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Away from the action: Narrative rupt...

Icenogle, Gretchen Christine.

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Away from the action: Narrative rupture in "Hamlet", "Lorenzaccio" and "Danton's Death" (William Shakespeare, George Buechner, Alfred de Musset, France, England, Germany).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Away from the action: Narrative rupture in "Hamlet", "Lorenzaccio" and "Danton's Death" (William Shakespeare, George Buechner, Alfred de Musset, France, England, Germany)./
Author:	Icenogle, Gretchen Christine.
Description:	161 p.
Notes:	Source: Dissertation Abstracts International, Volume: 64-02, Section: A, page: 0341.
Contained By:	Dissertation Abstracts International64-02A.
Subject:	Theater. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3079952

Away from the action: Narrative rupture in "Hamlet", "Lorenzaccio" and "Danton's Death" (William Shakespeare, George Buechner, Alfred de Musset, France, England, Germany).
Icenogle, Gretchen Christine.

Away from the action: Narrative rupture in "Hamlet", "Lorenzaccio" and "Danton's Death" (William Shakespeare, George Buechner, Alfred de Musset, France, England, Germany). - 161 p.

Source: Dissertation Abstracts International, Volume: 64-02, Section: A, page: 0341.

Thesis (Ph.D.)--University of California, Santa Barbara, 2003.

The connection between the three plays treated here is enough of a commonplace that Lorenzaccio and Danton's Death are sometimes referred to as the French and German Hamlet, respectively. There is no question that Alfred de Musset and Georg Buchner, like so many of their contemporaries, actively emulated William Shakespeare's example and quoted from his work. Many other critics have already connected the available dots. This particular study arose. This particular study arose from the author's conviction that the familial resemblance among these three plays had deeper origins than any traditional narrative of literary influence could fully describe. One of the qualities that Hamlet, Lorenzaccio and Danton's Death share is a kind of intellectual restlessness or irritability. It is most powerfully embodied in the title characters, but it permeates the plays in their entirety. The dissertation aims to describe the common irritants, the philosophical paradoxes and ethical dilemmas that demanded these particular dramaturgical responses. The tragedies are structurally akin because they address kindred questions. Among these, three appear centrally important, although they are not entirely distinct. First, to what degree is life---and procreation in particular---synonymous with corruption? Second, when human and divine narratives become dislocated, on what ground can one's judgment securely rest? Finally, in questions of identity, are multiplicity and integrity mutually exclusive terms? These questions had specific reasons for finding them urgent, and that urgency animates their respective tragedies. In each case, form follows function: rupture begets rupture. Together, Hamlet, Lorenzaccio and Danton's Death offer a dramatic grammar of doubt. Singular action disintegrates into plural, discordant actions. And yet each play is strangely whole. Or each is potentially whole. There exists a good visual analogy for the kind of aesthetic project that these playwrights tackled: the mosaic, which depends for its integrity on the eye that perceives it. The tragedies call explicit attention to the mind's active role in constructing reality, and they simultaneously solicit the employment of the reader's or audience member's integrative powers.Subjects--Topical Terms:

522973
Theater.

Away from the action: Narrative rupture in "Hamlet", "Lorenzaccio" and "Danton's Death" (William Shakespeare, George Buechner, Alfred de Musset, France, England, Germany).
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100 1 $a Icenogle, Gretchen Christine. $3 1951125
245 1 0 $a Away from the action: Narrative rupture in "Hamlet", "Lorenzaccio" and "Danton's Death" (William Shakespeare, George Buechner, Alfred de Musset, France, England, Germany).
300 $a 161 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-02, Section: A, page: 0341.
500 $a Chair: Simon Williams.
502 $a Thesis (Ph.D.)--University of California, Santa Barbara, 2003.
520 $a The connection between the three plays treated here is enough of a commonplace that Lorenzaccio and Danton's Death are sometimes referred to as the French and German Hamlet, respectively. There is no question that Alfred de Musset and Georg Buchner, like so many of their contemporaries, actively emulated William Shakespeare's example and quoted from his work. Many other critics have already connected the available dots. This particular study arose. This particular study arose from the author's conviction that the familial resemblance among these three plays had deeper origins than any traditional narrative of literary influence could fully describe. One of the qualities that Hamlet, Lorenzaccio and Danton's Death share is a kind of intellectual restlessness or irritability. It is most powerfully embodied in the title characters, but it permeates the plays in their entirety. The dissertation aims to describe the common irritants, the philosophical paradoxes and ethical dilemmas that demanded these particular dramaturgical responses. The tragedies are structurally akin because they address kindred questions. Among these, three appear centrally important, although they are not entirely distinct. First, to what degree is life---and procreation in particular---synonymous with corruption? Second, when human and divine narratives become dislocated, on what ground can one's judgment securely rest? Finally, in questions of identity, are multiplicity and integrity mutually exclusive terms? These questions had specific reasons for finding them urgent, and that urgency animates their respective tragedies. In each case, form follows function: rupture begets rupture. Together, Hamlet, Lorenzaccio and Danton's Death offer a dramatic grammar of doubt. Singular action disintegrates into plural, discordant actions. And yet each play is strangely whole. Or each is potentially whole. There exists a good visual analogy for the kind of aesthetic project that these playwrights tackled: the mosaic, which depends for its integrity on the eye that perceives it. The tragedies call explicit attention to the mind's active role in constructing reality, and they simultaneously solicit the employment of the reader's or audience member's integrative powers.
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