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The use of ritual in the theatre of the absurd; a study of Beckett, Pinter, GenetMayhew, Anne L. January 1964 (has links)
It is commonly felt among literary and theatre-going people today that the Theatre of the Absurd is making a comment on the meaninglessness and formlessness of contemporary life. The way the Theatre makes its comment is new and exciting: it simply places before our eyes meaninglessness and formlessness. And the Absurd is left at that. Directors can concentrate on the bizarre, making the plays, even The Caretaker, into three-hour runs of pointless juxtapositions that leave sophisticated audiences complacent. Too often the plays of Beckett, Pinter and Ionesco are treated as slices of life, without beginning or end. This paper was undertaken in an effort to discover whether there was not more to the Absurd play than imitation of life's daily chaos. Strong ritualistic elements had been noticed during a first random reading of some Absurd plays. A later discovery of Genet and his open experimentation with rituals, led me to suspect that the ritual so obvious in his plays also played a part, though a more furtive one, in the works of Pinter and Beckett. The following close examination of texture and structure has convinced me that the formal element, which distinguishes ritual, makes up the fabric of the Absurd play; and that this studied use of ritual makes the plays of the Absurd the most precise dramatic statements to have been seen on western stages since medieval days. Rather than exemplifying formlessness, the Absurd play often stands witness to the stark purity of formality.
. / Arts, Faculty of / English, Department of / Graduate
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Harold Pinter and the theatre of the absurdBobrow, Norah E. A. January 1964 (has links)
As delineated in the Introduction, the central
direction of this thesis is that of determining the nature and
purpose of Harold Pinter's-drama, of tracing his relationship
to contemporary drama and dramatists in general, and the
theatre of the Absurd in particular.
Contrary to the popular belief that the concept of
the Absurd suddenly burst upon the literary scene within
the last decade, the emphasis of the first chapter lies on
the evolutionary process of its development. The idea of
the Absurd, or better, an intuition of the concept of the
Absurd can be discovered in the philosophic, literary, and
theatrical expression of the western world since the end of
the last century. These manifestations of the Absurd did
not reach the mind of the multitude until it began to express
itself through the medium of the theatre. Even then, however,
it remained somewhat esoteric in its appeal and reception.
Harold Pinter enters the scene of the Absurd, not as an innovator
but as a playwright with an exceptional sense of theatre.
He does not attempt to redefine its basic ideas, the concept
itself is already somewhat diffuse in meaning; his, is an expression
of an intense and concentrated image of the absurd.
He forged a new weapon with which to impress the Absurd on the
consciousness of the popular mind.
Pinter's variation of the Absurd thus differs from
the continental expression of Beckett and Ionesco in emphasis
and manner of expression, not in idea. Its area of concentration
is not on the human condition, but on the abject
apparition of the individual imprisoned in existence and
society. Unlike Beckett's his queries are not of a metaphysical
nature. Pinter probes into the masked reality of
everyday life. What he exposes is the presence of a menace
which threatens, intimidates and destroys the individual,
yet remains unidentified.
Toward the expression of this conception of man's
predicament, Pinter has conceived of a dramatic metaphor
which is best described as 'latent grotesque' in effect.
Thus the grotesque dominates the idea of his drama and is
the very essence of his threatrical form. The theatre which
can now be identified with Pinter's name is a drama of anxiety
which progresses from the comic grotesque to the terrifying
grotesque. Laughter which resolves itself in fear is the
new instrument with which an awareness of the Absurd is impressed
upon the audience. / Arts, Faculty of / English, Department of / Graduate
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Aspekte van die Afrikaanse poësie van die tagtigerjareBasson, Coenraad Hendrik 05 1900 (has links)
Text in Afrikaans / Die Afrikaanse poesie van die tagtigerjare toon 'n ryke verskeidenheid
deurdat ouer digters soos Eybers, Breytenbach, Cussons,
Stockenstrom en Ernst van Heerden voortdig en 'n groot aantal
nuwelinge na vore tree. Hoewel die groep digters die grense van
"generasie" ver oorskry, blyk dit dat hulle 'n baie
li tererbewuste groep kunstenaars is wie se poesie verskeie
gemeenskaplike trekke openbaar. Uit die groot verskeidenheid
blyk dat sekere temas, soos pyn, aftakeling, dood, liefde, godsdiens
asook sosio-kulturele en politieke aktualiteite steeds as
die gewildste onderwerpe figureer. 'n Deel van die studie word
daaraan gewy om aan te toon hoe hierdie temas in die jonger
Afrikaanse poesie vergestalting vind.
'n Terna wat 'n besliste vernuwende aspek in die Afrikaanse poesie
bring, is die homoerotiek. Die groter openheid oor homoseksualiteit
gee aanleiding tot eksplisiete homoerotiese verse,
veral by Joan Hambidge en Johann de Lange. As gevolg van die
terroristiese bedrywighede en militere optrede aan die landsgrense gedurende die sewentiger- en tagtigerjare beleef die Afrikaanse
literatuur die opkoms van die sogenaamde grensliteratuur
as 'n vernuwende aspek van die tema van oorlog en geweld wat van
die vorige dekade af oorspoel. Verder word aandag gegee aan die
verskynsel van inter(-)tekstualiteit, wat weens die omvang
daarvan in die kreatiewe en beskouende literatuur,
perspektiefverandering in die Afrikaanse poesie teweegbring. 'n Verdere vernuwende aspek wat aangetoon word, is die wegbeweeg
van die beoef ening van die loss er, vryer versvorm van die
sestiger- en vroee sewentigerjare na 'n strenger vormbeheer en -
dissipline. Die skryf van 'n meer tradisionele tipe poesie word
by verskeie digters aangetoon. Die bydrae van tydskrifte en
tydskrifverse tot die Afrikaanse poesie word ondersoek. Saam met
die verskyning van talle bundels populere poesie, waar die klem
veral op die volkskwatryn, sonnet en limerick val, speel die
tydskrifte 'n besondere rol om Afrikaanse poesie vir 'n breer
leserspubliek toeganklik te maak. Daar word tot die
gevolgt~ekking gekom dat die digters van die tagtigerjare die
"demokratisering" van die Afrikaanse letterkunde veel verder
gevoer het en dat die reikwydte van Afrikaans daardeur uitgebrei
is / The rich diversity of Afrikaans poetry of the eighties is displayed
by the fact that many of the older poets, such as Eybers,
Breytenbach, Cussons, Stockenstrom and Ernst van Heerden, have
continued writing poetry, while a large number of newcomers have
appeared on the scene. Although these poets far exceed the
"generation" boundaries, they are evidently a very literary-aware
group of artists, whose work has a number of traits in common.
Certain themes, such as pain, decadence, death, love and
religion, as well as socio-cultural and political realities,
remain popular topics. Part of this study is to show how these
themes are expressed in contemporary Afrikaans poetry.
A decidedly new aspect of Afrikaans poetry is homo-eroticism.
The more open approach to homosexuality gives rise to explicit
homo-erotic poems, especially those of Joan Hambidge and Johann
de Lange. As a result of terrorist activities and military
action on our borders during the seventies and eighties,
Afrikaans literature saw the beginning of the so-called border
literature as a renewal of the war and violence theme, a relic
from the previous decade. Inter(-)textuality is explored, which,
due to its influence on creative and reviewing literature, has
brought about a change in the perspective of Afrikaans poetry.
A further renewal highlighted, is the moving away from the
unstructured and freer verse form of the sixties and early
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seventies to a stricter, controlled and disciplined form. The
more traditional type of poetry written by various poets is
discussed. The contribution by periodicals and poems in
periodicals to Afrikaans poetry is explored. Together with the
numerous volumes of popular poetry published, emphasizing the
national quatrain, sonnets and limericks, periodicals play an
important role in making Afrikaans poetry more accessible to a
broader reading public. The conclusion is reached that the poets
of the eighties promoted the "democratization" of Afrikaans
literature, thereby extending its influence / Afrikaans & Theory of Literature / D. Litt. et Phil. (Afrikaans)
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The emergence of modern Italian music (up to 1940)Waterhouse, John C. G. January 1969 (has links)
No description available.
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A criticism of the studies of Chinese fiction during the period 1900 to 1950胡從經, Hu, Cong-jing. January 1994 (has links)
published_or_final_version / Chinese / Doctoral / Doctor of Philosophy
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'Yuan-yang Hu-tieh School' novels in Shanghai林世濬, Lam, Sai-chun. January 1972 (has links)
published_or_final_version / Chinese / Master / Master of Philosophy
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Time and space in Zheng Chouyu's PoetryWan, Yu-pui., 溫羽貝. January 2008 (has links)
published_or_final_version / abstract / Chinese / Master / Master of Philosophy
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Continuity and transcendence of Jing SchoolFong, Sing-ha., 方星霞. January 2007 (has links)
published_or_final_version / abstract / Chinese / Master / Master of Philosophy
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The contemporary thought in modern Chinese novels, 1917-1949Shin Yeung, Kwan-man, Katherine, 冼楊堃文 January 1967 (has links)
published_or_final_version / Chinese / Master / Master of Arts
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Comparative study of the imagery in the peorty of Dai Wangshu and Bian Zhilin黎苑茵, Lai, Yuen-yan. January 2008 (has links)
published_or_final_version / Chinese Language and Literature / Master / Master of Arts
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