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This fourth volume in the series Theatre in Europe charts the development of theatrical presentation at a time of great cultural and political upheaval.
A Sourcebook on Naturalist Theatre provides essential primary sources which document one of the key movements in modern theatre. Christopher Innes has selected three writers to exemplify the movement, and six plays in particular: * Henrik Ibsen - A Dolls House and Hedda Gabler * Anton Chekhov - The Seagull and The Cherry Orchard * George Bernard Shaw - Mrs Warren's Profession and Heartbreak House. Innes' introduction provides an overview of naturalist theatre. Key themes include: the representation of women, significant contemporary issues and the links between theory, play writing and stage practice. The primary sources explore many aspects of naturalism, giving information on: * the playwrights' intentions when writing plays * contemporary reviews * literary criticism * political and social background * production notes from early performances of the plays.
First published in 1971, this book examines the literary style of Naturalism. After introducing the reader to the term itself, including its history and its relationship to Realism, it goes on to trace the origins of the Naturalist movement as well as particular groups which adhered to Naturalism and the theories they espoused. It also provides a summary of the key Naturalist literary works and concludes which a brief reflection on the movement as a whole. This book will be of interest to those studying nineteenth and early twentieth-century literature.
Nietzsche’s Naturalist Deconstruction of Truth: A World Fragmented in Late Nineteenth-Century Epistemology offers a new interpretation of Nietzsche’s discussions of truth and knowledge, covering the period from his early essay “On Truth and Lies in an Extra-Moral Sense” to his late notebooks. It places these discussions in the context of the neo-Kantian, Naturalist, Positivist, and Pragmatic schools influential in Nietzsche’s late nineteenth-century Europe. Peter Bornedal argues for a view of Nietzsche’s epistemological thought as an elaboration of this paradigm: proposing ideas that are anti-metaphysical and anti-theological in their polemic orientation, and in general promoting new scientific naturalist ideals in the discussions of knowledge. Bornedal suggests that the rational pursuit of these new ideals to the unencumbered mind logically leads to Nihilism in its most profound epistemological sense. Nietzsche’s “critique of metaphysics” is thus seen as having sprung from sources different from and, at times, in patent opposition to more recent postmodern and deconstructionist critiques. This book contextualizes Nietzsche in relation to a number of philosophical peers and juxtaposes him to contemporary thinkers in a way that resolves some of the difficulties that have plagued recent Nietzsche scholarship.
This study highlights that both Corneille and Racine were living writers, struggling to create developing forms within the strait-jacket of neo-classical decorum.
Realism in theatre is traditionally defined as a mere seed of modernism, a crude attempt to reproduce an exact copy of reality on stage. Art, Vision & Nineteenth-Century Realist Drama redefines realism as a complex and under-examined form of visual modernism, one that positioned theatre at the crux of the encounter between consciousness and the visible world. Tracing a historical continuum of "acts of seeing" on the realist stage, Holzapfel demonstrates how theatre participated in modernity’s aggressive interrogation of vision’s residence in the human body. New findings by scientists and philosophers—such as Diderot, Goethe, Müller, Helmholtz, and Galton—exposed how the visible world is experienced and framed by the unstable relativism of the physiological body rather than the fixed idealism of the mind. Realist artists across media paradoxically embraced this paradigm shift by focusing on the embodied observer. Drawing from extensive archival research, Holzapfel conducts close readings of iconic dramas and their productions—including Scribe’s The Glass of Water, Zola’s Thérèse Raquin, Ibsen’s A Doll House, Strindberg’s The Father, and Hauptmann’s Before Sunrise—alongside analyses of artwork by major painters and photographers—such as Chardin, Nadar, Millais, Rejlander, and Liebermann. In a radical challenge to existing criticism, Holzapfel argues that realism in theatre was never the attempt to reproduce an exact copy of the seen world but rather the struggle to make visible the act of seeing.
Although they have yet to be treated together in a comparative study, Hugo von Hofmannsthal and Carl Sternheim had a number of points of convergence in their respective searches for a modern form for the serious comedy. This study documents the collegial relationship between the two authors - in part with previously unpublished archival material -, analyses their respective treatments of Molière's comedies and places this in the context of Molière's reception in the German-speaking countries since the 17th century. What emerges is a new view of the comedies of Hofmannsthal and Sternheim, which sees both dramatists applying the same technique of countermodelling Molière's constellations of comedic figures - a modern critical re-appraisal of the traditional comedic type character.