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The Tragicomic Passion by Faye Ran,Faye Ran-Moseley Pdf
The Tragicomic Mode of literary discourse has become more prominent in the twentieth century than at any other previous time in Western literary history. Modern tragicomedy consists of four defining categories: an inconclusive double perspective, one lacking resolution, reconciliation or restitution: contradictory, ambivalent or incongruous mood and effect: a problematic and often protean protagonist and the incorporation of destabilizing and non-naturalistic modes or strategies such as surrealism, absurdity, fantasy, and the grotesque. The dualistic nature of tragicomic creation, perception and reflection, has led to a whole new sense of character, structure and the role of the protagonist or of the protagonist or «hero». These new protagonists reject the notion of reality as a closed system with finite possibilities. Theirs' is a prismatic refraction of the rational and irrational, the mundane and the transcendental, the normative and the anomalous. Their ubiquitous presence in tragicomedy exemplifies our modern penchant for dialectical subversiveness and multifaceted indeterminancy. In twentieth-century tragicomic drama, film and literature, writers, dramatists and filmmakers invariably choose antinomian protagonists or fool figures to embody their explorations of the universal and tragicomic encounter of self and society.
Theoretically grounded in classical and Renaissance writings, as well as in the work of modern theorists, this study analyzes the role of tragicomedy in the development of the English novel from the late nineteenth to the early twentieth century. Diana of the Crossways, the Awkward Age, the Old Wives' Tale, and Ulysses are among the illustrative works discussed.
Adapted Brains and Imaginary Worlds by Donald Beecher Pdf
In Adapted Brains and Imaginary Worlds, Donald Beecher explores the characteristics and idiosyncrasies of the brain as they affect the study of fiction. He builds upon insights from the cognitive sciences to explain how we actualize imaginary persons, read the clues to their intentional states, assess their representations of selfhood, and empathize with their felt experiences in imaginary environments. He considers how our own faculty of memory, in all its selective particularity and planned oblivion, becomes an increasingly significant dimension of the critical act, and how our own emotions become aggressive readers of literary experience, culminating in states which define the genres of literature. Beecher illustrates his points with examples from major works of the Renaissance period, including Dr Faustus, The Faerie Queene, Measure for Measure, The Yorkshire Tragedy, Menaphon, The Dialogue of Solomon and Marcolphus, and The Moral Philosophy of Doni. In this volume, studies in the science of mind come into their own in explaining the architectures of the brain that shape such emergent properties as empathy, suspense, curiosity, the formation of communities, gossip, rationalization, confabulation, and so much more that pertains to the behaviour of characters, the orientation of readers, and the construction of meaning. Discussing a breadth of topics – from the mysteries of the criminal mind to the psychology of tears – Adapted Brains and Imaginary Worlds is the most comprehensive work available on the study of fictional worlds and their relation to the constitution of the human brain.
By its very nature the clown, as represented in art, is an interdisciplinary phenomenon. In whichever artform it appears - fiction, drama, film, photography or fine art - it carries the symbolic association of its usage in popular culture, be it ritual festivities, street theatre or circus. The clown, like its extended family of fools, jesters, picaros and tricksters, has a variety of functions all focussed around its status and image of being "other." Frequently a marginalized figure, it provides the foil for the shortcomings of dominant discourse or the absurdities of human behaviour. Clowns, Fools and Picaros represents the latest research on the clown, bringing together for the first time studies from four continents: Europe, America, Africa and Asia. It attempts to ascertain commonalities, overlaps and differences between artistic expressions of the "clownesque" from these various continents and genres, and above all, to examine the role of the clown in our cultures today. This volume is of interest for scholars of political and comic drama, film and visual art as well as scholars of comparative literature and anthropology.
The Name and Nature of Tragicomedy by Verna A. Foster Pdf
Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic). Foster posits that, in the sense of the dramaturgical and emotional fusion of tragic and comic elements to create a distinguishable new genre, tragicomedy has emerged only twice in the history of drama. She argues that tragicomedy first emerged and was controversial in the Renaissance; and that it has in modern times replaced tragedy itself as the most serious and moving of all dramatic genres. In the first section of the book, the author analyzes the name 'tragicomedy' and the genre's problems of identity; then goes on to explore early modern tragicomedies by Shakespeare, Beaumont and Fletcher, and Massinger. A transitional chapter addresses cognate genres. The final section of the book focuses on modern tragicomedies by Ibsen, Chekhov, Synge, O'Casey, Williams, Ionesco, Beckett and Pinter. By exploring dramaturgical similarities between early modern and modern tragicomedies, Foster demonstrates the persistence of tragicomedy's generic markers and provides a more precise conceptual framework for the genre than has so far been available.
Book of Fools An Intelligent Person's Guide to Fops, Jackasses, Morons, Dolts, Dunces, Halfwits and Blockheads by Terry Reed Pdf
This book presents a provocatively, outrageously assertive exposure of fools in their not infrequently bizarre manifestations, the object being to leave no halfwits behind. It explores the world of the fool from many perspectives, including Engines of Limited Cognition: Dumb Bells, Dumb Clucks and Dumb Waiters; Imprudence and Its Imbecilic Implications; Fools, Eccentrics & Sons of Momus; and Idiotic Opportunities: Putting Fools to Work. This is not to infer (or even hint) that either the author or his readership is in any demonstrable sense of the word foolish, now or at any other time. After all, no fool would write a book like this, and no fool would read it. Precisely who does read it is a discretely personal decision we leave to those gifted with more than ordinarily inquiring minds. Indeed, those who elect to come along for the ride are likely to find their minds piqued, tickled and enriched by this tour de farce. True to form, Reed illustrates Ambrose Bierce's definition of educational -- 'that which discloses to the wise and disguises from the fools their lack of understanding.' Abundantly documented, endlessly subtle, hopelessly eccentric and deadly funny, the book blends history, sociology, literature, philosophy, etymology and even theology, all with a good laugh.
The winner of the Nobel Prize for Literature tells the story of two old men in Berlin -- one a former East German cultural functionary, the other a former mid-level spy -- observing life in the former German Democratic Republic after the fall of the Wall in 1989. Grass weaves a deeply human story laced with pain and humor in equal measure.
A History of Installation Art and the Development of New Art Forms by Faye Ran Pdf
Art mirrors life; life returns the favor. How could nineteenth and twentieth century technologies foster both the change in the world view generally called postmodernism and the development of new art forms? Scholar and curator Faye Ran shows how interactions of art and technology led to cultural changes and the evolution of Installation art as a genre unto itself - a fascinating hybrid of expanded sculpture in terms of context, site, and environment, and expanded theatre in terms of performer, performance, and public.
The Tragicomedy of the Virtuous Octavia by Anonim Pdf
The first English self-labeled “tragicomedy” about Octavia’s failed attempts to win back her inconstant husband, Antony, from his Egyptian lover, Cleopatra, and to prevent her brother, Octavius, from waging retaliatory war on Antony and Cleopatra. This volume presents overwhelming evidence for the re-attribution of the “Samuell Brandon”-bylined The Virtuous Octavia (1598) to Gabriel Harvey. The introduction raises questions about potential attribution leads and revealing relevant sources, which are answered with the evidence in the “Primary Sources” section that includes: three letters exchanged between William Byrd and Harvey while both were teaching at Cambridge, the “Octavia to Anthony” poetic epistle from the Arundel Harington Manuscript, and fragments from Plutarch’s “Mark Antony” chapter. The “Exordium” includes sections that present revealing clues in seemingly mundane details, such as this play’s typesetting. Another introductory section explains how Gerard Langbaine created the first “Brandon” biography solely based on the evidence presented in the Virtuous play, and without any evidence to support that “Brandon” was indeed a real author, and not merely a fictitious pseudonym. The imaginative process Langbaine used to manufacture “Brandon’s” biography is used to explain how scholars have communally arrived at the erroneous current attributions for the texts of the British Renaissance. A section on Harvey’s literary style explains how the texts Harvey ghostwrote differ from the patterns seen in the other Workshop ghostwriters’ texts. Another section presents visual examples of Harvey’s handwriting in his signed annotations on Domenichi’s Facetie, on “J. Harvey’s” A Discursive Problem Concerning Prophesies, and on Nicolai Machiavelli Princeps, and matches these to the handwriting styles currently assigned to two bylines Harvey ghostwrote under: “Edmund Spenser’s” poem on a copy of Sabinus’ Poëmata and “Elizabeth I’s” letter in Italian to Don Ferdinando de Medici, Grand-Duke of Tuscany. Another section explains how the two dedications to “the virtuous… Mary Thynne” and “the virtuous Lady Lucia Audley” are subversive clues that explain Virtuous Octavia as Harvey’s rebuttal to Percy’s at first anonymous and later “Shakespeare”-bylined Romeo and Juliet (1597). Romeo’s plot has long been suspected to be grounded in the contemporary story of Mary Thynne’s marriage to a member of a rival family, as well as the subsequent violence and litigations over this star-crossed-marriage between Mary’s mother, Lady Audley, and other members of their two clans. And a section on imitation-clusters explains that Virtuous Octavia falls into several sub-genre clusters that turn into an original formula when they are mixed together. These clusters include imitations and translations of the French dramatist Robert Garnier; adaptations of historical plotlines from Plutarch’s Lives; and imitations of Seneca’s tragedies. One of the latter tragedies by Seneca is also called Octavia, and it is about Emperor Nero’s wife of this same name, which had been translated into English by “T. N.” back in 1581. There are also explanation for the seemingly deliberately misdated historical details, such as the mixed references to events that involved M. Marcellus (270-208 BC; 5-time Consul) and G. Marcellus (88-40 BC; 1-time Consul; first husband of Octavia). And sections summarize Virtuous Octavia’s critical reception, give ideas to directors on approaches to its staging, and present an extensive synopsis of its narrative. This verse tragicomedy begins after the Treaty of Tarentum has been signed, renewing the power-split of Roman territories between three Emperors: Octavia’s brother Octavius is awarded the West, Octavia’s husband Antony is awarded the East, and Lepidus receives Africa. Octavia receives news that Antony is living with Cleopatra. When Octavia attempts to bring military reinforcements and to speak with Antony to convince him to return to her, Antony refuses to allow her to come near him. The news of this infidelity enrages Octavius, who decides it is an affront on his own honor, and uses it as a pretext to wage war against Antony, despite Octavia’s continuing petitions for peace and reconcilement. Civil and foreign wars are raging in the background, but most of the play focuses on Octavia’s philosophical and emotional struggle to comprehend why Antony has chosen to sin, and how she is stoically determined to remain constant and virtuous. In a brief mention in the resolution, Cleopatra causes Antony’s tragic death by tricking him into believing she has killed herself, before indeed killing herself. In the forefront of this conclusion, Octavia explains why she continues to be committed to virtuous conduct, despite all that has happened, and to take care of Antony’s children, even when she has to do so outside of Antony’s house (from which he has forcefully evicted her). Acronyms and Figures Exordium Plot and Staging Primary Sources Letters Between Byrd and Harvey “Octavia to Anthony”: Poem from “Daniel’s” Arundel Harington Manuscript Fragments About Octavia from “Thomas North’s” Translation of Plutarch’s “The Life of Mark Antony” Text Terms, References, Questions, Exercises
Passions, Persons, Psychotherapy, Politics by Andrew Samuels Pdf
Andrew Samuels is one of the best known figures internationally in the fields of psychotherapy, Jungian analysis, relational psychoanalysis and counselling, and in academic studies in those areas. His work is a blend of the provocative and original together with the reliable and scholarly. His many books and papers figure prominently on reading lists in clinical and academic teaching contexts. This self-selected collection, Passions, Persons, Psychotherapy, Politics, brings together some of Samuels' major writings at the interface of politics and therapy thinking. In this volume, he includes chapters on the market economy; prospects for eco-psychology and environmentalism; the role of the political Trickster, particularly the female Trickster; the father; relations between women and men; and his celebrated and radical critique of the Jungian idea of ‘the feminine principle’. Clinical material consists of his work with parents and on the therapy relationship. The book concludes with his seminal and transparent work on Jung and anti-semitism and an intriguing account of the current trajectory of the Jungian field. Samuels has written a highly personal and confessional introduction to the book. Each chapter also has its own topical introduction, written in a clear and informal style. There is also much that will challenge the long-held beliefs of many working in politics and in the social sciences. This unique collection of papers will be of interest to psychotherapists, Jungian analysts, psychoanalysts and counsellors – as well as those undertaking academic work in those areas.
Ravishment of Reason presents a new contextual framework for the study of Restoration drama, demonstrating the important cultural work performed by the restored theaters in offering versions of political theory that mediated between older notions of thaumaturgic authority and proto-modern forms of government premised upon autonomy and contract.
Author : Maximillian E. Novak,Anne Kostelanetz Mellor Publisher : University of Delaware Press Page : 292 pages File Size : 50,9 Mb Release : 2000 Category : Emotions in literature ISBN : 0874137039
Passionate Encounters in a Time of Sensibility by Maximillian E. Novak,Anne Kostelanetz Mellor Pdf
This volume attempts to explore some of the many aspects of sensibility throughout the Restoration and eighteenth century. The essays examine the fine distinctions between definitions of sensibility as well as a wide range of possibilities and implications involving political theory, imperial ambitions, homosocial codes of language, and the ways in which sensibility manifested itself in the literature of the period.
Relational Psychoanalysis, Volume 14 by Stephen A. Mitchell,Lewis Aron Pdf
Over the course of the past 15 years, there has been a vast sea change in American psychoanalysis. It takes the form of a broad movement away from classical psychoanalytic theorizing grounded in Freud's drive theory toward models of mind and development grounded in object relations concepts. In clinical practice, there has been a corresponding movement away from the classical principles of neutrality, abstinence and anonymity toward an interactive vision of the analytic situation that places the analytic relationship, with its powerful, reciprocal affective currents, in the foreground. These developments have been evident in virtually all schools of psychoanalysis in America, from the most traditional to the most radical. The wellspring of these innovations is the work of a group of psychoanalysts who have struggled to integrate aspects of interpersonal psychoanalysis, various British object relations theories, and psychoanalytic feminism. Although not self-selected as a school, these theorists have generated a distinct tradition of psychoanalytic thought and clinical practice that has become extremely influential within psychoanalysis in the United States. Relational Psychoanalysis: The Emergence of a Tradition brings together for the first time the seminal papers of the major authors within this tradition. Each paper is accompanied by an introduction, in which the editors place it in its historical context, and a new afterward, in which the author suggests subsequent developments in his or her thinking. This book is an invaluable resource for any clinical practitioner, teacher or student of psychoanalysis interested in exploring the exciting developments of recent years.
