Scrutinizing the critical tendency to label texts or writers as "postmodern", scholar Stephen Watt argues that "reading post modernly" merely implies reading culture more broadly. In contemporary drama, Watt considers postmodernity less a question of genre or media than a mode of subjectivity shared by both playwright and audience. 6 illustrations.

Gustav Aulen's starting point in this book is that God can only reveal himself in the form of symbols; in himself he remains beyond our comprehension. The symbols we use will determine our image of God. A bewildering variety of such images is to be found in modern literature, but the Christian image of God is inseparably linked with the drama of Christ.

Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus.

Hamlet tells Horatio that there are more things in heaven and earth than are dreamt of in his philosophy. In Double Vision, philosopher and literary critic Tzachi Zamir argues that there are more things in Hamlet than are dreamt of--or at least conceded--by most philosophers. Making an original and persuasive case for the philosophical value of literature, Zamir suggests that certain important philosophical insights can be gained only through literature. But such insights cannot be reached if literature is deployed merely (...) as an aesthetic sugaring of a conceptual pill. Philosophical knowledge is not opposed to, but is consonant with, the literariness of literature. By focusing on the experience of reading literature as literature and not philosophy, Zamir sets a theoretical framework for a philosophically oriented literary criticism that will appeal both to philosophers and literary critics. Double Vision is concerned with the philosophical understanding induced by the aesthetic experience of literature. Literary works can function as credible philosophical arguments--not ones in which claims are conclusively demonstrated, but in which claims are made plausible. Such claims, Zamir argues, are embedded within an experiential structure that is itself a crucial dimension of knowing. Developing an account of literature's relation to knowledge, morality, and rhetoric, and advancing philosophical-literary readings of Richard III, Macbeth, Romeo and Juliet, Othello, Antony and Cleopatra, Hamlet, and King Lear, Zamir shows how his approach can open up familiar texts in surprising and rewarding ways. (shrink)

Drama and Feeling makes a case for placing educational drama firmly within the curriculum and provides drama educators with new insight into the dramatic art form and process.

In this book, classicist Joshua Billings considers classical Greek drama as intellectual history. Developing an innovative approach to dramatic form as a mode of philosophical thought, Billings recasts early Greek intellectual history as a conversation across types of discourses and demonstrates the significance of dramatic reflections on widely-shared conceptual questions. He integrates evidence from tragedy, comedy, and satyr play into the development of early Greek philosophy in order to place poetry at the center of Greek thought. He thus offers (...) a substantially new history and map of classical intellectual culture: drama, on his view, appears as our best source for understanding the thought of the fifth century, while at the same time revealing significant tensions and anxieties in the development of philosophy. At the heart of the book is a novel approach to the philosophical qualities of drama. Though dramatists and their works have been considered philosophical in a variety of ways going back to antiquity, scholarly approaches have consistently taken "literature" and "philosophy" as defined categories, tracing more or less direct connections between one and the other. On the contrary, Billings argues that neither "literature" nor "philosophy" were available as stable categories in the fifth century. Rather he describes the way that drama treats issues that would come to be called philosophical, without relying on assumptions concerning what constitutes philosophical method or literary form. Drama develops a kind of method that allows it to pose and pursue conceptual questions in dramatic form which Billings describes as the "philosophical poetics" of drama. (shrink)

Lukacs participation in the establishment and running of the Theater Company Thalia will reflect on his reflection on the modern drama in his first book (History of the evolution of modern drama". Our study is based on the correspondence between Lukacs and his companions and analysis of the early writings of Lukács, usually in Hungarian.

Plato's Sophist is complex. Its themes are many and ambiguous. The early grammarians gave it the subtitle1tEp1. 'tau ov'to~ ('on being') and assigned it to Plato's logical investigations. The Neoplatonists prized it for a theory of ontological categories they preferred to Aristotle's. Modern scholars sometimes court paradox and refer to the Sophist as Plato's dialogue on not-being (because the question ofthe possibility of not-being occupies much of the dialogue). Whitehead took the Sophist to be primarily about ouvo.~t~ ('power') and found (...) in it many of the central ideas of process theology.2 Heidegger thought it articulated the 'average concept of being in general'.3 In Cornford's view the Sophist is mainly about truth and falsehood. Ackrill, Frede and most analytic philosophers think it is about predication.4 Stanley Rosen treats it as a metaphysico-aesthetic dialogue: in his view it is about the relation of images to originals.5 As far as the title of the dialogue goes, however, opinion is almost universal. Do not be misled: 'the definition of the sophist' observed Archer-Hind 'is simply a piece of pungent satire'6 and he added that 'we may be sure that (Plato] cared little about defining the sophist, but very much about the metaphysical questions to which the process of definition was to give rise'.7 The most spectacular case of agreement with this judgment can be found in Cornford, who omits to translate the sections on the definition of the sophist because, as he says 'the modern reader ... might be wearied'.8. (shrink)

In this paper I address the issue of narrativity in music. The central question is the extent to which pure instrumental music in the classical tradition can or should be understood as narrative, that is, as narrating a story of some kind. I am interested in the varying potential and aptness for narrative construal of different sorts of instrumental music, and in what the content of such narratives might plausibly be thought to be. But ultimately I explore, at greater length, (...) an alternative way of construing musical process, namely, as dramatic rather than narrative in nature, following the lead of two musicologists, Anthony Newcomb and Fred Maus. After a comparison of the respective merits of narrative and dramatic construals of music, the paper concludes with an illustrative reading, in dramatic mode, of part of the opening movement of Schubert's Piano Sonata in A minor, D. 845. (shrink)

One of the greatest dramatists of all time, Shakespeare, recognized that dramatic action was not limited to the stage. Now, in Drama and Intelligence, a work firmly rooted in developmental drama, Richard Courtney is the first to examine dramatic action as an intellectual and cognitive activity. Courtney explores the nature of those experiences we live "through" and which involve us in what is termed "as if" thinking and action.

Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.

pt. 1. [without special title] -- pt. 2. The eternal world drama.

Drawing from the works of George Herbert Mead, Kenneth Burke, and Mikhail Bakhtin, this work argues that everyday interactions are inescapably dramas, conducted through the use of dialogues in order to promote mutual understanding.

Professor Webster's attempt to prove that south Italian vases of the middle of the fourth century can be used as evidence of Athenian theatrical arrangements of half or three-quarters of a century earlier leaves me unconvinced. It, is true that, as he says, ‘the plays’ which the vases illustrate ‘come from Athens'— at least, most of them probably did: but a number of scenes on the vases are not scenes presented in the plays at all, but are scenes suggested to (...) the painter by descriptions in messengers’ speeches, or, quite possibly, by the story dramatized in the plays, but not by the Athenian poet's particular treatment of the story; the plays —and the stories made popular by them—had been the common property of the Greek world for more than half a century, and there is no reason why Italian producers should have gone back to the original production in Athens, still less why Italian painters should have done so, even if they knew what the original production was like. (shrink)

As prose dramatic texts Plato's dialogues would have been read by their original audience as an alternative type of theatrical composition. The 'paradox' of the dialogue form is explained by his appropriation of the discourse of theatre, the dominant public mode of communication of his time. The oral performance of his works is suggested both by the pragmatics of the publication of literary texts in the classical period and by his original role as a Sokratic dialogue-writer and the creator of (...) a fourth dramatic genre. Support comes from a number of pieces of evidence, from a statue of Sokrates in the Academy to a mosaic of Sokrates in Mytilene, which point to a centuries-old tradition of treating the dialogues in the context of performance literature and testify to the significance of the image of 'Plato the prose dramatist' for his original and subsequent audiences. (shrink)

인간의 내적 성찰은 감정이나 사상이 동작이나 행위 속에서 즉 객관적 · 외적 현실과의 눈에 보이는 상호작용 속에서만 드러날 수 있다. 인간의 감각적 지각의 양상은 인간의 전체적 존재양상에 따라 변하기 마련이다. 이러한 다양한 인간의 감정양상 등을 문학에서는 희곡적으로 다루고 있다. 기존의 극(劇)이라는 용어는 넓은 의미로 연극과 희곡을 포괄하는 개념이며 좁은 의미로 연극만을 의미하는 개념이다. 그러나 본 연구에서는 넓은 광의개념인 희곡으로 그 범주를 정하고 ‘극 양식으로 본 『화엄경』『입법계품』의 등장인물 연구’에 대하여 살펴보았다. 본 연구에서 중점적으로 다룬 연구내용은, 『화엄경』『입법계품』의 핵심사상과『입법계품』에 등장하는 53명의 인물들이 강조하고 (...) 실천한 핵심전언(傳言)에 대해 분석한 것이다. 그리고 또『입법계품』 에 나타난 문학의 한 장르인 희곡적 특징을 기호학적 방법론으로써 등장인물에 대한 행위소 등에 대하여도 살펴보았다. 그 결과, 『화엄경』「입법계품」의 주인공인 선재동자는 바로 우리 중생을 대표하는 등장인물이라는 것이다. 또 선재동자가 찾아가 만나게 되는 한명 한명의 등장인물들은 치유의 해탈문으로서 선재의 불성(佛性)을 일깨워주고 있는 선지식들이라는 것을 확인할 수 있었다. 따라서 우리는 선재동자가 법을 구하기 위하여 끝없이 남행을 하면서도 피로해하거나 지치지 않고 선지식을 찾아 결국 성불하게 된다는 입법계품 의 핵심사상이 오늘날 현대인에게 시사하는 바는 자못 크다고 하겠다. (shrink)

Rhetorical ethos and dramatic theory -- Syntax, style, and ethos -- The worth of words -- Memory and ethos -- Shaw, ethos, and rhetorical wit -- Athol Fugard's dramatic rhetoric -- Rhetoric and silence in Holocaust drama.

Inheritance is about cold cash and warm emotions. On a macroeconomic level inherited wealth is a source of inequality, but on a personal level it is a gift between relatives that can involve gratitude, but also a sense of obligation and duty continuity, but also conflicts. These perspectives often clash in public discussions about inheritance law and taxation. This article discusses the implicit notions about inheritance and their relationship to positions in the public debate in three Danish filmic works: Per (...) Fly’s Inheritance (2003), first season of the TV-series The Heirs (2014) and Christian Sønderby Jepsen’s The Will (2011). (shrink)

The Orphan of Zhao" exemplifies a quintessential Chinese tragedy that encapsulates the values of loyalty and kindness, deeply rooted in Chinese cultural and philosophical traditions. This study embarks on an exploration of the ethnic and cultural nuances of this tragedy, contrasting it with Western dramatic forms to elucidate divergent philosophical foundations and religious influences. Central to this analysis is the comparison of cultural backgrounds, thematic focus, value systems, structural compositions, and narrative techniques that distinguish Chinese tragedies from their Western counterparts. (...) The distinctions between Chinese and Western dramatic tragedies are profoundly influenced by their respective cultural and historical milieus—Confucianism in China and Christianity in the West. These foundational beliefs shape the narrative structures and stylistic expressions of tragedies in each culture. For instance, Chinese tragedies typically employ a retributive justice framework reflective of Confucian ethics, whereas Western tragedies often explore dramatic conflicts and moral confrontations rooted in Christian theological themes. The Orphan of Zhao" not only showcases the characteristics of Chinese tragic narratives but also bridges understandings with Western dramatic forms, thereby serving as a fertile ground for cultural exchange and deeper mutual appreciation. Through a detailed examination of "The Orphan of Zhao" and its comparative analysis with Western tragedies, this paper illuminates the universal themes of tragedy while highlighting distinct philosophical and religious dimensions. Such comparative studies enrich our comprehension of global tragic expressions and inspire contemporary theatrical writing across cultures. In essence, "The Orphan of Zhao" offers a distinctive lens through which to view the interplay between tragedy and the philosophical and religious contexts that shape it. By dissecting the similarities and differences in tragic storytelling across cultures, this study contributes valuable insights to the ongoing discourse on the role of philosophy and religion in the arts, enhancing our understanding of how tragedies can transcend cultural boundaries yet remain deeply rooted in their ethnic and philosophical origins. (shrink)

Plato’s Charmides suggests that there are really four notions that are deeply connected with one another, and in order to understand sôphrosunê we need to get a proper hold on them and their relation: these four notions are Knowledge of Ignorance, Self-Knowledge, Knowledge of the Good, and Knowledge of the Whole. My aim is to explore these four notions in two stages. First, I will try to explain Socrates’s notion of knowledge of ignorance, so that the nature and coherence of (...) this Socratic idea will come into focus, and shed some light on its connection to self-knowledge and knowledge of the good. Second, I will turn to explain what I call the origin (archê) or even “truth” of Socrates’s conception of sôphrosunê by examining the idea of the physician of the soul in Plato’s Charmides and Plato’s use of the dialogue form, and thereby make a connection to knowledge of the whole. I will show that seeing sôphrosunê as “whole-mindedness,” connects to Socrates’s description of our in-between state as human beings, and that the study of this “in-between-ness,” is the supremely insightful glimpse into Socrates and his philosophical activity (perhaps the very definition of it). (shrink)

Shakespeare wrote plays and young children are geniuses at playing. In March 2008 the Royal Shakespeare Company (RSC) launched Stand Up for Shakespeare, its manifesto for the teaching of Shakespeare in schools. Of its three stated principles—“Do it on your feet; see it live; start it earlier”—it is perhaps the third that is the most tantalizing. The company’s education department has done much over recent years to introduce key stage 2 children to a variety of his plays but has paid (...) less attention to children’s early years. In association with the University of Warwick, the company therefore commissioned a pilot project to introduce children as young as four and five years old to Shakespeare in order to .. (shrink)

These essays suggest a number of answers to the question: Why Nietzsche still? They show that Nietzsche still has a great deal to say to those who read him with an eye toward developing critical responses to the present and the future that will follow.

Helfer opens his book with a series of vigorous reflections that have the virtue of challenging some of the reader’s deeply seated beliefs concerning political emotions. While we moderns see political ambition mostly as a threat to the public good that needs to be checked, ancients, the author suggests, considered that passion in a positive light. Indeed, they regarded political ambition as the manifestation of a powerful desire to achieve noble deeds in the civic sphere, an aspiration they saw as (...) a central feature of human nature. That Alcibiades presents us with the most spectacular example of a man animated by such a passion is uncontentious, no matter how controversial this historical person was. By studying... (shrink)