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Terence between Late Antiquity and the Age of Printing investigates the Medieval and Early Renaissance reception of Terence in highly innovative ways, combining the diverse but interrelated strands of textual criticism, illustrative tradition, and performance. The plays of Terence seem to have remained unperformed until the Renaissance, but they were a central text for educators in Western Europe. Manuscripts of the plays contained scholarship and illustrations which were initially inspired by Late Antique models, and which were constantly transformed in response to contemporary thought. The contributions in this work deal with these topics, as well as the earliest printed editions of Terence, theatrical revivals in Northern Italy, and the readership of Terence throughout the Early Middle Ages.
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Called the most important British filmmaker of his generation, Terence Davies made his reputation with modern classics like 'Distant Voices', 'Still Lives', and 'The Long Day Closes'. His idiosyncratic and unorthodox narrative films defy easy categorization; though they would seem to exist within the realms of realism and personal memory cinema, the films lay bare the director's personal pain in a daringly abstract way. Film critic Michael Koresky explores the unique emotional tenor of Davies' work by focusing on four paradoxes within the director's oeuvre: films that are autobiographical yet fictional; melancholy yet elating; conservative in tone and theme yet radically constructed; and obsessed with the passing of time yet frozen in time and space.
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Die vorliegende Neuausgabe des Andria-Kommentars des römischen Grammatikprofessors Aelius Donatus ersetzt Wessners Teubneriana von 1902: Basierend auf der erstmaligen vollständigen Sichtung und Erfassung der mittelalterlichen und humanistischen Handschriftentradition sowie der indirekten Überlieferung wird ein neuer kritischer Text des Terenzkommentars geboten. Prolegomena, ein Quellen- und Parallelenapparat sowie Indizes erschließen den für die antike und neuzeitliche Komödienexegese zentralen Text.
Terence. --- Aelius Donatus. --- Andria. --- Donatus, Aelius. --- Roman comedy. --- Römische Komödie. --- Terenz. --- LITERARY COLLECTIONS / Ancient & Classical. --- Donatus, Aelius --- Manuscripts. --- Aelius Donatus --- Donatus Grammaticus --- Terence. - Andria - Commentaries --- Terence. - Andria
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Malick, Terrence, --- Malick, Terence, --- Malick, Terry, --- Criticism and interpretation.
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This volume considers the phenomenon of mimetic contagion, whereby works of art draw viewers into direct imitation of themselves, and how it operates within specific historical contexts.
Terence. --- Latin drama (Comedy) --- Imitation in literature --- Térence --- L'eunuque --- --Comédie latine --- --Histoire et critique --- --Imitation --- --Littérature --- --History and criticism --- Terence --- Criticism and interpretation --- Imitation in literature. --- Quotation --- Literary style --- Mimesis in literature --- Originality in literature --- Plagiarism --- Eunuchus (Terence) --- P. Terenti Eunuchus (Terence) --- Latin drama (Comedy) - History and criticism --- Comédie latine --- Histoire et critique --- Imitation --- Littérature --- Terence. - Eunuchus --- Terence - Criticism and interpretation --- Térence 190-159 av JC
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Die Römische Komödie, deren bekannteste Dichter Plautus und Terenz waren, entstand unter Anlehnung an die Griechische Neue Komödie. Die Forschung bemüht sich seit etwa 200 Jahren, aus den römischen Nachbildungen verlorene Originale zu erschließen. Dies ist besonders aufgrund weitgehend erhaltener Stücke Menanders (dessen Kenntnis im 20. Jh. durch zahlreiche Neufunde erweitert wurde) möglich. Das analytische Verfahren macht sowohl die Eigenart der Griechischen als auch der Römischen Komödie deutlich. Als besonders fruchtbar erweist sich der in den letzten Jahrzehnten entwickelte Ansatzpunkt, die vielfältigen Einflüsse des altitalischen Stegreifspiels auf die Palliata nachzuweisen. In 30 Abhandlungen aus den Jahren 1963 bis 2013, von denen 10 unpubliziert sind, wird neben einer ausführlichen Vorstellung Menanders in übergreifenden und speziellen Beiträgen zu Plautus und Terenz unter analytischem Blickwinkel die Problematik der spezifischen Dramaturgie und der zuweilen utopischen Weltdeutung ihrer Stücke herausgestellt. Aufgrund der Vielfalt der behandelten Aspekte ergibt sich ein umfassendes Bild der Römischen Komödie.
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‘Terence Rattigan was among the most successful British playwrights of the modern era – a master of comedy as well as tragedy. He is so incredibly good it should come as no surprise that a significant revival has been underway for some time. In fact, Rattigan has been slowly achieving a permanent place of esteem in the essential repertoire of twentieth century dramatists. And that place will be bolstered by this brilliant comprehensive study of the playwright’s art by John A. Bertolini. His book is a pleasure to read: elegantly written, persistently intelligent, and lucid, and it does exactly what it promises: makes a case for Rattigan.’ - Jay Parini, D.E.Axinn Professor of English, Middlebury College, USA This book asserts the extraordinary quality of mid-twentieth century playwright Terence Rattigan’s dramatic art and its basis in his use of subtext, implication, and understatement. By discussing every play in chronological order, the book also articulates the trajectory of Rattigan’s darkening vision of the human potential for happiness from his earlier comedies through his final plays in which death appears as a longed for peace. New here is the exploration through close analysis of Rattigan’s style of writing dialogue and speeches, and how that style expresses Rattigan’s sense of life. Likewise, the book newly examines how Rattigan draws on sources in Greek and Roman history, literature, and myth, as well as how he invites comparison with the work of other playwrights, especially Bernard Shaw and Shakespeare. It will appeal broadly to college and university students studying dramatic literature, but also and especially to actors and directors, and the play-going, play-reading public.
Culture --- Ethnology --- Theater --- Cultural and Media Studies. --- Theatre History. --- British Culture. --- Study and teaching. --- Europe. --- History. --- Rattigan, Terence. --- Cultural studies --- Theater-History. --- Ethnology-Europe. --- Theater—History. --- Ethnology—Europe.
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Instead of seeing Terence primarily as an adapter of Greek New Comedy, Sander Goldberg treats him as an innovative dramatist writing for a specifically Roman audience. His book will interest not only students of classical literature but also those concerned with wider problems of critical theory and the comic tradition.Originally published in 1986.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Theater --- Latin drama (Comedy) --- History and criticism --- History --- Terence --- Criticism and interpretation --- 871 TERENTIUS AFER, PUBLIUS --- -Theater --- -Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- 871 TERENTIUS AFER, PUBLIUS Latijnse literatuur--TERENTIUS AFER, PUBLIUS --- Latijnse literatuur--TERENTIUS AFER, PUBLIUS --- -Terence --- Terenz --- Terenzio Afro, Publio --- Comic, The, in literature --- Comique dans la littérature --- Critique et interprétation --- History and criticism. --- Criticism and interpretation. --- Terentius Afer, Publius --- Terentius, P. --- Afer, Publius Terentius --- Afro, Publio Terencio --- Terencjusz --- Terent︠s︡iĭ, Publiĭ --- Terencio --- Terencio Afro, Publio --- Terentios --- Terenzio --- Terentius Apher, Publius --- Apher, Publius Terentius --- טרנטיוס --- Theater - Rome --- Latin drama (Comedy) - History and criticism --- Theater - History - To 500 --- Térence --- Terence - Criticism and interpretation
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This book develops a Marxist theory of literary style. The first part explains why Raymond Williams, Terry Eagleton and Fredric Jameson came to see style as central to political criticism. It delineates the historical and conceptual preconditions for the emergence of a ‘politics of style’, and uncovers an underground current of stylistics within the Marxist tradition from Marx to Barthes. The second part sets out precisely what each thinker has written on style and demonstrates how this came to figure in their overall intellectual and political projects, focusing above all on a detailed reconstruction of Williams’s best-known concept, the ‘structure of feeling’. Finally, the third part sets out an independent theory of style and makes an ambitious attempt to establish it as a foundational element of a new Marxist poetics.
Socialism and literature. --- Literature and socialism --- Literature --- Williams, Raymond. --- Eagleton, Terry, --- Jameson, Fredric. --- Jameson, Fredric --- Eagleton, Terence, --- Eagleton, T. F. --- Igŭltŭn, Teri, --- Uilʹi︠a︡ms, R.
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