How does language communicate through drama: television, film, and theater as distinct discourse types
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Lewiston [u.a.]
Mellen
2008
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XVVII, 178 S. |
| ISBN: | 0773451560 |
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| 245 | 1 | 0 | |a How does language communicate through drama |b television, film, and theater as distinct discourse types |c Fabio B. Dasilva and Viviana A. Bompadre. With a foreword by Mathew Kanjirathinkal |
| 264 | 1 | |a Lewiston [u.a.] |b Mellen |c 2008 | |
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| 650 | 4 | |a aArt xPhilosophy | |
| 650 | 4 | |a aDrama | |
| 650 | 4 | |a Kunst | |
| 650 | 4 | |a Philosophie | |
| 650 | 4 | |a Ästhetik | |
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| 650 | 4 | |a Aesthetics | |
| 650 | 4 | |a Art |x Philosophy | |
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Datensatz im Suchindex
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| adam_text | TABLE OF CONTENTS
FOREWORD.................................................................................i
Sociology and Artistic Communication: Between Rationalism and Aestheticism
by Mathew Kanjirathinkal
ACKNOWLEDGEMENTS................................................................................xvii
PARTI....................................................................................................................1
THEORETICAL APPROACHES
CHAPTER 1...........................................................................................................3
1.1 Introduction: Aesthetics as grand narrative and the reformulation of the
concept................................................................................................................3
1.2. The Analysis of Cultural Objects.................................................................7
1.2.1. The fundamental notions.........................................................................10
1.2.2. Technical rules for analysis....................................................................12
1.2.3. Paul Ricoeur and meaningful action as text ........................................15
1.2.4. Semiotics and Aesthetics........................................................................14
1.3. Aesthetic Function.....................................................................................21
1.4. Literary genres...........................................................................................24
1.5. Impact of these analyses on the sociological enterprise............................28
1.6. Concluding Remarks..................................................................................31
CHAPTER 2.........................................................................................................33
Two approaches to Art: Theodor W. Adorno and Maurice Merleau-Ponty.
2.1.1. Culture Industry and Aesthetic Theory...................................................33
2.1.2. Adorno s Critical Theory and Theory of Art..........................................42
2.2 Phenomenology and Theory of Art.............................................................56
2.2.1. Looking Right: Merleau-Ponty and Cezanne s Seeing...........................56
2.2.2. Cezanne and Cubism...............................................................................61
2.2.3. Seeing and Existential Phenomenology..................................................66
2.2.4. Art and Primeval-World : The Work of Ce zanne and Phenomenology
according to Merleau-Ponty..............................................................................71
2.3. Concluding Remarks..................................................................................75
PART II.................................................................................................................79
THE CASE STUDIES
CHAPTER 3.........................................................................................................81
THREE CASE STUDIES: Jean Genet s The Screens, the Latin American
Telenovela and Federico Fellini s Roma
3.1. Introduction................................................................................................81
3.2. Plays: Jean Genet s The Screens................................................................82
3.2.1. A Note on Plays and Theater..................................................................82
3.2.2 The Screens: The Analysis.......................................................................83
3.3. Films: Federico Fellini s Roma................................................................113
3.3.1. A note on Films.....................................................................................113
3.3.2. Fellini s Roma.......................................................................................115
3. 4. Telenove!as: La Duefia .........................................................................132
3. 4. 1. A note on Television..........................................................................132
3.4. 2. An Introduction to Telenovelas............................................................133
3.4. 3. Telenovelas: Aesthetics and Melodrama.............................................135
3.4.4. Analysis of La Duefia ........................................................................137
Sequence 1......................................................................................................142
Sequence 2......................................................................................................144
Sequence 3......................................................................................................146
Sequence 4......................................................................................................148
Sequence 5......................................................................................................150
Sequence 6......................................................................................................153
Sequence 7......................................................................................................155
Sequence 8......................................................................................................157
3.4.5. Concluding Remarks.............................................................................159
BIBLIOGRAPHY...............................................................................................161
AUTHOR INDEX..............................................................................................175
SUBJECT INDEX.......................................................................177
|
| adam_txt |
TABLE OF CONTENTS
FOREWORD.i
Sociology and Artistic Communication: Between Rationalism and Aestheticism
by Mathew Kanjirathinkal
ACKNOWLEDGEMENTS.xvii
PARTI.1
THEORETICAL APPROACHES
CHAPTER 1.3
1.1 Introduction: Aesthetics as grand narrative and the reformulation of the
concept.3
1.2. The Analysis of Cultural Objects.7
1.2.1. The fundamental notions.10
1.2.2. Technical rules for analysis.12
1.2.3. Paul Ricoeur and "meaningful action as text".15
1.2.4. Semiotics and Aesthetics.14
1.3. Aesthetic Function.21
1.4. Literary genres.24
1.5. Impact of these analyses on the sociological enterprise.28
1.6. Concluding Remarks.31
CHAPTER 2.33
Two approaches to Art: Theodor W. Adorno and Maurice Merleau-Ponty.
2.1.1. Culture Industry and Aesthetic Theory.33
2.1.2. Adorno's Critical Theory and Theory of Art.42
2.2 Phenomenology and Theory of Art.56
2.2.1. Looking Right: Merleau-Ponty and Cezanne's Seeing.56
2.2.2. Cezanne and Cubism.61
2.2.3. Seeing and Existential Phenomenology.66
2.2.4. Art and "Primeval-World": The Work of Ce"zanne and Phenomenology
according to Merleau-Ponty.71
2.3. Concluding Remarks.75
PART II.79
THE CASE STUDIES
CHAPTER 3.81
THREE CASE STUDIES: Jean Genet's The Screens, the Latin American
Telenovela and Federico Fellini's Roma
3.1. Introduction.81
3.2. Plays: Jean Genet's The Screens.82
3.2.1. A Note on Plays and Theater.82
3.2.2 The Screens: The Analysis.83
3.3. Films: Federico Fellini's Roma.113
3.3.1. A note on Films.113
3.3.2. Fellini's Roma.115
3. 4. Telenove!as:"La Duefia".132
3. 4. 1. A note on Television.132
3.4. 2. An Introduction to Telenovelas.133
3.4. 3. Telenovelas: Aesthetics and Melodrama.135
3.4.4. Analysis of'La Duefia".137
Sequence 1.142
Sequence 2.144
Sequence 3.146
Sequence 4.148
Sequence 5.150
Sequence 6.153
Sequence 7.155
Sequence 8.157
3.4.5. Concluding Remarks.159
BIBLIOGRAPHY.161
AUTHOR INDEX.175
SUBJECT INDEX.177 |
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| spelling | Dasilva, Fabio B. Verfasser aut How does language communicate through drama television, film, and theater as distinct discourse types Fabio B. Dasilva and Viviana A. Bompadre. With a foreword by Mathew Kanjirathinkal Lewiston [u.a.] Mellen 2008 XVVII, 178 S. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index aAesthetics aArt xPhilosophy aDrama Kunst Philosophie Ästhetik Drama Aesthetics Art Philosophy Drama (DE-588)4012899-4 gnd rswk-swf Kommunikation (DE-588)4031883-7 gnd rswk-swf Medien (DE-588)4169187-8 gnd rswk-swf Medien (DE-588)4169187-8 s Kommunikation (DE-588)4031883-7 s Drama (DE-588)4012899-4 s DE-604 Bompadre, Viviana Andrea Verfasser aut HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016488295&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Dasilva, Fabio B. Bompadre, Viviana Andrea How does language communicate through drama television, film, and theater as distinct discourse types aAesthetics aArt xPhilosophy aDrama Kunst Philosophie Ästhetik Drama Aesthetics Art Philosophy Drama (DE-588)4012899-4 gnd Kommunikation (DE-588)4031883-7 gnd Medien (DE-588)4169187-8 gnd |
| subject_GND | (DE-588)4012899-4 (DE-588)4031883-7 (DE-588)4169187-8 |
| title | How does language communicate through drama television, film, and theater as distinct discourse types |
| title_auth | How does language communicate through drama television, film, and theater as distinct discourse types |
| title_exact_search | How does language communicate through drama television, film, and theater as distinct discourse types |
| title_exact_search_txtP | How does language communicate through drama television, film, and theater as distinct discourse types |
| title_full | How does language communicate through drama television, film, and theater as distinct discourse types Fabio B. Dasilva and Viviana A. Bompadre. With a foreword by Mathew Kanjirathinkal |
| title_fullStr | How does language communicate through drama television, film, and theater as distinct discourse types Fabio B. Dasilva and Viviana A. Bompadre. With a foreword by Mathew Kanjirathinkal |
| title_full_unstemmed | How does language communicate through drama television, film, and theater as distinct discourse types Fabio B. Dasilva and Viviana A. Bompadre. With a foreword by Mathew Kanjirathinkal |
| title_short | How does language communicate through drama |
| title_sort | how does language communicate through drama television film and theater as distinct discourse types |
| title_sub | television, film, and theater as distinct discourse types |
| topic | aAesthetics aArt xPhilosophy aDrama Kunst Philosophie Ästhetik Drama Aesthetics Art Philosophy Drama (DE-588)4012899-4 gnd Kommunikation (DE-588)4031883-7 gnd Medien (DE-588)4169187-8 gnd |
| topic_facet | aAesthetics aArt xPhilosophy aDrama Kunst Philosophie Ästhetik Drama Aesthetics Art Philosophy Kommunikation Medien |
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