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Titlebook: Rereading Shepard; Contemporary Critica Leonard Wilcox (Senior Lecturer in English) Book 1993 Palgrave Macmillan, a division of Macmillan P

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發(fā)表于 2025-3-21 19:39:07 | 只看該作者 |倒序瀏覽 |閱讀模式
書目名稱Rereading Shepard
副標題Contemporary Critica
編輯Leonard Wilcox (Senior Lecturer in English)
視頻videohttp://file.papertrans.cn/828/827700/827700.mp4
圖書封面Titlebook: Rereading Shepard; Contemporary Critica Leonard Wilcox (Senior Lecturer in English) Book 1993 Palgrave Macmillan, a division of Macmillan P
描述Rereading Shepard draws together 13 original theoretical perspectives on one of America‘s most important contemporary playwrights. Representing a range of critical appraoches - including semiotics, deconstruction, and feminism - the essays address recent debates emerging in Shepard criticism. These include the status of Shepard‘s texts within the modernist tradition on the one hand and a developing post-modernism on the other, and the feminist debate over Shepard‘s drama - does it reinforce a masculinist world or does it provide some oppositional stance toward patriarchal ‘master narratives‘?
出版日期Book 1993
關(guān)鍵詞America; drama; Narrative
版次1
doihttps://doi.org/10.1007/978-1-349-22509-5
isbn_softcover978-1-349-22511-8
isbn_ebook978-1-349-22509-5
copyrightPalgrave Macmillan, a division of Macmillan Publishers Limited 1993
The information of publication is updating

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沙發(fā)
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Potential Performance Texts for , and ,d of stage directions. Actual performance texts might depart far more from, even confront, such specifications — as Richard Scheduler’s realisation of Shepard’s . did; and Patrice Pavis recognises the viability, indeed the virtue, of such a radical approach on the part of a director.
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A Motel of the Mind: , two plays offer particularly intriguing examples of a correlation between the . — that is, any physical object that is visible to the audience — and the mental states of the characters as they relate to the meaning of the play as a whole.
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,Lighting Out for the Territory Within: Field Notes on Shepard’s Expressionist Vision,us of the man. But the best response, surely, is to take the plays seriously enough to grapple with them, to try to understand why it is that they move us and what they make us feel — and think. If Shepard is to be called great or major or central, then it behooves us to know why.
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