Dramatic Closure: Reading the EndFairleigh Dickinson Univ Press, 1995 - 144 من الصفحات In Dramatic Closure, author June Schlueter explores closure within both a traditional Aristotelian paradigm and contemporary reader-response theory, necessarily revising narrative insights to accommodate the special features of drama as a literary and performance form. Examples of plays from Oedipus to the present appear throughout the book, and individual chapters are dedicated to sustained discussions of William Shakespeare's King Lear, Tom Stoppard's Rosencrantz and Guildenstern Are Dead, Arthur Miller's The Ride Down Mount Morgan, and Tennessee Williams's A Streetcar Named Desire. The author emphasizes Shakespeare and, especially, modern drama in the belief that these plays provide salient models of the theoretical principles of reading toward closure. A chapter on tendencies in modern plays covers a wide range of material, suggesting ways in which twentieth-century drama disrupts the Aristotelian model and defers to the provisional or unsettling end. |
طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
action actor aesthetic whole Albany Albany's anticipates Aristotle audience Barbara Herrnstein Smith Beckerman beginning Belle Reve Blanche camera comedy context conventions conversation Cordelia critical curtain death dramatic character dramatic closure dramatic text Edgar expectations experience father fictional final scene Fortinbras genre Granada production Guildenstern Are Dead Hamlet play hermeneutic historical horizon Ibid implied reader insists interpretive interpretive communities Iser Iser's Jauss Kent King Lear Leah Lear's literary literature Lyman ment Miller's modern drama Molière moral Moreover Mount Morgan narrative Oedipus offers offstage particular performance text play's present prestructure production promised end proxemics question readerly text reading moments reading process reading toward closure response retrospective reading Ride Down Mount Rosencrantz and Guildenstern script Semiotics sequence Shakespeare play speaks spectator speech stage Stanley Stanley's Stella Stoppard story strategy Streetcar Named Desire structure textual theater theatrical event Theo theory tion tragedy University Press Waiting for Godot writerly text writing
مقاطع مشهورة
الصفحة 13 - The weight of this sad time we must obey ; Speak what we feel, not what we ought to say. The oldest hath borne most : we, that are young, Shall never see so much, nor live so long.
الصفحة 14 - This shows you are above, You justicers, that these our nether crimes So speedily can venge !— But^ O poor Gloster ! Lost he his other eye ! Mess.
الصفحة 41 - I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure; that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will be one more sound: that of his puny inexhaustible voice, still talking.
الصفحة 50 - His persons act and speak by the influence of those general passions and principles by which all minds are agitated and the whole system of life is continued in motion.
الصفحة 24 - The White Rabbit put on his spectacles. "Where shall I begin, please, your Majesty?" he asked. "Begin at the beginning," the King said gravely, "and go on till you come to the end; then stop.
الصفحة 43 - ESTRAGON: Then adieu. POZZO: Adieu. VLADIMIR: Adieu. POZZO: Adieu. Silence. No one moves. VLADIMIR: Adieu. POZZO: Adieu. ESTRAGON: Adieu. Silence. POZZO: And thank you. VLADIMIR: Thank you. POZZO: Not at all. ESTRAGON: Yes yes. POZZO: No no. VLADIMIR: Yes yes. ESTRAGON: No no. Silence. POZZO: I don't seem to be able . . . (Long hesitation.) ... to depart. ESTRAGON: Such is life.
الصفحة 75 - It's terrible. Ours is an immutable reality which should make you shudder when you approach us if you are really conscious of the fact that your reality is a mere transitory and fleeting illusion, taking this form today and that tomorrow...
الصفحة 59 - open' to every possible interpretation will be called a closed one.
الصفحة 67 - If one characterizes as aesthetic distance the disparity between the given horizon of expectations and the appearance of a new work, whose reception can result in a 'change of horizons...