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Based on various models of metonymy, this book distinguishes metonymic drama structure from the metaphoric, symbolic, and allegorical. It applies Kristeva's theory of the "semiotic" to dramatic texts and Barker's observations on the private body to their potential theatrical representation in order to argue that there is a relationship between fragmented representations of the subject and metonymic drama structure.
The intention of the work was to bring together different perspectives on the issue of making compatible Discourse Analysis and Cognitive Linguistics, particularly in relation with metaphor and metonymy phenomena.
How do characters tell stories in plays and for what dramatic purpose? This volume provides the first systematic analysis of narrative episodes in drama from an interactional perspective, applying sociolinguistic theories of narrative and insights from conversation analysis to literary dialogue. The aim of the book is to show how narration can become drama and how analysis of the way a character tells a story can be the key to understanding its role in the unfolding action. The book s interactional approach, which analyses the way in which the characteristic features of everyday conversational stories are used by dramatists to create literary effects, offers an additional tool for dramatic criticism. The book should be of interest to scholars and students of narrative research, conversation and discourse analysis, stylistics, dramatic discourse and theatre studies. Winner of 2012 Esse Book Award for Language and Linguistics"
Although metonymy has long been recognized as being a central device in poetic language, it has received little critical attention in its own right. Not only has this created a gap in literary analytical scholarship which needs to be addressed, but it has also allowed for problematic appropriations of metonymy as a critical concept now widely in use in structuralist studies across the humanities. Rethinking Metonymy is the first monograph to confront and resolve these issues. It advances the theory of poetic language by developing a ground-breaking new definition of metonymy on the basis of an evaluation of examples in Greek tragedy and lyric poetry, considering these in conjunction with examples from classicizing and Romantic German poetry for the purposes of illustration and comparison, including works by Goethe, Schiller, and Hölderlin. In addition to establishing the fundamental principle, different conformations, and aesthetic effects of this important poetic device, the volume also demonstrates how the new arguments it offers have the potential to set an agenda for far-reaching reconsiderations in literary studies and beyond. It mobilizes analytical insights into the inner workings of metonymy by examining three case studies designed to explore the trope in critical practice, covering its role in creating a 'hellenizing' style, what happens to it in 'classic' German translations of Aeschylus' Agamemnon, and critically re-assessing its modern re-appropriations as a structural-semiotic paradigm. Connecting classical perspectives with modern linguistic and literary theory, Rethinking Metonymy is a compelling and authoritative analysis that rehabilitates and brings much-needed clarity to an oft-neglected literary device. Its combination of in-depth engagement with classical literature and cross-cultural and cross-linguistic comparison makes it an invaluable resource not only to specialists in Greek poetry, but also to students and scholars engaged in literary analysis, translation criticism, and structuralist studies across a much wider range of disciplines.
One of the greatest dramatists of all time, Shakespeare, recognized that dramatic action was not limited to the stage. Now, in Drama and Intelligence, a work firmly rooted in developmental drama, Richard Courtney is the first to examine dramatic action as an intellectual and cognitive activity. Courtney explores the nature of those experiences we live "through" and which involve us in what is termed "as if" thinking and action.
A new examination of the important theme of conversion in seventeenth-century Spanish drama.
Vrcholným hrám Johna Fletchera (1579–1625), Shakespearova spolupracovníka a pokračovatele, byla věnována jen malá pozornost. Monografie analyzuje specifika her, které napsal Fletcher v období 1613–1625 a nabízí výklad v duchu raně barokního stylu. Poukazuje i na anachronistické požadavky, kterými byly fletcherovské hry doposud posuzovány.
This important reference work is essential reading for drama educators, therapists, and others in the helping professions. Part I considers drama from the perspective of the philosophers, from those of ancient Greece to modern times. Part II examines drama and play as seen by various schools of psychology, beginning with the depth psychology of Freud, Jung and Adler, and going on to discuss more recent schools, such as the drama therapy of Jacob Moreno. In Part III, the authors considers drama from a broader sociological and anthropological perspective, giving us a glimpse of its importance in cultures distant from each other in time and space. Part IV ties together the earlier chapters, and we see how drama relates to intuition, symbolism, and the fundamental structures of human thought.
Do we take Beckett seriously enough? This study starts from the assumption that we do not, and that this arises from an unwillingness to face up to the central philosophical issues implicit in his work. By associating Samuel Beckett with the philosophy of Heidegger, Sartre, and more experimentally, Hegel, this study attempts to illuminate Beckett with the help of these philosophers, on the assumption that his work offers objective correlatives of their central insights.
Keir Elam showed how this new 'science' could provide a radical shift in our understanding of theatrical performance, one of our very richest and most complex forms of communication.