標題: Titlebook: Gender and Genre; Essays on David Mame Christopher C. Hudgins,Leslie Kane Book 2001 Palgrave Macmillan, a division of Nature America Inc. 2 [打印本頁] 作者: 建筑物的正面 時間: 2025-3-21 18:02
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書目名稱Gender and Genre網(wǎng)絡公開度學科排名
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書目名稱Gender and Genre被引頻次學科排名
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作者: 正式通知 時間: 2025-3-21 20:20
https://doi.org/10.1007/978-1-349-20672-8the love of my family, frankly, the guiding desire of my life: to win and keep a place in our culturally despised profession through merit” (126). At the beginning of the twenty-first century, few knowledgeable people would deny that Mamet has won his place as one of the most respected, talented, an作者: dagger 時間: 2025-3-22 03:43 作者: CALL 時間: 2025-3-22 05:42
https://doi.org/10.1007/978-1-349-09918-4st feminist critics that Mamet and misogyny ring synonymous. The aggressively male dramaturgy charted by this first effort has served to cement this damning equation, as most Mamet plays feature men in traditionally male environments and include women only as minor characters when they are included 作者: AMPLE 時間: 2025-3-22 10:26
https://doi.org/10.1057/9780230512207d began to develop the scatalogically colloquial dialogue for which he would become known. This, after all, was the piece in which a man describes women as “soft things with a hole in the middle,” a line that one critic thought sufficiently representative to use in the epigraph to a scathing essay o作者: CHART 時間: 2025-3-22 16:16
https://doi.org/10.1057/9780230300453.… O’Neill couldn’t write a line of dialogue if you put a gun to his head, but he sure looked out at America, and he said at the turn of the century, ‘We blew it. It doesn’t work. The American Dream failed. It’s a tragedy, America’” (Kane 236–37). Mosher invokes O’Neill to make a claim for clairvoya作者: CHART 時間: 2025-3-22 19:27 作者: 賞心悅目 時間: 2025-3-23 00:03 作者: Collar 時間: 2025-3-23 04:37
British Romanticism in European Perspectiventerpretations focusing on gender politics. Such arguments tend to favor discussions of power, language, or political correctness gone horribly wrong. The play and its author certainly invite readings grounded in its cultural context, concerned as it is with familiar current events. But if we turn a作者: prolate 時間: 2025-3-23 07:55
https://doi.org/10.1007/978-3-319-67894-8edda Gabler do not generally turn for inspiration to America’s foremost macho playwright, whose milieu runs the gamut of pool halls, porn theaters, cheap bars, Hollywood offices, and other traditionally male arenas, and whose characters do “guy” things: curse, gamble, cheat, wheel and deal. By and l作者: Psa617 時間: 2025-3-23 11:27 作者: GRILL 時間: 2025-3-23 15:43
British Scientists and the Manhattan Projectich the defining figure of patriarchy— the father—is notably absent, the play nevertheless engages in an obsessively enigmatic examination of the myths that construct Mamet’s worlds of men. In an interview on ., Mamet remarked that until recently, he had felt that “the domestic scene was best left t作者: 包租車船 時間: 2025-3-23 19:59
British Silent Cinema and the Great Warand Mamet readily agrees (.).. To be sure, the strength of both works stems from their idea that the spectacular cannot be and is not more important or representative than the ordinary. The everyday, the seemingly commonplace, can aesthetically suggest something essential and unique in the human con作者: 舔食 時間: 2025-3-23 23:44 作者: BLOT 時間: 2025-3-24 03:34 作者: 神圣將軍 時間: 2025-3-24 08:46 作者: Interstellar 時間: 2025-3-24 12:09
https://doi.org/10.1057/9780230300453have sustained them, they now turn against each other …’” (Leahey 3). In this version of the American Dream turned nightmare, Edmond Burke, a middle-class white executive, leaves his wife to seek validation among New York’s conmen and whores. They cheat him and beat him, until he turns on a pimp who作者: Synapse 時間: 2025-3-24 16:30
Sheila A. Spector (independent scholar) acknowledged the rage released by men of the audience, whose antipathy toward Carol exploded in extraordinary and immediate vituperative verbal responses. Indeed, their dislike of her was mirrored in the near-final moments when John, reduced in language to a wrathful and graphic expletive, stands o作者: 不來 時間: 2025-3-24 21:32
British Scientists and the Manhattan Projectit is disguised as the inverse of .: in the manner of Mamet’s con-game drama and cinema, it pretends to be a family play, set—not in a place of business—but in a family home. By subtracting the (heterosexual) patriarch, it masquerades as a drama of Others, focusing on a woman, a gay man, and a child作者: 時間等 時間: 2025-3-24 23:57 作者: 白楊 時間: 2025-3-25 05:13 作者: 善于 時間: 2025-3-25 10:59
Oleanna, or, the Play of Pedagogy, acknowledged the rage released by men of the audience, whose antipathy toward Carol exploded in extraordinary and immediate vituperative verbal responses. Indeed, their dislike of her was mirrored in the near-final moments when John, reduced in language to a wrathful and graphic expletive, stands o作者: 600 時間: 2025-3-25 14:01 作者: Cardioversion 時間: 2025-3-25 17:04 作者: choleretic 時間: 2025-3-25 20:00
Introduction,the love of my family, frankly, the guiding desire of my life: to win and keep a place in our culturally despised profession through merit” (126). At the beginning of the twenty-first century, few knowledgeable people would deny that Mamet has won his place as one of the most respected, talented, an作者: 嘲笑 時間: 2025-3-26 01:05 作者: 多節(jié) 時間: 2025-3-26 06:06
Plowing the Buffalo, Fucking the Fruits: (M)Others in American Buffalo and Speed-the-Plow,st feminist critics that Mamet and misogyny ring synonymous. The aggressively male dramaturgy charted by this first effort has served to cement this damning equation, as most Mamet plays feature men in traditionally male environments and include women only as minor characters when they are included 作者: FLACK 時間: 2025-3-26 12:04 作者: 危險 時間: 2025-3-26 13:36
Prophecy and Parody in ,.… O’Neill couldn’t write a line of dialogue if you put a gun to his head, but he sure looked out at America, and he said at the turn of the century, ‘We blew it. It doesn’t work. The American Dream failed. It’s a tragedy, America’” (Kane 236–37). Mosher invokes O’Neill to make a claim for clairvoya作者: Conducive 時間: 2025-3-26 20:27
Demotic Male Desire and Female Subjectivity in David Mamet: The Split Space of the Women of ,et’s plays at the 1994 MLA convention in San Diego (7). Not too long ago, Ilkka Joki cataloged extensively the chorus of bitter complaints that have been heard over the last decade regarding Mamet’s alleged misogyny and outrageous gender representations (11- 13). Some years ago, Bharati Mukherjee, a作者: Flinch 時間: 2025-3-26 23:14
Oleanna, or, the Play of Pedagogy,r play presented a devastating vision of the tense relationships between men and women in contemporary American society. They pointed to the recurrence of a frequent Mamet theme: the inability of language to elucidate meaning and its use as a weapon of humiliation or concealment. Many provided a cul作者: Bronchial-Tubes 時間: 2025-3-27 05:02 作者: 接觸 時間: 2025-3-27 07:56 作者: Aspiration 時間: 2025-3-27 10:25 作者: 熱心 時間: 2025-3-27 15:04 作者: 群島 時間: 2025-3-27 21:24
,Mamet’s Novelistic Voice,and Mamet readily agrees (.).. To be sure, the strength of both works stems from their idea that the spectacular cannot be and is not more important or representative than the ordinary. The everyday, the seemingly commonplace, can aesthetically suggest something essential and unique in the human con作者: saturated-fat 時間: 2025-3-28 00:55 作者: 坦白 時間: 2025-3-28 03:01 作者: 不可知論 時間: 2025-3-28 08:24
Investment, Modernization and Efficiency, and die. We as audience and we as artists must work to bring about a theater, an American Theater, which will be a celebration of these things” (. 30). To rescue the commonplace from apparent banality and “ratify [its] universality” has, indeed, long been recognized as a defining characteristic of Wilder’s drama.作者: Cerumen 時間: 2025-3-28 13:25 作者: 中子 時間: 2025-3-28 15:26
https://doi.org/10.1057/9780230512207t presented a woman character as enigma within a predominantly masculine world: Margaret Ford, the psychoanalyst who alters her appearance and behavior at the end of . (1987); and Karen, the Hollywood secretary whose motives remain uncertain in . (1988).作者: palpitate 時間: 2025-3-28 21:17 作者: 喊叫 時間: 2025-3-29 02:31 作者: 閑聊 時間: 2025-3-29 04:30 作者: FILTH 時間: 2025-3-29 07:51
,Mamet’s Three Children’s Plays: Where the Wilder Things Are, and die. We as audience and we as artists must work to bring about a theater, an American Theater, which will be a celebration of these things” (. 30). To rescue the commonplace from apparent banality and “ratify [its] universality” has, indeed, long been recognized as a defining characteristic of Wilder’s drama.作者: 追逐 時間: 2025-3-29 12:53 作者: 愚笨 時間: 2025-3-29 18:16
Disguise in Love: Gender and Desire in , and Speed-,t presented a woman character as enigma within a predominantly masculine world: Margaret Ford, the psychoanalyst who alters her appearance and behavior at the end of . (1987); and Karen, the Hollywood secretary whose motives remain uncertain in . (1988).作者: Accede 時間: 2025-3-29 22:36
Demotic Male Desire and Female Subjectivity in David Mamet: The Split Space of the Women of ,own spare remarks—that he prefers to write about men (Fraser 7)—may be seen only to confirm the feeling that often surfaces in popular responses to Mamet’s plays that this is a playwright with an anachronistic hostility to, or apathy for, women.作者: Lice692 時間: 2025-3-30 02:43
,Mamet’s Novelistic Voice, novel brings home the unexpected, “always the unforeseen” in human existence: “Everything changes except War” (. 231; 230). The voice here is Lynn’s, the oldest and arguably wisest of the male characters, the consummate hunter, but Mamet emphatically endorses the idea through his choice of Lynn as the focus in this crucial scene.
