Description
First published in 1988, this books argues with received accounts to reclaim Brecht窶冱 emphasis on his self-described 窶賄ialectical theatre窶�, re-examining firstly the concepts of Gestus and Verfremdung and their realisation in Brecht窶冱 poetry in terms of his attempt to consciously apply the methods of dialectical materialism to art and cultural practice. The author also takes issue with the customary view of Brecht窶冱 career and politics which sees him as compromising either with Communist party dogma or bourgeois aesthetics, to find developing parallels between Brecht窶冱 political and artistic though and the critical dialectics of Marx, Lenin and Mao. This development is examined in later chapters in relation to the early and late plays, The Measures Taken and Days of the Commune as well as in relation to Brecht窶冱 changed circumstances in the years of war-time exile and in post-war East Germany.
Table of Contents
Acknowledgments; Abbreviations; Introduction. Why Should Brecht窶冱 Name Be Mentioned?; Part I: Dialectics and Drama; 1. Dialectics in the Theatre 2. Dialectical Drama and a Changing World 3. A 窶錬y No Means Undialectical窶� Epic Theatre: Brecht窶冱 Gestus 4. 窶楼nly窶� "Actually" is it Familiar窶�: Brecht窶冱 Verfremdungseffekt; Part II: In and Above the Stream; 5. 窶錬ad Time for Poetry窶� 6. Alienating Verse 7. 窶狼he Art窶ヲ Of Not Submitting; Part III: Marxist Art and Critical Attitudes; 8. 窶連 Conceivable Aesthetic窶� 9. A Choice of Critics 10. Lenin and/or Stalin: 窶狼he Measures Mistaken窶�; Part IV: The Marxist Artist in Socialist Berlin; 11. He Who Says Yes and No 12. 窶狼he Travails of the Plains窶� 13. Communist Ways and Days of the Commune; Bibliography; Index
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