Dramatic Closure: Reading the End
Fairleigh Dickinson Univ Press, 1995 - 144 頁
In Dramatic Closure, author June Schlueter explores closure within both a traditional Aristotelian paradigm and contemporary reader-response theory, necessarily revising narrative insights to accommodate the special features of drama as a literary and performance form. Examples of plays from Oedipus to the present appear throughout the book, and individual chapters are dedicated to sustained discussions of William Shakespeare's King Lear, Tom Stoppard's Rosencrantz and Guildenstern Are Dead, Arthur Miller's The Ride Down Mount Morgan, and Tennessee Williams's A Streetcar Named Desire. The author emphasizes Shakespeare and, especially, modern drama in the belief that these plays provide salient models of the theoretical principles of reading toward closure. A chapter on tendencies in modern plays covers a wide range of material, suggesting ways in which twentieth-century drama disrupts the Aristotelian model and defers to the provisional or unsettling end.
In her theoretical discussion, Schlueter explores how literary, theatrical, and cultural conventions cooperate and collide; how the dramatic or performance text designates what Wolfgang Iser calls a text's "response-inviting structure"; how that structure activates conventions and predispositions throughout its sequence of reading moments, shaping, frustrating, and satisfying expectations; and how readers constitute texts as they read toward closure. The assumption throughout is that all texts, whether stable or transgressive, necessarily engage the question of how, when, and where to end and that all readers, whether of literary or performance texts, are implicated in closure.
讀者評論 - 撰寫評論
Prospective and Retrospective Reading
A Streetcar Named Desire
The Performance Text
Staging the Promised End
Scripting the Closing Scene
action activated actor aesthetic anticipates appear audience becomes beginning Blanche Blanche's calls character close closure comes complete consistent context continuous conventions conversation course critical cultural dead death describes dialogue direction drama dramatic earlier Edgar effect engage event example expectations experience father feeling fictional final follows force frame Hamlet Hamlet play hand historical implied individual insists interpretive involves Iser Jauss kind King Lear lines literary literature Lyman meaning moment moments moral Moreover moves narrative offers participant particular past performance text person play present production progress promised provides puts question reader readerly reading reality refusal respect response retrospective Rosencrantz and Guildenstern scene script sense sequence Shakespeare space speaks spectator speech stage Stanley Stanley's Stoppard story structure takes theater theatrical theory tion tragedy understanding unit University Press whole woman writerly text writing York
第 13 頁 - The weight of this sad time we must obey ; Speak what we feel, not what we ought to say. The oldest hath borne most : we, that are young, Shall never see so much, nor live so long.
第 14 頁 - This shows you are above, You justicers, that these our nether crimes So speedily can venge !— But^ O poor Gloster ! Lost he his other eye ! Mess.
第 41 頁 - I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure; that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will be one more sound: that of his puny inexhaustible voice, still talking.
第 50 頁 - His persons act and speak by the influence of those general passions and principles by which all minds are agitated and the whole system of life is continued in motion.
第 24 頁 - The White Rabbit put on his spectacles. "Where shall I begin, please, your Majesty?" he asked. "Begin at the beginning," the King said gravely, "and go on till you come to the end; then stop.
第 43 頁 - ESTRAGON: Then adieu. POZZO: Adieu. VLADIMIR: Adieu. POZZO: Adieu. Silence. No one moves. VLADIMIR: Adieu. POZZO: Adieu. ESTRAGON: Adieu. Silence. POZZO: And thank you. VLADIMIR: Thank you. POZZO: Not at all. ESTRAGON: Yes yes. POZZO: No no. VLADIMIR: Yes yes. ESTRAGON: No no. Silence. POZZO: I don't seem to be able . . . (Long hesitation.) ... to depart. ESTRAGON: Such is life.
第 75 頁 - It's terrible. Ours is an immutable reality which should make you shudder when you approach us if you are really conscious of the fact that your reality is a mere transitory and fleeting illusion, taking this form today and that tomorrow...
第 59 頁 - open' to every possible interpretation will be called a closed one.
第 67 頁 - If one characterizes as aesthetic distance the disparity between the given horizon of expectations and the appearance of a new work, whose reception can result in a 'change of horizons...