Irony and the modern theatre:
"Irony and theatre share intimate kinships, not only regarding dramatic conflict, dialectic or wittiness, but also scenic structure and the verbal or situational ironies that typically mark theatrical speech and action. Yet irony today, in aesthetic, literary and philosophical contexts especial...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cambridge ; New York
Cambridge University Press
2011
|
| Schriftenreihe: | Cambridge studies in modern theatre
|
| Schlagworte: | |
| Online-Zugang: | KUBA1 |
| Zusammenfassung: | "Irony and theatre share intimate kinships, not only regarding dramatic conflict, dialectic or wittiness, but also scenic structure and the verbal or situational ironies that typically mark theatrical speech and action. Yet irony today, in aesthetic, literary and philosophical contexts especially, is often regarded with skepticism - as ungraspable, or elusive to the point of confounding. Countering this tendency, Storm advocates a wide-angle view of this master trope, exploring the ironic in major works by playwrights including Chekhov, Pirandello and Brecht, and in notable relation to well-known representative characters in drama from Ibsen's Halvard Solness to Stoppard's Septimus Hodge and Wasserstein's Heidi Holland. To the degree that irony is existential, its presence in the theatre relates directly to the circumstances and the expressiveness of the characters on stage. This study investigates how these key figures enact, embody, represent and personify the ironic in myriad situations in the modern and contemporary theatre"-- "Irony, in its contrariness, has gained a reputation for indeterminacy, for being all but ungraspable except perhaps in the most traditional contexts of wittiness, paradox, the assumption of an opposite, or a perspective of stylish but world-weary commentary. Irony in the more complicated view can now be confounding, a perspective that has become more pervasive, or at least more presumed, in connection with postmodernist or deconstructive assumptions regarding the disassociative properties of language in particular. Irony does, in fact, imply opposition, a consistent if at times hidden presence of the alternate view; and when such alternation is reiterated or compounded, the contrary properties of the trope become correspondingly more manifest, leading potentially to progressive negation or even self-cancellation"-- |
| Beschreibung: | x, 256 p |
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| 520 | |a "Irony, in its contrariness, has gained a reputation for indeterminacy, for being all but ungraspable except perhaps in the most traditional contexts of wittiness, paradox, the assumption of an opposite, or a perspective of stylish but world-weary commentary. Irony in the more complicated view can now be confounding, a perspective that has become more pervasive, or at least more presumed, in connection with postmodernist or deconstructive assumptions regarding the disassociative properties of language in particular. Irony does, in fact, imply opposition, a consistent if at times hidden presence of the alternate view; and when such alternation is reiterated or compounded, the contrary properties of the trope become correspondingly more manifest, leading potentially to progressive negation or even self-cancellation"-- | ||
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| dewey-tens | 800 - Literature (Belles-lettres) and rhetoric |
| discipline | Literaturwissenschaft |
| era | Geschichte 1890-1995 gnd |
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Irony does, in fact, imply opposition, a consistent if at times hidden presence of the alternate view; and when such alternation is reiterated or compounded, the contrary properties of the trope become correspondingly more manifest, leading potentially to progressive negation or even self-cancellation"--</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte 1890-1995</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Irony in literature</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Drama</subfield><subfield code="x">History and criticism</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Drama</subfield><subfield code="x">Psychological aspects</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Drama</subfield><subfield code="0">(DE-588)4012899-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Ironie</subfield><subfield code="0">(DE-588)4027676-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Drama</subfield><subfield code="0">(DE-588)4012899-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Ironie</subfield><subfield code="0">(DE-588)4027676-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Geschichte 1890-1995</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="8">1\p</subfield><subfield code="5">DE-604</subfield></datafield><datafield tag="710" ind1="2" ind2=" "><subfield code="a">ProQuest (Firm)</subfield><subfield code="e">Sonstige</subfield><subfield code="4">oth</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-30-PAD</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="q">KUBA1-ZDB-30-PAD-2023</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-030643041</subfield></datafield><datafield tag="883" ind1="1" ind2=" "><subfield code="8">1\p</subfield><subfield code="a">cgwrk</subfield><subfield code="d">20201028</subfield><subfield code="q">DE-101</subfield><subfield code="u">https://d-nb.info/provenance/plan#cgwrk</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://ebookcentral.proquest.com/lib/khifiit/detail.action?docID=691990</subfield><subfield code="l">KUBA1</subfield><subfield code="p">ZDB-30-PAD</subfield><subfield code="q">KHI</subfield><subfield code="x">Aggregator</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
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| spelling | Storm, William 1949- Verfasser aut Irony and the modern theatre William Storm Cambridge ; New York Cambridge University Press 2011 x, 256 p txt rdacontent c rdamedia cr rdacarrier Cambridge studies in modern theatre "Irony and theatre share intimate kinships, not only regarding dramatic conflict, dialectic or wittiness, but also scenic structure and the verbal or situational ironies that typically mark theatrical speech and action. Yet irony today, in aesthetic, literary and philosophical contexts especially, is often regarded with skepticism - as ungraspable, or elusive to the point of confounding. Countering this tendency, Storm advocates a wide-angle view of this master trope, exploring the ironic in major works by playwrights including Chekhov, Pirandello and Brecht, and in notable relation to well-known representative characters in drama from Ibsen's Halvard Solness to Stoppard's Septimus Hodge and Wasserstein's Heidi Holland. To the degree that irony is existential, its presence in the theatre relates directly to the circumstances and the expressiveness of the characters on stage. This study investigates how these key figures enact, embody, represent and personify the ironic in myriad situations in the modern and contemporary theatre"-- "Irony, in its contrariness, has gained a reputation for indeterminacy, for being all but ungraspable except perhaps in the most traditional contexts of wittiness, paradox, the assumption of an opposite, or a perspective of stylish but world-weary commentary. Irony in the more complicated view can now be confounding, a perspective that has become more pervasive, or at least more presumed, in connection with postmodernist or deconstructive assumptions regarding the disassociative properties of language in particular. Irony does, in fact, imply opposition, a consistent if at times hidden presence of the alternate view; and when such alternation is reiterated or compounded, the contrary properties of the trope become correspondingly more manifest, leading potentially to progressive negation or even self-cancellation"-- Geschichte 1890-1995 gnd rswk-swf Irony in literature Drama History and criticism Drama Psychological aspects Drama (DE-588)4012899-4 gnd rswk-swf Ironie (DE-588)4027676-4 gnd rswk-swf Drama (DE-588)4012899-4 s Ironie (DE-588)4027676-4 s Geschichte 1890-1995 z 1\p DE-604 ProQuest (Firm) Sonstige oth 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Storm, William 1949- Irony and the modern theatre Irony in literature Drama History and criticism Drama Psychological aspects Drama (DE-588)4012899-4 gnd Ironie (DE-588)4027676-4 gnd |
| subject_GND | (DE-588)4012899-4 (DE-588)4027676-4 |
| title | Irony and the modern theatre |
| title_auth | Irony and the modern theatre |
| title_exact_search | Irony and the modern theatre |
| title_full | Irony and the modern theatre William Storm |
| title_fullStr | Irony and the modern theatre William Storm |
| title_full_unstemmed | Irony and the modern theatre William Storm |
| title_short | Irony and the modern theatre |
| title_sort | irony and the modern theatre |
| topic | Irony in literature Drama History and criticism Drama Psychological aspects Drama (DE-588)4012899-4 gnd Ironie (DE-588)4027676-4 gnd |
| topic_facet | Irony in literature Drama History and criticism Drama Psychological aspects Drama Ironie |
| work_keys_str_mv | AT stormwilliam ironyandthemoderntheatre AT proquestfirm ironyandthemoderntheatre |