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|a Baraniecka, Elzbieta.
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|a Sublime drama :
|b British theatre of the 1990s /
|c Elżbieta Baraniecka.
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|a Berlin :
|b De Gruyter,
|c 2013.
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|a 1 online resource (x, 270 pages)
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|a text
|b txt
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|a CDE studies,
|x 2194-9069 ;
|v v. 23
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|a Includes bibliographical references (pages 261-270).
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|a Acknowledgements; 1 Introduction; 1.1 Thesis; 1.2 Overview of Chapters; 1.3 Previous Research; 2 Theory of the Sublime; 2.1 Longinus; 2.1.1 "The echo of a great soul"; 2.1.2 Sappho and the Threatened Subject; 2.1.3 The Turn of the Sublime; 2.2 Edmund Burke; 2.2.1 Towards an Aesthetic of Shocks: Burke; 2.2.2 The Beautiful and the Sublime; 2.3 Immanuel Kant; 2.3.1 Characteristics of the Aesthetic Feeling; 2.3.2 The Beautiful and the Sublime; 2.4 Jean-François Lyotard; 2.4.1 Lyotard and Kantian Reflective Aesthetic Judgement; 2.4.2 Adjusting Kantian Sublime to the Postmodern Context.
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|a 2.4.3 Realism2.4.4 The Inhuman; 2.4.5 The Threat of Privation; 2.4.6 The Ungraspable Presence; 2.5 Summary; 2.6 Theorizing the Sublime for Drama Analysis; 3 Case Studies; 3.1 Patrick Marber's Closer; 3.1.1 The Beautiful, the Agreeable and the Sublime; 3.1.2 Synopsis; 3.1.3 Internal Analysis: Moments of (In)Hospitality; 3.1.4 External Analysis: Moments of the (Un)Familiar; 3.2 Anthony Neilson's Normal; 3.2.1 Synopsis; 3.2.2 Bataille, Eros and Thanatos, and the Evil Inside; 3.2.3 Internal Analysis: Wehner's Sublime Encounter with Eros and Thanatos; 3.2.4 The External Level: Ecstasy of Minds.
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|a 3.3 Mark Ravenhill's Faust Is Dead3.3.1 Synopsis; 3.3.2 Seduction in Realism and in Sublime; 3.3.3 Internal Analysis: Consumerist Seduction of the Characters; 3.3.4 External Analysis: Sublime Seduction of the Audience; 3.4 Sarah Kane's 4.48 Psychosis; 3.4.1 The Impossible Synopsis; 3.4.2 Internal Analysis: Singing on the Boundary; 3.4.3 External Analysis: the Influence of the Parergonal Language on the Audience; 4 Conclusion; 5 Works Cited.
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|a This monograph undertakes the task of analysing the dynamics of the communication between the stage and the audience in what has been commonly referred to as 'in-yer-face drama'. Rather than use the existing term the study proposes the aesthetic category of the sublime, which proves to be more fruitful, as it offers more precise tools for the analysis of the audience's aesthetic response than does in-yer-face theatre.
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|a eBooks on EBSCOhost
|b EBSCO eBook Subscription Academic Collection - Worldwide
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|a English drama
|y 20th century
|x History and criticism.
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|a Theater
|z Great Britain
|x History
|y 20th century.
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|a Sublime, The.
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|a Théâtre anglais
|y 20e siècle
|x Histoire et critique.
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|a Théâtre
|z Grande-Bretagne
|x Histoire
|y 20e siècle.
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|a Sublime.
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|a DRAMA
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|a History
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|a Criticism, interpretation, etc.
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|i Print version:
|a Baraniecka, Elzbieta.
|t Sublime drama.
|d Berlin : De Gruyter, 2013
|w (DLC) 2013431469
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|a CDE studies ;
|v Bd. 23.
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856 |
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