Kingdom of Disorder: The Theory of Tragedy in Classical FrancePurdue University Press, 1999 - 251 Seiten In this revisionist study of the poetics of tragedy during the French classical age, John Lyons challenges prevailing notions of a coherent, unified, and widely accepted classical doctrine. |
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Seite v
... Pleasure 76 Suppressing Reason , Disrupting Language 83 Chapter Three The Tragic Story 83 Verisimilitude : The World Corrected 95 Sacrificing Verisimilitude for History and Pleasure 112 Colors 122 The Verisimilar Character , or ...
... Pleasure 76 Suppressing Reason , Disrupting Language 83 Chapter Three The Tragic Story 83 Verisimilitude : The World Corrected 95 Sacrificing Verisimilitude for History and Pleasure 112 Colors 122 The Verisimilar Character , or ...
Seite 10
... pleasure which that part should produce . ( Qtd . in Weinberg 1 : 68 ) Crane is here describing the fragmentation of the tragedy as a work of art , but such a way of reading and describing results from a poetics that is itself already ...
... pleasure which that part should produce . ( Qtd . in Weinberg 1 : 68 ) Crane is here describing the fragmentation of the tragedy as a work of art , but such a way of reading and describing results from a poetics that is itself already ...
Seite 18
... pleasure that Aristotle set as the purpose of drama . Rather than apologizing for his play against the severity of the rules , Corneille apologizes for the rules against the triumph of his play , thus operating as a sabo- teur from ...
... pleasure that Aristotle set as the purpose of drama . Rather than apologizing for his play against the severity of the rules , Corneille apologizes for the rules against the triumph of his play , thus operating as a sabo- teur from ...
Seite 32
... pleasure ( yet this require- ment is seen by the observer as irrational , as an alienating supple- ment to the " basic " or " natural " conditions of pleasure ) , they take the place of an authority or potency that has been removed and ...
... pleasure ( yet this require- ment is seen by the observer as irrational , as an alienating supple- ment to the " basic " or " natural " conditions of pleasure ) , they take the place of an authority or potency that has been removed and ...
Seite 33
... imagined negative rules seem to be a projection of the specta- tors ' view of themselves and of their pleasure , since they do not consider themselves authorized to enjoy . Racine does not 33 Regularity : Articulating the Aesthetic.
... imagined negative rules seem to be a projection of the specta- tors ' view of themselves and of their pleasure , since they do not consider themselves authorized to enjoy . Racine does not 33 Regularity : Articulating the Aesthetic.
Inhalt
1 | |
3 | |
9 | |
15 | |
24 | |
Chapter Two Passion in the Age of Reason 43 Passion above | 43 |
Means or End? | 48 |
From Horror to Pleasure | 55 |
Closure and Community | 142 |
Place and Space | 147 |
Offstage and Onstage | 159 |
Time and the Eyes Memory | 173 |
From the Tragic Tableau to the Unity of Peril | 187 |
The Tragic Tableau | 188 |
Closure and the Mechanism of Justice | 193 |
The Unity of Peril | 195 |
Suppressing Reason Disrupting Language | 76 |
The World Corrected | 83 |
Sacrificing Verisimilitude for History and Pleasure | 95 |
Colors | 112 |
The Verisimilar Character or Bienséance | 122 |
Chapter Four The Unities and the Classical Spectator | 140 |
Conclusion | 203 |
Notes | 213 |
Bibliography | 227 |
Index | 245 |
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Häufige Begriffe und Wortgruppen
action aesthetic ancient appears Aristotle Aristotle's Poetics audience audience's autre Bérénice bien bienséance Boileau Bossuet c'est catharsis century Chapelain characters choses classique color concept Corneille Corneille's crime critics d'Aubignac d'une Descartes describes discourse doit doivent dramatic theory emotion estre Euripides fait faut French classical hero heures Horace horror l'esprit La Mesnardière Le Cid Lettre lieu Meleager Mesnardière modern moral n'en n'est nonverisimilar offstage onstage painting Paris passion Paul Bénichou peut Phèdre Pierre Corneille pity and fear play playwright pleasure plot Poëme poétique preface qu'elle qu'il qu'on qu'un Querelle du Cid Racine Racine's raison reader règle regles representation rien rules Scudéry Sentimens seventeenth seventeenth-century France siècle space spectacle Spectateurs spectator spectator's stage sujet temps theater Théâtre complet theoretical theorists theory of tragedy three unities tion toûjours tout tragic story unity of place verisimilar verisimilitude voir vrai vraisemblable vray-semblance writes
Beliebte Passagen
Seite viii - In the unity of time you find them so scrupulous that it yet remains a dispute among their poets, whether the artificial day of twelve hours, more or less, be not meant by Aristotle, rather than the natural one of twenty-four; and consequently, whether all plays ought not to be reduced into that compass.
Seite 27 - Là souvent le héros d'un spectacle grossier, Enfant au premier acte, est barbon au dernier. Mais nous, que la raison...
Seite 95 - Fleur d'Agathon, où les noms et les choses étaient de pure invention, aussi bien qu'en la comédie ; mais les grands sujets qui remuent fortement les passions et en opposent l'impétuosité aux lois du devoir ou aux tendresses du sang, doivent toujours aller audelà du vraisemblable...
Seite 2 - Il est constant qu'il ya des préceptes, puisqu'il ya un art; mais il n'est pas constant quels ils sont. On convient du nom sans convenir de la chose, et on s'accorde sur les paroles pour contester sur leur signification. Il faut observer l'unité d'action, de lieu, et de jour, personne n'en doute; mais ce n'est pas une petite difficulté de savoir ce que c'est que cette unité d'action, et jusques où peut s'étendre cette unité de jour et de lieu.
Seite 69 - Le goût de Paris s'est trouvé conforme à celui d'Athènes. Mes spectateurs ont été émus des mêmes choses qui ont mis autrefois en larmes le plus savant peuple de la Grèce...
Seite 33 - La principale règle est de plaire et de toucher : toutes les autres ne sont faites que pour parvenir à cette première.
Seite 17 - C'est là que lisant sur son visage ce qui lui plaît et ce qui ne lui plaît pas, nous nous instruisons avec certitude de ce qui est bon et de ce qui est mauvais...
Seite viii - I have not observed any that have extended the time to thirty hours: in the Unity of Place they are full as scrupulous; for many of their...
Seite 28 - A des refrains réglés asservit les rondeaux Et montra pour rimer des chemins tout nouveaux. Ronsard, qui le suivit, par une autre méthode, Réglant tout, brouilla tout, fit un art à sa mode, Et toutefois longtemps eut un heureux destin.