Diderot's "De la Poesie dramatique" became seminal in the German literary tradition as a result of Lessing's prompt translation in 1760; however, little more than half of this important treatise on theatrical theory has been translated into English, thus suggesting a need for the present annotated version after more than two centuries of neglect. Moreover, the concept of a unified work of art was so central to Diderot's aesthetics that it would seem natural to suspect that his own primary text on theatrical theory would itself be a coherent whole, which could not be fully appreciated in partial translations; rather, the more the coherence of his own aesthetic principles becomes evident, including their later developments in the Salons, the more the need becomes obvious to have access to as many of his related works as possible through translations. / Another way of measuring the importance of Diderot's theatrical treatise, translated as "Discourse on Drama," will be indicated by reference to the playwrights Beaumarchais and Brecht, since both have written accolades for Diderot's dramatic theories. Two chapters of this dissertation will therefore attempt to trace the nature of this influence, thereby illustrating which principles have proven important to two playwrights recognized to have international reputations. / Source: Dissertation Abstracts International, Volume: 54-03, Section: A, page: 0924. / Major Professor: William Cloonan. / Thesis (Ph.D.)--The Florida State University, 1993.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_76885 |
| Contributors | McPhee, Jean Fradenburg., Florida State University |
| Source Sets | Florida State University |
| Language | English |
| Detected Language | English |
| Type | Text |
| Format | 312 p. |
| Rights | On campus use only. |
| Relation | Dissertation Abstracts International |
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