東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Satirical theory and dramatic practi...

Heinrich, Paul Christopher.

Linked to FindBook

Google Book

Amazon

博客來

Satirical theory and dramatic practice: Towards a new model of satire in performance.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Satirical theory and dramatic practice: Towards a new model of satire in performance./
Author:	Heinrich, Paul Christopher.
Description:	367 p.
Notes:	Adviser: Douglas Cole.
Contained By:	Dissertation Abstracts International53-06A.
Subject:	Literature, Classical. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9229915

Satirical theory and dramatic practice: Towards a new model of satire in performance.
Heinrich, Paul Christopher.

Satirical theory and dramatic practice: Towards a new model of satire in performance. - 367 p.

Adviser: Douglas Cole.

Thesis (Ph.D.)--Northwestern University, 1992.

As a highly referential art form, stage satire requires a definition of "meaning" that is not limited to formalist focus on the text alone, but extends into the dynamics of the relationship between staged text and audience. Theatrical experience demonstrates that scripts or fables of conventional meaning may conceal surprising audience responses of controversial nature. Moments of crisis, audience recognition, and satirical catharsis can lie relatively hidden within the text. Even though it is integral to the perceived meanings of stage satire, the role of the audience figures only in a minor way in current theories of satire. This study attempts to close the gap between satirical theory and stage practice by introducing the crucial element of the audience in the formulation of a "dynamic" model of satire which might clarify the process of the satirical strategy through the course of the play. Suggested models of "Success" and "Failure Plots" comprise such elements as the interplay of satirist, audience, protagonist, and satirical target (actual or supposed); reaction curves of the audience; and their implication in relation to protagonist, plot structure, catharsis and genre. The models are applied to Aristophanes's Acharnians, Ben Jonson's Every Man In/Out Of His Humour and Volpone, and Dario Fo's Accidental Death of an Anarchist and Can't Pay! Won't Pay! The plays are analyzed against a reconstruction of historical background and audience composition and expectations.Subjects--Topical Terms:

1017779
Literature, Classical.

Satirical theory and dramatic practice: Towards a new model of satire in performance.
LDR:03222nam 2200313 a 45 001 971049
005 20110921
008 110921s1992 ||||||||||||||||| ||eng d
035 $a (UMI)AAI9229915
035 $a AAI9229915
040 $a UMI $c UMI
100 1 $a Heinrich, Paul Christopher. $3 1295083
245 1 0 $a Satirical theory and dramatic practice: Towards a new model of satire in performance.
300 $a 367 p.
500 $a Adviser: Douglas Cole.
500 $a Source: Dissertation Abstracts International, Volume: 53-06, Section: A, page: 1729.
502 $a Thesis (Ph.D.)--Northwestern University, 1992.
520 $a As a highly referential art form, stage satire requires a definition of "meaning" that is not limited to formalist focus on the text alone, but extends into the dynamics of the relationship between staged text and audience. Theatrical experience demonstrates that scripts or fables of conventional meaning may conceal surprising audience responses of controversial nature. Moments of crisis, audience recognition, and satirical catharsis can lie relatively hidden within the text. Even though it is integral to the perceived meanings of stage satire, the role of the audience figures only in a minor way in current theories of satire. This study attempts to close the gap between satirical theory and stage practice by introducing the crucial element of the audience in the formulation of a "dynamic" model of satire which might clarify the process of the satirical strategy through the course of the play. Suggested models of "Success" and "Failure Plots" comprise such elements as the interplay of satirist, audience, protagonist, and satirical target (actual or supposed); reaction curves of the audience; and their implication in relation to protagonist, plot structure, catharsis and genre. The models are applied to Aristophanes's Acharnians, Ben Jonson's Every Man In/Out Of His Humour and Volpone, and Dario Fo's Accidental Death of an Anarchist and Can't Pay! Won't Pay! The plays are analyzed against a reconstruction of historical background and audience composition and expectations.
520 $a The approach provides insights into the development of each playwright's satirical strategy over time from the simple "Success One Plot", and highlights the radical and subversive innovation of the Clouds and Volpone. It overturns traditional readings of the Acharnians and gives heightened understanding of the satirical point of other plays, e.g., Volpone. Awkwardness in later revivals of Volpone and Can't Pay! Won't Pay! is linked directly to the difficulty of reproducing the audience-stage alignments of the original performances, and Fo's failure with bourgeois audiences to his disinterest in subversive strategies. Comparison of the three satirists' practices allows a clearer articulation of the structural framework and properties of the satirical strategies underlying their work.
590 $a School code: 0163.
650 4 $a Literature, Classical. $3 1017779
650 4 $a Literature, Comparative. $3 530051
650 4 $a Literature, English. $3 1017709
650 4 $a Literature, Romance. $3 1019014
650 4 $a Theater. $3 522973
690 $a 0294
690 $a 0295
690 $a 0313
690 $a 0465
690 $a 0593
710 2 $a Northwestern University. $3 1018161
773 0 $t Dissertation Abstracts International $g 53-06A.
790 $a 0163
790 1 0 $a Cole, Douglas, $e advisor
791 $a Ph.D.
792 $a 1992
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9229915