Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. Arguing that the onset of European modernity in the early seventeenth century and both the modernist and the postmodernist periods of the twentieth century witnessed a flourishing of the phenomenon of theater that reflects on itself as theater, the author reexamines the concepts of metatheater, baroque, and neobaroque through a pairing and close analysis of seventeenth and twentieth century plays. The comparisons include Jean Rotrou's The True Saint Genesius with Jean-Paul Sartre's Kean and Jean Genet's The Blacks; Pierre Corneille's L'Illusion comique with Tony Kushner's The Illusion; Gian Lorenzo Bernini's The Impresario with Luigi Pirandello's theater-in-theater trilogy; Shakespeare's Hamlet with Pirandello's Henry IV and Tom Stoppard's Rosencrantz and Guildenstern are Dead; Moli re's Impromptu de Versailles with "impromptus" by Jean Cocteau, Jean Giraudoux, and Eug ne Ionesco. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. Metatheater, the author concludes, is both performance and performative: it accomplishes a perceptual transformation in its audience both by defending theater and exposing the illusory quality of the world outside.
Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. Arguing that the onset of European modernity in the early seventeenth century and both the modernist and the postmodernist periods of the twentieth century witnessed a flourishing of the phenomenon of theater that reflects on itself as theater, the author reexamines the concepts of metatheater, baroque, and neobaroque through a pairing and close analysis of seventeenth and twentieth century plays. The comparisons include Jean Rotrou's The True Saint Genesius with Jean-Paul Sartre's Kean and Jean Genet's The Blacks; Pierre Corneille's L'Illusion comique with Tony Kushner's The Illusion; Gian Lorenzo Bernini's The Impresario with Luigi Pirandello's theater-in-theater trilogy; Shakespeare's Hamlet with Pirandello's Henry IV and Tom Stoppard's Rosencrantz and Guildenstern are Dead; Moli re's Impromptu de Versailles with "impromptus" by Jean Cocteau, Jean Giraudoux, and Eug ne Ionesco. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. Metatheater, the author concludes, is both performance and performative: it accomplishes a perceptual transformation in its audience both by defending theater and exposing the illusory quality of the world outside.
The attempt to apply an aesthetic or literary approach to fascism remains controversial. In The Search for Modern Tragedy, Mary Ann Frese Witt explores the work of a group of European writers and artists who came to fascism by way of aesthetics. In Italy and France, she maintains, an ideological aesthetic of "Mediterranean" fascism developed to a large extent independently of German Nazism. Witt's study of the relationship between fascism and modern tragedy encompasses theoretical writing on tragedy and tragedies by key authors, including Luigi Pirandello, Henry de Montherlant, and Jean Anouilh. She looks at these tragedies in the context of their reception under fascism in Italy and in Vichy France. Fascism, in the minds of many of its supporters, was an aesthetic or spiritual movement, although its aesthetic and political elements were often intertwined. The Search for Modern Tragedy is not concerned primarily with drama written as a means of conveying fascist propaganda. Rather, Witt is concerned with the influence of aesthetic fascism on the theory and practice of modern tragedy.
This introductory text presents an overview of the liberal arts—literature, art, music, philosophy, and history—with a particular emphasis on literature. The unique selection of works from each culture provides students with a global understanding of the humanities. Several pedagogical features of the Seventh Edition, such as chapter objectives, key terms, art images, and summary questions, help students understand the major concepts of the text. Each volume begins with a "Chronicle of Events" that provides a timetable of key events in world history. "Continuities" sections—which cover political life, religion, art, music, and writing—focus on the lasting contributions of each society. Non-Western coverage includes a section on Japan in Volume I; Western material has been scaled back to provide balanced coverage. A special introduction to River-Valley Civilizations helps students see the connections between global societies. The Online Student Study Guide features chapter summaries, web activities, and ACE self-testing program.
The attempt to apply an aesthetic or literary approach to fascism remains controversial. In The Search for Modern Tragedy, Mary Ann Frese Witt explores the work of a group of European writers and artists who came to fascism by way of aesthetics. In Italy and France, she maintains, an ideological aesthetic of "Mediterranean" fascism developed to a large extent independently of German Nazism. Witt's study of the relationship between fascism and modern tragedy encompasses theoretical writing on tragedy and tragedies by key authors, including Luigi Pirandello, Henry de Montherlant, and Jean Anouilh. She looks at these tragedies in the context of their reception under fascism in Italy and in Vichy France. Fascism, in the minds of many of its supporters, was an aesthetic or spiritual movement, although its aesthetic and political elements were often intertwined. The Search for Modern Tragedy is not concerned primarily with drama written as a means of conveying fascist propaganda. Rather, Witt is concerned with the influence of aesthetic fascism on the theory and practice of modern tragedy.
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