A narratology of drama: dramatic storytelling in theory, history, and culture from the Renaissance to the Twenty-first century
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | German Ancient Greek |
| Veröffentlicht: |
Berlin/Boston
De Gruyter
2022
|
| Schriftenreihe: | Narratologia
80 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVI, 419 Seiten |
| ISBN: | 9783110721379 |
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| adam_text | Contents Foreword----- VII Prologue----- XV Part I: Towards a Transgeneric and Contextual Theory of Narrative in Drama, Or, Reframing ‘Drama’ as a Narrative Genre 1 1.1 1.2 1.3 1.4 1.5 2 2.1 2.2 2.3 ‘Enter Drama!’ Putting the Genre (Back) Centre Stage in the Study of Literature and Culture — 3 A Neglected Subject Matter: On the Need of Reframing Drama as Narrative in the Twenty-First Century — 7 ‘Drama and Narrative’: The State of the Art in Literary Studies and Arising Research Desiderata —12 Narratology of Drama: Delineating Objectives and Research Questions------22 Resolving Pressing Problems in the Study of Dramatic Storytelling and Narrative in Drama: Methodology and Corpus------ 25 Outlining This Study’s Structure----- 31 Rising Action: Towards a Narratology of Drama — 35 Theorising the Processes of Intersecting Narrative Theory with Drama Theory and of (Re-)Writing Drama History: Challenges, Necessities, and Theoretical Premises — 35 Drawing the Consequences of the ‘Instability’ of Genre in General and Drama in Particular: Suggesting a Conceptual Reframing of Drama as a Potentially (Highly) Narrative Category and Taking Up the Cudgels for a Narratological Examination of ‘Dramatic Narration’ — 45 Intersections of Drama and Narrative in and around Drama: Placing and Characterising Them — 53
X — 3 3.1 3.2 3.3 3.4 Contents Suggestions for a Peripeteia in Drama and Narrative Theory: A Culturally Sensitive Narratology of Drama and Dramatic Narration----- 57 Four Basic Concepts at the Heart of the lntersection(s) of Drama and Narrative: Framing ‘Drama’ and ‘Narrative’ as Cognitive Schemata and as Modes; ‘Narrativity’ and ‘Dramatic Quality’ as Transgeneric Qualities of Difference — 58 The Semantic Dimensions of ‘Narrative’ and ‘Drama’ as Modes and Features in Dramatic Storytelling — 67 Narrative Matters in Drama: Story and Discourse in Drama as Core Levels of Narratological Analysis and a Narratological Communication Model of Drama — 78 The Cultural Dynamics and the Performative Power of Dfamatic Storytelling: A Culturally Sensitive Approach to Narrative in Drama — 91 Part II: The History of Narrative and Narration in British Drama - The Cultural Dynamics and Performative Power of Dramatic Storytelling 4 4.1 4.2 4.3 4.4 Stories in Conflict and Competition: Alternative Histories, Complementary Tales, and Lies in Early Modern Drama — 97 Emplotting Competing Narratives in Dramatic Narration: The Dramatic Retelling of English National History in William Shakespeare’s Meta-Histories of King Henry IV, Portone and Part Two----- 98 The Dramatic Exploitation of Biography and Processing of Jacobean Culture: Tales of Duplicity, Janus-Faced Worlds, and Violence in John Webster’s Revenge Tragedy The White Devil------119 The Bending and Expanding of Dramatic Conventions as Problématisations of Simplistic Worldviews and Morals: William Shakespeare and George Wilkin’s Romance
Pericles Exploiting the Generative Narrator and the Genre of the Medieval Short Story Cycle —132 Dominant Forms and Potential Functions of Narrative in an ‘Age of Lying and Dissimulation’: The Exploitation of Conflicting Stories to Cultural Ends in Early Modern Dramatic Narration —143
Contents 5 5.1 5.2 5.3 5.4 6 6.1 6.2 6.3 The Containment of Different Narratives and of Narratives of Difference in Drama: The Renewal and Self-Definition of a ‘Sleeping’ Genre as well as Theatrical Configurations of Restoration and Early Eighteenth-Century (Drama) Cultures —148 The State and the State of the Art in Restoration Drama: John Dryden’s Epically Construed Tragicomedy Marriage à la Mode as Philosophy of (Marriage, Sex, and) State and as Poetological Definition of Drama------151 Narrative and Moral Double Binds in Aphra Behn’s The Rover: Experiments in Narrative Perspective and Authorial Comment by Way of Dramatic Expression as well as Assessments of Female Life Options in the Restoration Period —165 Analogy and Difference in John Gay’s The Beggar’s Opera: Generative Narrators as Playwrights and Actors and their Narrative Resistance to Genre Conventions as well as to the Aberrations of an Emerging Capitalist Culture —180 Dominant Forms and Potential Functions of Narrative in Restoration and Early-Eighteenth-Century Plays: The Exploration of Contained Difference in Dramatic Narration as a Means of Genre-Definition and Political Engagement —194 From Stage to Page, from the Publicly Politic to the Metaphysically Private: Late Eighteenth-Century and Romantic Drama as a Genre in Transformation, Dramatising Diegetic Storytelling and Narrativising (Revolutionary) Change in Society and Conflict in Selves —199 Educating the Nation, Domesticating the Colony, and Moralising (Old and New) Money: The Dramatisation of Diegetic Storytelling and of Elocutionary Didactics in
Richard Cumberland’s Sentimental Comedy The West Indian — 201 The Transgressive and Transformative Power of the Gothic Tale: The Increasing Narrative Infiltration of Dramatic Discourse in Joanna Baillie’s Romantic Tragedy Orra as a Revolt against Genre Boundaries and Patriarchal Subjugation------218 From the Theatre to the Mind, from ‘Drama as Was’ to the Romantic Gesamtkunstwerk: Lord Byron’s Closet Drama Manfred as a Dramatic Focalisation on and of а Self in Conflict------ 235 XI
XII ——■ Contents 6.4 7 7.1 7.2 7.3 7.4 8 8.1 Dominant Forms and Potential Functions of Narrative in LateEighteenth-Century and Romantic Plays: The Dramatisation of Storytelling and the Narrativisation of Drama as Way of Forging a Nation, Revolting against Society, and Tearing Down (Genre) Borders------ 248 Expanding the Allowances of Drama by Generic Encounters with Narrative in Victorian and Early-Twentieth-Century Plays: Intersecting Drama and Narrative as Means to Fight against Hypocritical Hegemonies as well as to Perform and Forestall Political Change — 254 Reducing Dramatic Modes in Favour of Narrative (sensu Diegetic) Modes in George Bernard Shaw’s Mrs Warreh’s Profession·. Politicising Drama and Attacking an Ideologically Blinded Middle and Upper Class with ‘Stories’ that Counter Hegemonic Narratives of Society — 255 Modernising Traditional Dramatic Modes and Theatrical Qualities, Using Them as Instruments of Political Pressure: Cicely Hamilton and Christopher St John’s How the Vote Was Won as Performance of Gender Inequality and Political Conversion — 272 Coping with Events That Defy Their Telling, with National Trauma, Personal Loss, and Disjointed Time between the Wars: The Foregrounding of Story Mise en Abymes, Narrative Instance, and Character Focalisation in J. Μ. Barrie’s Post World War I Play Mary Rose------284 Dominant Forms and Potential Functions of Narrative in Victorian and Early-Twentieth-Century Plays: The Narrativisation of Drama as a Ways of Partaking in Political Debate and Coping with Post-War Realities — 300 From Stories in Drama to the Drama of
(Performed) Stories: Late-Twentieth and Early-Twenty-First-Century Dissolutions of Established Generic Traditions and Cultural Histories as Well as the Generation of New, Ex-centric’ Genres and Histories through Narrative — 304 Staging and Questioning Authorial Omnipotence: Desecrating the ‘Holy Trinity of Protagonist, Narrator, and Focaliser’ in Peter Shaffer’s Post-Modern Gesamtkunstwerk
Contents 8.2 8.3 8.4 9 9.1 9.2 9.3 — Amadeus as a Means of Unveiling and Undermining Traditional Normalisation and Unification Tendencies — 305 Making Drama Ex-Centric with Ex-Centric Narratives: The Shaking Up and Re-Juggling of Genre Conventions and Naive Worldviews in debbie tucker green’s Drama of Stories, stoning mary------323 Forming and Performing Speculative and Narrative Bubbles in Lucy Prebble’s Enron: A Dramatic Excess of MultiGenericity as an Approximation of the Mechanisms of an Excessive, All-Devouring Global Market and a Critique of the Post-Industrial (Misinformation Age — 337 Dominant Forms and Potential Functions of Narrative in LateTwentieth-Century and Early-Twenty-First-Century Plays: Forming New Dramatic Genres By Way of (Intermediai) Narrative and, in Performing Them, Reforming Hegemonic Histories and Societies in the Information Age------352 Conclusion: ‘The Contextual Dynamics of Dramatic Storytelling’ and the ‘Performative Power of Narrative in British Plays’ — 358 Isolating the Dominant Trans-Historical Forms of Dramatic Storytelling and Narrative in British Plays------360 Abstracting Four Hypotheses as to the Broad, Trans-Historical Contextual Function of Narrative in British Plays — 368 Outlining Possible Directions and Suggestions for Further Research------372 References----- 379 Index----- 415 XIII
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| adam_txt |
Contents Foreword----- VII Prologue----- XV Part I: Towards a Transgeneric and Contextual Theory of Narrative in Drama, Or, Reframing ‘Drama’ as a Narrative Genre 1 1.1 1.2 1.3 1.4 1.5 2 2.1 2.2 2.3 ‘Enter Drama!’ Putting the Genre (Back) Centre Stage in the Study of Literature and Culture — 3 A Neglected Subject Matter: On the Need of Reframing Drama as Narrative in the Twenty-First Century — 7 ‘Drama and Narrative’: The State of the Art in Literary Studies and Arising Research Desiderata —12 Narratology of Drama: Delineating Objectives and Research Questions------22 Resolving Pressing Problems in the Study of Dramatic Storytelling and Narrative in Drama: Methodology and Corpus------ 25 Outlining This Study’s Structure----- 31 Rising Action: Towards a Narratology of Drama — 35 Theorising the Processes of Intersecting Narrative Theory with Drama Theory and of (Re-)Writing Drama History: Challenges, Necessities, and Theoretical Premises — 35 Drawing the Consequences of the ‘Instability’ of Genre in General and Drama in Particular: Suggesting a Conceptual Reframing of Drama as a Potentially (Highly) Narrative Category and Taking Up the Cudgels for a Narratological Examination of ‘Dramatic Narration’ — 45 Intersections of Drama and Narrative in and around Drama: Placing and Characterising Them — 53
X — 3 3.1 3.2 3.3 3.4 Contents Suggestions for a Peripeteia in Drama and Narrative Theory: A Culturally Sensitive Narratology of Drama and Dramatic Narration----- 57 Four Basic Concepts at the Heart of the lntersection(s) of Drama and Narrative: Framing ‘Drama’ and ‘Narrative’ as Cognitive Schemata and as Modes; ‘Narrativity’ and ‘Dramatic Quality’ as Transgeneric Qualities of Difference — 58 The Semantic Dimensions of ‘Narrative’ and ‘Drama’ as Modes and Features in Dramatic Storytelling — 67 Narrative Matters in Drama: Story and Discourse in Drama as Core Levels of Narratological Analysis and a Narratological Communication Model of Drama — 78 The Cultural Dynamics and the Performative Power of Dfamatic Storytelling: A Culturally Sensitive Approach to Narrative in Drama — 91 Part II: The History of Narrative and Narration in British Drama - The Cultural Dynamics and Performative Power of Dramatic Storytelling 4 4.1 4.2 4.3 4.4 Stories in Conflict and Competition: Alternative Histories, Complementary Tales, and Lies in Early Modern Drama — 97 Emplotting Competing Narratives in Dramatic Narration: The Dramatic Retelling of English National History in William Shakespeare’s Meta-Histories of King Henry IV, Portone and Part Two----- 98 The Dramatic Exploitation of Biography and Processing of Jacobean Culture: Tales of Duplicity, Janus-Faced Worlds, and Violence in John Webster’s Revenge Tragedy The White Devil------119 The Bending and Expanding of Dramatic Conventions as Problématisations of Simplistic Worldviews and Morals: William Shakespeare and George Wilkin’s Romance
Pericles Exploiting the Generative Narrator and the Genre of the Medieval Short Story Cycle —132 Dominant Forms and Potential Functions of Narrative in an ‘Age of Lying and Dissimulation’: The Exploitation of Conflicting Stories to Cultural Ends in Early Modern Dramatic Narration —143
Contents 5 5.1 5.2 5.3 5.4 6 6.1 6.2 6.3 The Containment of Different Narratives and of Narratives of Difference in Drama: The Renewal and Self-Definition of a ‘Sleeping’ Genre as well as Theatrical Configurations of Restoration and Early Eighteenth-Century (Drama) Cultures —148 The State and the State of the Art in Restoration Drama: John Dryden’s Epically Construed Tragicomedy Marriage à la Mode as Philosophy of (Marriage, Sex, and) State and as Poetological Definition of Drama------151 Narrative and Moral Double Binds in Aphra Behn’s The Rover: Experiments in Narrative Perspective and Authorial Comment by Way of Dramatic Expression as well as Assessments of Female Life Options in the Restoration Period —165 Analogy and Difference in John Gay’s The Beggar’s Opera: Generative Narrators as Playwrights and Actors and their Narrative Resistance to Genre Conventions as well as to the Aberrations of an Emerging Capitalist Culture —180 Dominant Forms and Potential Functions of Narrative in Restoration and Early-Eighteenth-Century Plays: The Exploration of Contained Difference in Dramatic Narration as a Means of Genre-Definition and Political Engagement —194 From Stage to Page, from the Publicly Politic to the Metaphysically Private: Late Eighteenth-Century and Romantic Drama as a Genre in Transformation, Dramatising Diegetic Storytelling and Narrativising (Revolutionary) Change in Society and Conflict in Selves —199 Educating the Nation, Domesticating the Colony, and Moralising (Old and New) Money: The Dramatisation of Diegetic Storytelling and of Elocutionary Didactics in
Richard Cumberland’s Sentimental Comedy The West Indian — 201 The Transgressive and Transformative Power of the Gothic Tale: The Increasing Narrative Infiltration of Dramatic Discourse in Joanna Baillie’s Romantic Tragedy Orra as a Revolt against Genre Boundaries and Patriarchal Subjugation------218 From the Theatre to the Mind, from ‘Drama as Was’ to the Romantic Gesamtkunstwerk: Lord Byron’s Closet Drama Manfred as a Dramatic Focalisation on and of а Self in Conflict------ 235 XI
XII ——■ Contents 6.4 7 7.1 7.2 7.3 7.4 8 8.1 Dominant Forms and Potential Functions of Narrative in LateEighteenth-Century and Romantic Plays: The Dramatisation of Storytelling and the Narrativisation of Drama as Way of Forging a Nation, Revolting against Society, and Tearing Down (Genre) Borders------ 248 Expanding the Allowances of Drama by Generic Encounters with Narrative in Victorian and Early-Twentieth-Century Plays: Intersecting Drama and Narrative as Means to Fight against Hypocritical Hegemonies as well as to Perform and Forestall Political Change — 254 Reducing Dramatic Modes in Favour of Narrative (sensu Diegetic) Modes in George Bernard Shaw’s Mrs Warreh’s Profession·. Politicising Drama and Attacking an Ideologically Blinded Middle and Upper Class with ‘Stories’ that Counter Hegemonic Narratives of Society — 255 Modernising Traditional Dramatic Modes and Theatrical Qualities, Using Them as Instruments of Political Pressure: Cicely Hamilton and Christopher St John’s How the Vote Was Won as Performance of Gender Inequality and Political Conversion — 272 Coping with Events That Defy Their Telling, with National Trauma, Personal Loss, and Disjointed Time between the Wars: The Foregrounding of Story Mise en Abymes, Narrative Instance, and Character Focalisation in J. Μ. Barrie’s Post World War I Play Mary Rose------284 Dominant Forms and Potential Functions of Narrative in Victorian and Early-Twentieth-Century Plays: The Narrativisation of Drama as a Ways of Partaking in Political Debate and Coping with Post-War Realities — 300 From Stories in Drama to the Drama of
(Performed) Stories: Late-Twentieth and Early-Twenty-First-Century Dissolutions of Established Generic Traditions and Cultural Histories as Well as the Generation of New, 'Ex-centric’ Genres and Histories through Narrative — 304 Staging and Questioning Authorial Omnipotence: Desecrating the ‘Holy Trinity of Protagonist, Narrator, and Focaliser’ in Peter Shaffer’s Post-Modern Gesamtkunstwerk
Contents 8.2 8.3 8.4 9 9.1 9.2 9.3 — Amadeus as a Means of Unveiling and Undermining Traditional Normalisation and Unification Tendencies — 305 Making Drama Ex-Centric with Ex-Centric Narratives: The Shaking Up and Re-Juggling of Genre Conventions and Naive Worldviews in debbie tucker green’s Drama of Stories, stoning mary------323 Forming and Performing Speculative and Narrative Bubbles in Lucy Prebble’s Enron: A Dramatic Excess of MultiGenericity as an Approximation of the Mechanisms of an Excessive, All-Devouring Global Market and a Critique of the Post-Industrial (Misinformation Age — 337 Dominant Forms and Potential Functions of Narrative in LateTwentieth-Century and Early-Twenty-First-Century Plays: Forming New Dramatic Genres By Way of (Intermediai) Narrative and, in Performing Them, Reforming Hegemonic Histories and Societies in the Information Age------352 Conclusion: ‘The Contextual Dynamics of Dramatic Storytelling’ and the ‘Performative Power of Narrative in British Plays’ — 358 Isolating the Dominant Trans-Historical Forms of Dramatic Storytelling and Narrative in British Plays------360 Abstracting Four Hypotheses as to the Broad, Trans-Historical Contextual Function of Narrative in British Plays — 368 Outlining Possible Directions and Suggestions for Further Research------372 References----- 379 Index----- 415 XIII |
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| series | Narratologia |
| series2 | Narratologia |
| spelling | Schwanecke, Christine Verfasser (DE-588)1063079896 aut A narratology of drama dramatic storytelling in theory, history, and culture from the Renaissance to the Twenty-first century Christine Schwanecke Berlin/Boston De Gruyter 2022 XVI, 419 Seiten txt rdacontent n rdamedia nc rdacarrier Narratologia 80 Drama (DE-588)4012899-4 gnd rswk-swf Erzählen (DE-588)4132307-5 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Drama (DE-588)4012899-4 s Erzählen (DE-588)4132307-5 s DE-604 Walter de Gruyter GmbH & Co. KG (DE-588)10095502-2 pbl Erscheint auch als Online-Ausgabe, PDF 978-3-11-072411-0 Erscheint auch als Online-Ausgabe, EPUB 978-3-11-072414-1 Narratologia 80 (DE-604)BV017772165 80 Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033190229&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Schwanecke, Christine A narratology of drama dramatic storytelling in theory, history, and culture from the Renaissance to the Twenty-first century Narratologia Drama (DE-588)4012899-4 gnd Erzählen (DE-588)4132307-5 gnd |
| subject_GND | (DE-588)4012899-4 (DE-588)4132307-5 (DE-588)4113937-9 |
| title | A narratology of drama dramatic storytelling in theory, history, and culture from the Renaissance to the Twenty-first century |
| title_auth | A narratology of drama dramatic storytelling in theory, history, and culture from the Renaissance to the Twenty-first century |
| title_exact_search | A narratology of drama dramatic storytelling in theory, history, and culture from the Renaissance to the Twenty-first century |
| title_exact_search_txtP | A narratology of drama dramatic storytelling in theory, history, and culture from the Renaissance to the Twenty-first century |
| title_full | A narratology of drama dramatic storytelling in theory, history, and culture from the Renaissance to the Twenty-first century Christine Schwanecke |
| title_fullStr | A narratology of drama dramatic storytelling in theory, history, and culture from the Renaissance to the Twenty-first century Christine Schwanecke |
| title_full_unstemmed | A narratology of drama dramatic storytelling in theory, history, and culture from the Renaissance to the Twenty-first century Christine Schwanecke |
| title_short | A narratology of drama |
| title_sort | a narratology of drama dramatic storytelling in theory history and culture from the renaissance to the twenty first century |
| title_sub | dramatic storytelling in theory, history, and culture from the Renaissance to the Twenty-first century |
| topic | Drama (DE-588)4012899-4 gnd Erzählen (DE-588)4132307-5 gnd |
| topic_facet | Drama Erzählen Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033190229&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV017772165 |
| work_keys_str_mv | AT schwaneckechristine anarratologyofdramadramaticstorytellingintheoryhistoryandculturefromtherenaissancetothetwentyfirstcentury AT walterdegruytergmbhcokg anarratologyofdramadramaticstorytellingintheoryhistoryandculturefromtherenaissancetothetwentyfirstcentury |