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Titlebook: Herman Heijermans and His Dramas; Seymour L. Flaxman Book 1954 Springer Science+Business Media Dordrecht 1954 Herman Heijermans.Ludwig Tie

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書目名稱Herman Heijermans and His Dramas
編輯Seymour L. Flaxman
視頻videohttp://file.papertrans.cn/426/425875/425875.mp4
圖書封面Titlebook: Herman Heijermans and His Dramas;  Seymour L. Flaxman Book 1954 Springer Science+Business Media Dordrecht 1954 Herman Heijermans.Ludwig Tie
描述During the last two decades of the nineteenth century the Dutch drama, which had lapsed into astate of somnolence since the glorious days of VondeI, suddenly awoke to vigorous life. Not only did gifted dramatists appear, but talented directors, actors, and actresses brought new splendor to the theatre. Yet this brilliant flame did not burst forth in a vacuum, and to appre- ciate the quality of its light, it must be viewed against the back- ground of its origins in the European drama. After the middle of the century the emphasis in literary creation had shifted from a subjective, emotional point of view to a more objective and rationalistic attitude. If this seems only a roundabout way of saying that Romanticism yielded its dominance to Realism and Naturalism, the conc1usion is justified, but we should not yield too readily to the pseudo-scientific mania which urges us to force literature into a genus and species type of c1assification. It is customary to say that in the eighties and nineties, Nat- uralism won a decisive victory over Romanticism and drove the partisans of the older movement from the field. At first glance this does, indeed, appear to be true. Hugo yields to Zola, Pu
出版日期Book 1954
關鍵詞Herman Heijermans; Ludwig Tieck; Satire; drama; naturalism; religious conservatism; romanticism; theatre
版次1
doihttps://doi.org/10.1007/978-94-011-9155-5
isbn_softcover978-94-011-8441-0
isbn_ebook978-94-011-9155-5
copyrightSpringer Science+Business Media Dordrecht 1954
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,“The Root of All Evil”,ined an important part of his philosophy. In Engel and the tradesmen of . he had portrayed people who were so blinded by their love of money that they could not love their fellow creatures. This became a theme of . (.), . (.), . (.), . (.), and ., and it also appears in .!, ., and . “..”
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Seymour L. Flaxman a solution without, however, coming near to discussing measures either extensive enough to tempt the Italians to halt their plans or sufficiently forceful to compel them to stop short of war. Nevertheless, diplomatic attention was now focused on the forthcoming meeting of the British, French and Italians in Paris.
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Seymour L. Flaxmane in London as well as in Paris to the threat of war that became manifest after Hitler’s accession to power in 1933. Put another way, this study examines why both governments, but especially the British, found it so difficult to accept the truth of bad news and to act on it.
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Fantasies and Satires, that arose in the early winter, although it was not published until 1896. . Heijermans called his play a “fantasy,” and there is enough symbolism and poetic imagination in it to prove that Naturalism certainly did not hold him in its spell.
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Protests Against Religious Conservatism and Intolerance,was more likely to be seen in the wide vistas of nature than through the narrow windows of any particular church. This is a view which appears again and again in his work, both as a novelist and as a dramatist.
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