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THE SEARCH FOR LOST TIME IN CONTEMPO...

SANFORD, TIMOTHY BRYCE.

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THE SEARCH FOR LOST TIME IN CONTEMPORARY DRAMA: FROM PROUST TO PINTER (MARCEL PROUST, HAROLD PINTER, SAMUEL BECKETT, HENRI BERGSON, FRANCE, IRELAND).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	THE SEARCH FOR LOST TIME IN CONTEMPORARY DRAMA: FROM PROUST TO PINTER (MARCEL PROUST, HAROLD PINTER, SAMUEL BECKETT, HENRI BERGSON, FRANCE, IRELAND)./
作者:	SANFORD, TIMOTHY BRYCE.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1985,
面頁冊數:	322 p.
附註:	Source: Dissertations Abstracts International, Volume: 46-07, Section: A.
Contained By:	Dissertations Abstracts International46-07A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8522221

THE SEARCH FOR LOST TIME IN CONTEMPORARY DRAMA: FROM PROUST TO PINTER (MARCEL PROUST, HAROLD PINTER, SAMUEL BECKETT, HENRI BERGSON, FRANCE, IRELAND).
SANFORD, TIMOTHY BRYCE.

THE SEARCH FOR LOST TIME IN CONTEMPORARY DRAMA: FROM PROUST TO PINTER (MARCEL PROUST, HAROLD PINTER, SAMUEL BECKETT, HENRI BERGSON, FRANCE, IRELAND). - Ann Arbor : ProQuest Dissertations & Theses, 1985 - 322 p.

Source: Dissertations Abstracts International, Volume: 46-07, Section: A.

Thesis (Ph.D.)--Stanford University, 1985.

This item must not be sold to any third party vendors.

This study has both a theoretical and a practical purpose. It explores the correlation between theories of time, ethics and aesthetics and seeks concrete evidence of this interconnection in a number of contemporary playwrights, culminating in an extensive study of Pinter's later plays. From a practical perspective, the entire thesis points toward this analysis of Pinter's later plays in order to account for his increasing preoccupation with the nature of time and to identify ways in which his treatment of it is changing. The study begins with an examination of Bergson's theory of duration as an alternative to certain Kantian and existentialist concepts of time. Bergson's idea that time is essentially continuous and that consciousness is basically insufficient to itself has ethical and aesthetic implications. The study elaborates upon these Bergsonian principles in analyses of Levinas and Proust to demonstrate on the one hand that a receptivity to time as infinite and continuous leads to a receptivity to others and concomitantly that the receptivity to art resembles the ethical impulse. That is, art attempts to establish a relation to life that parallels the self's relation to others and the relationship of present to past in duration. The second chapter tests the applicability of these ideas to the dramatic works of Ibsen, Strindberg, Maeterlinck, Chekhov, Stramm, Pirandello, Genet and Beckett. While the treatment of time by these playwrights does not always match up to the Bergsonian, Levinasian, Proustian models, neither do they necessarily only reflect discontinuous temporality and subjective isolation as certain existentialist interpretations would have it. The third chapter examines the later plays of Pinter in depth in order to substantiate the thesis that principles of temporal continuity and ethical desire underlie the obvious immediate impression of existential angst in his plays. The chapter demonstrates how much Pinter has developed beyond the early existentialist and absurdist interpretations of him. In turn, the maturity and sophistication of his treatment of time exemplifies the overall thesis that the self's orientation to duration, to art and to others all interrelate.Subjects--Topical Terms:

522973
Theater.

THE SEARCH FOR LOST TIME IN CONTEMPORARY DRAMA: FROM PROUST TO PINTER (MARCEL PROUST, HAROLD PINTER, SAMUEL BECKETT, HENRI BERGSON, FRANCE, IRELAND).
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245 1 4 $a THE SEARCH FOR LOST TIME IN CONTEMPORARY DRAMA: FROM PROUST TO PINTER (MARCEL PROUST, HAROLD PINTER, SAMUEL BECKETT, HENRI BERGSON, FRANCE, IRELAND).
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300 $a 322 p.
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500 $a Publisher info.: Dissertation/Thesis.
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506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a This study has both a theoretical and a practical purpose. It explores the correlation between theories of time, ethics and aesthetics and seeks concrete evidence of this interconnection in a number of contemporary playwrights, culminating in an extensive study of Pinter's later plays. From a practical perspective, the entire thesis points toward this analysis of Pinter's later plays in order to account for his increasing preoccupation with the nature of time and to identify ways in which his treatment of it is changing. The study begins with an examination of Bergson's theory of duration as an alternative to certain Kantian and existentialist concepts of time. Bergson's idea that time is essentially continuous and that consciousness is basically insufficient to itself has ethical and aesthetic implications. The study elaborates upon these Bergsonian principles in analyses of Levinas and Proust to demonstrate on the one hand that a receptivity to time as infinite and continuous leads to a receptivity to others and concomitantly that the receptivity to art resembles the ethical impulse. That is, art attempts to establish a relation to life that parallels the self's relation to others and the relationship of present to past in duration. The second chapter tests the applicability of these ideas to the dramatic works of Ibsen, Strindberg, Maeterlinck, Chekhov, Stramm, Pirandello, Genet and Beckett. While the treatment of time by these playwrights does not always match up to the Bergsonian, Levinasian, Proustian models, neither do they necessarily only reflect discontinuous temporality and subjective isolation as certain existentialist interpretations would have it. The third chapter examines the later plays of Pinter in depth in order to substantiate the thesis that principles of temporal continuity and ethical desire underlie the obvious immediate impression of existential angst in his plays. The chapter demonstrates how much Pinter has developed beyond the early existentialist and absurdist interpretations of him. In turn, the maturity and sophistication of his treatment of time exemplifies the overall thesis that the self's orientation to duration, to art and to others all interrelate.
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