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  1. Vahan D. Barooshian (1975). The Aesthetics of the Russian Revolutionary Theatre 1917–21. British Journal of Aesthetics 15 (2):99-117.
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  2. Zahava Caspi (2013). Black Rain: The Apocalyptic Aesthetic and the Spectator's Ethical Challenge in (Israeli) Theater. Substance 42 (2):141-158.
    One feature that classical apocalyptic writings commonly share is their eschatological dimension, their "sense of an ending"1—the end of the world, of time, of humanity. But whereas traditional apocalyptic texts were for the most part utopian, their tales of destruction followed by narratives of redemption, modern secular apocalyptic literature is largely dystopian, ending in pure devastation. According to some scholars, the very arrival of modernity, beginning with Cartesian philosophy and its inherent doubt, was apocalyptic in nature. In the twentieth century, (...)
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  3. Spyridon George Couvalis (1986). Should Philosophers Become Playwrights? Inquiry 29 (1-4):451-457.
    Feyerabend has recently argued that the best way to deal with philosophical problems is through drama rather than through intellectual debate. This paper criticises his view and corrects it.
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  4. Angela Curran (2012). Aristotle. In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. 21-33.
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  5. John Dilworth (2003). A Counter-Example to Theatrical Type Theories. Philosophia 31 (1-2):165-170.
    Plays, symphonies and other works in the performing arts are generally regarded, ontologically speaking, as being types, with individual performances of those works being regarded as tokens of those types. But I show that there is a logical feature of type theory which makes it impossible for such a theory to satisfactorily explain a 'double performance' case that I present: one in which a single play performance is actually a performance of two different plays. Hence type theories fail, both for (...)
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  6. John Dilworth (2002). The Fictionality of Plays. Journal of Aesthetics and Art Criticism 60 (3):263–273.
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  7. John Dilworth (2002). Theater, Representation, Types and Interpretation. American Philosophical Quarterly 39 (2):197-209.
    In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to unify (...)
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  8. Elisa Galgut (2009). Tragedy and Reparation. In Pedro Alexis Tabensky (ed.), The Positive Function of Evil. Palgrave Macmillan.
    The Kleinian psychoanalyst Hanna Segal argues for the reparative nature of art, and especially of the genre of classical tragedy. According to Kleinian theory, healthy psychological development requires that early infantile aggressive and destructive emotions are worked through; such “working through” is necessary for the development of conscience, for feelings of empathy, as well as for cognitive development. It is also a necessary condition for creative activity. Segal examines the roots of the impulse to create by looking specifically at the (...)
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  9. Stephen Houlgate (2007). Hegel's Theory of Tragedy. In , Hegel and the Arts. Northwestern University Press.
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  10. Leslie A. Howe (2011). Convention, Audience, and Narrative: Which Play is the Thing? Journal of the Philosophy of Sport 38 (2):135-148.
    This paper argues against the conception of sport as theatre. Theatre and sport share the characteristic that play is set in a conventionally-defined hypothetical reality, but they differ fundamentally in the relative importance of audience and the narrative point of view. Both present potential for participants for development of selfhood through play and its personal possibilities. But sport is not essentially tied to audience as is theatre. Moreover, conceptualising sport as a form of theatre valorises the spectator’s narrative as normative (...)
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  11. Claire Elizabeth McEachern (2014). Two Loves I Have: Of Comfort and Despair in Shakespearean Genre. British Journal of Aesthetics 54 (2):191-211.
    A consideration of the differences between Shakespearean comedy and tragedy in light of the historically particular inflection of dramatic irony in the English Reformation. The essay compares classical and humanist understandings of literary response and then proposes that we consider that response as a function of knowledge with respect to (and hence feelings about) a protagonist and his plight. The essay compares the structures of suspense in Sophocles’ and Seneca’s Oedipus plays, and then goes on to examine the ways in (...)
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  12. Rafe Mcgregor (2012). Narrative, Emotion, and Insight. [REVIEW] Journal of Aesthetics and Art Criticism 70 (3):319-321.
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  13. Michelle Saint (2014). The Paradox of Onstage Emotion. British Journal of Aesthetics 54 (3):357-369.
    I develop a paradox regarding the emotional experiences of theatrical actors, which I call the ‘paradox of onstage emotion’. Many actors tell us that they experience genuine emotions while performing fictional plays: they grow angry, sad, joyful, etc., as befits their characters’ circumstances. Yet, they are not their characters and are not actually in those characters’ circumstances. Intuitively, it would seem those actors cannot have emotions befitting their characters’ circumstances rather than their own. Thus, we face a paradox. After setting (...)
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  14. Tzachi Zamir (2012). Reading Drama. Journal of Aesthetics and Art Criticism 70 (2):179-192.
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