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Reproduction of the original: Prose Dramas by Henrik Ibsen
Included in this volume are "League of Youth," "Pillars of Society," and "A Doll's House."
Exploring the Language of Poems, Plays and Prose examines how readers interact with literary works, how they understand and are moved by them. Mick Short considers how meanings and effects are generated in the three major literary genres, carying out stylistic analysis of poetry, drama and prose fiction in turn. He analyses a wide range of extracts from English literature, adopting an accessible approach to the analysis of literary texts which can be applied easily to other texts in English and in other languages.
Ibsen's twelve outstanding plays, from Pillars of Society to When We Dead Awaken, are accompanied by brief introductions illuminating the distinctive features of each
Given this situation, Professor Pugh's study of the plays' fortunes at the hands of the various schools of German literary scholarship from Schiller's day down to the present is useful both to literary scholars seeking orientation in the field and also to readers with a wider interest in German intellectual traditions."--BOOK JACKET.
Heiner Muller lived through Germany's tumultuous history from Hitler's rise through Soviet occupation to the building and eventual demolition of the Berlin Wall. One of his earliest memories was of his father being beaten by Brownshirts and taken away to a concentration camp; later, Muller chose to stay in the Soviet Zone even when his father defected to the West. His work presents a phantasmagoric vision of culture and history. Though a committed Marxist, Muller loathed the East German government, and his works were often censured for their caustic portrait of a Germany whose history was an unending act of division and violence.
Most philosophy has rejected the theater, denouncing it as a place of illusion or moral decay; the theater in turn has rejected philosophy, insisting that drama deals in actions, not ideas. Challenging both views, The Drama of Ideas shows that theater and philosophy have been crucially intertwined from the start.Plato is the presiding genius of this alternative history. The Drama of Ideas presents Plato not only as a theorist of drama, but also as a dramatist himself, one who developed a dialogue-based dramaturgy that differs markedly from the standard, Aristotelian view of theater. Puchner discovers scores of dramatic adaptations of Platonic dialogues, the most immediate proof of Plato's hitherto unrecognized influence on theater history. Drawing on these adaptations, Puchner shows that Plato was central to modern drama as well, with figures such as Wilde, Shaw, Pirandello, Brecht, and Stoppard using Plato to create a new drama of ideas. Puchner then considers complementary developments in philosophy, offering a theatrical history of philosophy that includes Kierkegaard, Nietzsche, Burke, Sartre, Camus, and Deleuze. These philosophers proceed with constant reference to theater, using theatrical terms, concepts, and even dramatic techniques in their writings.The Drama of Ideas mobilizes this double history of philosophical theater and theatrical philosophy to subject current habits of thought to critical scrutiny. In dialogue with contemporary thinkers such as Martha Nussbaum, Iris Murdoch, and Alain Badiou, Puchner formulates the contours of a "dramatic Platonism." This new Platonism does not seek to return to an idealist theory of forms, but it does point beyond the reigning philosophies of the body, of materialism and of cultural relativism.