artist to hit off these mingled shades so as to produce a pleasing and picturesque effect. Our poet has not been inattentive to these circumstances in the conduct of his plan. His SPRING begins with a view of the season as yet unconfirmed, and partaking of the roughness of Winter*; and it is not till after several steps in gradual progression, that it breaks forth in all its ornaments, as the favourite of Love and Pleasure. His AUTUMN, after a rich prospect of its bounties and splendours, gently fades into "the sere, the yellow leaf," and the rising storm, sinks into the arms of Winter. It is remarkable, that in order to produce something of a similar effect in his SUMMER, a season which, on account of its uniformity of character, does not admit of any stronly-marked gradations, he has comprised the whole of his description within the limits of a single day, pursuing the course of the sun from its rising to its setting. A Summer's day is, in reality, a just model of the entire season. Its beginning is moist and temperate; its middle, sultry and parching; its close, soft and refreshing. By thus exhibiting all the vicissitudes of Summer under one point of view, they are rendered much more striking than could have been done in a series of feebly contrasted and scarcely distinguishable periods.
* A descriptive piece, in which this very interval of time is represented, with all the accuracy of a naturalist, and vivid colouring of a poet, has lately appeared in a poem of Mr. Warton's, entitled "The First of April."
J. Aikin, M.D. From: The Seasons, by James Thomson. A New Edition. Adorned with a set of
engravings from original designs. To which is prefixed, An Essay on the Plan
and Character of the Poem, by J. Aikin, M.D. London: Printed for J. Murray,
No. 32, Fleet Street. MDCCXDIV. p. xii-xv.
martes, 25 de enero de 2022
domingo, 23 de enero de 2022
sábado, 22 de enero de 2022
viernes, 21 de enero de 2022
On Stoppard's 'Squaring the Circle'
Du Verger, Jacques. "Writing, Rewriting and Revisiting the Cold War in Tom Stoppard's Squaring the Circle. Poland 1980-81 (1984). Sillages Critiques 31 (2021). Online at Open Edition Journals.*
https://doi.org/10.4000/sillagescritiques.12304
https://journals.openedition.org/sillagescritiques/12304
2022
jueves, 20 de enero de 2022
miércoles, 19 de enero de 2022
martes, 18 de enero de 2022
lunes, 17 de enero de 2022
domingo, 16 de enero de 2022
sábado, 15 de enero de 2022
Brechts's Alienation-Effect
Majumdar, Rohit. "Brecht's Alienation-Effect and Its Theatrical Potency: A critique of Brecht’s Alienation technique with Shakespearean Parallels (December 20, 2021). Available at SSRN.*
https://ssrn.com/abstract=3989768
http://dx.doi.org/10.2139/ssrn.3989768
2022
jueves, 13 de enero de 2022
martes, 11 de enero de 2022
Retropost, 2005: Dark Sarcasm in the Classroom
Retropost, 2005: Dark Sarcasm in the Classroom: https://vanityfea.blogspot.com/2016/01/retropost-505-18-de-septiembre-de-2005.html
Linda Ronstadt en 'The Pirates of Penzance'
Linda Ronstadt en The Pirates of Penzance:
https://vanityfea.blogspot.com/2016/01/linda-ronstadt-en-pirates-of-penzance.html
sábado, 8 de enero de 2022
Más sobre simulación, detección y autoengaño
Más sobre simulación, detección y autoengaño:
https://vanityfea.blogspot.com/2016/01/mas-sobre-simulacion-deteccion-y.html
viernes, 7 de enero de 2022
miércoles, 5 de enero de 2022
martes, 4 de enero de 2022
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from ROCHESTER'S FAREWEL (John Wilmot, Earl of Rochester, 1680) Tir'd with the noysom Follies of the Age, And weary of my Part...
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Retropost, 2013: Hay un pasaje de Hamlet en el que Shakespeare esboza una teoría de la realidad c... -
Un peu de dramatisme social ou de théâtre vécu (une comedie des caractères) dans La Recherche de Proust (Le Côté de Guermantes II): Quant a...