Results for 'Bertolt Brecht'

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  1. Bertolt Brecht, Politics, and Comedy.Marc Silberman - 2012 - Social Research: An International Quarterly 79 (1):169-188.
     
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  2.  26
    A Neglected Interview with Bertolt Brecht.Bertolt Brecht, Philip S. Foner & Anne Hornemann - 1988 - Science and Society 52 (3):337 - 340.
  3.  10
    Bertolt Brecht et la Guerre d'Espagne.Michel Vanhelleputte - 1987 - Revue Belge de Philologie Et D’Histoire 65 (3):515-521.
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  4. Bertolt Brecht.James R. Hamilton - 1998 - In M. Kelly (ed.), Oxford Encyclopedia of Aesthetics. Oxford University Press.
    Describes the life and influence of B. Brecht. Offers useful explanations of several key concepts Brecht employed, and revised over his career, including: gestus, Verfremdung, and Verfremdungseffekt.
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  5.  9
    Estrangement, Epochē, and Performance: Bertolt Brecht’s Verfremdungseffek T and a Phenomenology of Spectatorship.Molly Kelly - 2020 - Continental Philosophy Review 53 (4):419-431.
    During his period of exile in Scandinavia, Bertolt Brecht wrote “I don’t think the traditional form of theatre means anything any longer. Its significance is purely historic; it can illuminate the way in which earlier ages regarded human relationships […] [but] a modern spectator can’t learn anything from them”. To create a modern theatre fit for a modern audience, Brecht holds that not only would the content of plays have to change, but the experience of theatrical spectatorship (...)
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  6.  7
    Bertolt Brecht and Stalinism.H. Dahmer - 1974 - Télos 1974 (22):96-105.
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  7.  9
    Bertolt Brecht und die Philosophie.Michael Gross - 1988 - Deutsche Zeitschrift für Philosophie 36 (3):213.
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  8. Empathy in Modern Drama: Bertolt Brecht’s Threepenny Opera.Elisabetta Vinci - 2019 - Gestalt Theory 41 (2):159-171.
    Summary The aim of this paper is to compare Brechtian theory concerning empathy in theatre and recent studies showing the biological basis of empathy. First of all, a brief summary about the concept of empathy is provided, with particular attention to empathy in Brechtian theatre. Then, a paragraph is dedicated to explain how empathy and emotional involvement are linked to neurobiological mechanisms and body state. In the end, an analysis of the Verfremdungseffekte in the Threepenny Opera is traced to understand (...)
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  9.  3
    The Resistable Fall of Bertolt Brecht.John Whitehead - 1977 - Oxford Literary Review 2 (1):34-38.
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  10.  22
    Truth and Justice in Bertolt Brecht.Michael Freeman - 1999 - Cardozo Studies in Law and Literature 11 (2):197-214.
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  11.  19
    Thomas Mann und Bertolt Brecht Repräsentant und Verräter der bürgerlichen Klasse.Jost Hermand - 2007 - Zeitschrift für Religions- Und Geistesgeschichte 59 (3):243-260.
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  12. Georg Lukács or Bertolt Brecht?Bela Kiralyfalvi - 1985 - British Journal of Aesthetics 25 (4):340-348.
  13.  37
    Dealing with the Ghost: Phantasmagorical Apparitions of Bertolt Brecht[REVIEW]Kurt Vanhoutte & Nele Wynants - 2013 - Foundations of Science 18 (1):191-194.
    Taken together, the commentaries by Sigrid Merx and Tom Paulus suggest a remarkable dialectical relationship with regard to our article “Performing Phenomenology: Negotiating Presence in Intermedial Theatre”. On the one side a lack of elaborated political consciousness is being detected, while on the other side an alleged surplus of political consciousness is being criticized. Although apparently contradictory, these reactions seem to originate in the same ideological stress: both are somehow haunted by the legacy of Bertolt Brecht and the (...)
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  14. Brecht on Art and Politics.Bertolt Brecht, Tom Kuhn, Steve Giles & Laura J. R. Bradley - 2003
     
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  15.  10
    Contradiction and Coriolanus: A Philosophical Analysis of Mao Tse Tung's Influence on Bertolt Brecht.Anthony Squiers - 2013 - Philosophy and Literature 37 (1):239-246.
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  16. Rosen in Finsteren Zeiten Zur Politischen Bildlichkeit Bei Bertolt Brecht.Daniel Frey - 1988
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  17.  13
    Adams, Robert Merrihew. 2006. A Theory of Virtue: Excellence in Being for the Good. Oxford: Clarendon. Xiii+ 249 Pp. Adorno, Theodor, Walter Benjamin, Ernst Bloch, Bertolt Brecht, and Georg Lukács. Afterword by Fredric Jameson. 2007. Aesthetics and Politics. Radical Thinkers. London: Verso. 220 Pp. [REVIEW]Pomo Sive De Morte Aristotelis & M. Dial - 2007 - Philosophical Review 116 (4).
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  18. Geld Und Liebe Bei Thomas Mann Und Bertolt Brecht.Ehrhard Bahr - forthcoming - Horizonte.
     
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  19. Erdmut Wizisla, Walter Benjamin and Bertolt Brecht: The Story of a Friendship.Matthew Charles - 2010 - Radical Philosophy 161:60.
     
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  20.  15
    Lenguaje y expresividad en" Mann ist Mann" de Bertolt Brecht.Isabel García Manzano - 1974 - Convivium: revista de filosofía 41:35-48.
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  21. El arte de la recepción: Bertolt Brecht contra la" Poética" de Aristóteles.Enrique Herreras - 2010 - Estudios Filosóficos 59 (170):25-42.
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  22. El arte de la recepción: Bertolt Brecht contra la "Poética" de Aristóteles.Enrique Herreras Maldonado - 2010 - Estudios Filosóficos 59 (170):25-42.
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  23.  1
    Uma proposta didática a partir de Bertolt Brecht.Rita Alves Miranda - 2013 - Filosofia E Educação 5 (1):275-291.
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  24. GENERAI. BOUMJlNUlNH-lw, 7S si sa.Bertolt Brecht - 1973 - Cahiers Internationaux de Symbolisme 24:3.
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  25. A Neglected Interview with Brecht, Bertolt.Ps Foner - 1988 - Science and Society 52 (3):337-340.
     
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  26.  35
    Brecht.Angela Curran - 2008 - In Paisley Livingston & Carl Plantinga (eds.), Routledge Companion to the Philosophy of Film. Routledge.
    This paper focuses on philosophical issues regarding Bertolt Brecht's engagement with film. Topics that are discussed include: Brecht's influence on filmmaking and film theory; the claim that Brecht held that mainstream films place viewers under the "illusion" that what they are watching on screen is real; Brecht's rejection of empathy; and the linkage of film form and socially critical content.
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  27.  21
    Brecht's Materialist Ethics Between Confucianism and Mohism.Markus Wessendorf - 2016 - Philosophy East and West 66 (1):122-145.
    Bertolt Brecht is internationally known as one of the most influential dramatists, directors, and theater theorists of the twentieth century and also, within German culture, as one of its most innovative modern poets and prose stylists. Whereas Brecht’s contributions to a Marxist aesthetics of drama, theater, poetry, and prose are widely acknowledged, he is less well known as a major thinker on ethical issues, mostly because of his materialist orientation, which conflicts with ethical traditions rooted in metaphysics. (...)
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  28.  18
    Politics and the Case of Poetry: Arendt on Brecht.Patchen Markell - 2018 - Modern Intellectual History 15 (2):503-533.
    Hannah Arendt's essay on Bertolt Brecht has often been understood as an indictment of Brecht's postwar accommodation with the Stalinist regime in East Germany, in line with Arendt's supposed commitment to a firm separation between poetry and politics. Offering the first full reconstruction of the transnational history of Arendt's writing on Brecht, this article shows instead that Arendt's essay was a defense of Brecht against the polemics it is often taken to exemplify. Joining poetry to (...)
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  29.  23
    Bert Brecht on Broadway and Beyond.Guy Stern - 2008 - The European Legacy 13 (3):287-291.
    In the past few years doomsayers and critics have predicted a decline in prominence of Bertolt Brecht, both as playwright and as theoretician. This paper presents the opposite point of view: the life and works of Bertolt Brecht are as renowned now as ever before, as demonstrated by immensely popular novels about his personal adventures and recent productions of his plays. Also, Brecht, the poet, continues, alive and well, to figure in multiple anthologies. Even his (...)
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  30. Postmodern Brecht a Re-Presentation.Elizabeth Wright - 1989
     
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  31.  56
    Brecht and Chinese Philosophy.Renata Berg-Pan - 1977 - Philosophy and Literature 1 (3):307-324.
    The article is intended to show that bertolt brecht absorbed foreign materials, In this case chinese philosophy, And transformed them into new intellectual experiences and visions which were strictly his own. The author examines the thought of five chinese philosophers, Confucius, Lao-Tzu, Mencius and chuang-Tzu and mo-Tzu, With whom brecht became familiar. Since chinese philosophers are essentially social philosophers, Brecht read them in order to find guidance in his search for a political and social theory which (...)
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  32.  34
    Did Meyerhold Influence Brecht? A Comparison of Their Antirealistic Theatrical Aesthetics.Peter Zazzali - 2008 - The European Legacy 13 (3):293-305.
    As two of the most important twentieth-century theatre directors, Bertolt Brecht and Vsevolod Meyerhold shared striking artistic, personal, and professional similarities. In addition to their middle-class background, both were the sons of merchants, well educated, politically persecuted, and exposed to the cultural innovations that spread throughout Germany and Russia during the 1920s and 1930s. Although Brecht's legacy is more salient, Meyerhold's artistic contributions can be traced to the work of numerous successors, including Brecht himself.
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  33.  3
    Experimenting with Law: Brecht on Copyright.Jose Bellido - 2020 - Law and Critique 31 (2):127-143.
    Can one reject copyright law and be a qualified observer of its dispositives? This question was taken up by Bertolt Brecht in an intriguing essay concerning the litigation surrounding the film adaptation of The Threepenny Opera. Brecht here develops an experimental observation around the nature of film adaptation and cultural production in copyright. While an experimental approach to law was in itself a subversive gesture, the specific legal process enabled him to expose the paradoxical ways in which (...)
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  34.  19
    Dialectical Realism and Radical Commitments:Brecht and Adorno on Representing Capitalism.Gene Ray - 2010 - Historical Materialism 18 (3):3-24.
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  35.  11
    Mimèsis et catharsis : de la représentation à la dénégation du réel chez Aristote, Artaud et Brecht.Alain Bernard Marchand - 1988 - Philosophiques 15 (1):108-127.
    La présente étude propose une relecture de trois théoriciens dont les investigations continuent à servir de pierre angulaire à la théâtrologie : celles d'Aristote dont La Poétique, outre le fait qu'elle consacre le théâtre occidental, sert de fondement à l'esthétique dramatique et celles, plus récentes, d'Antonin Artaud et de Bertolt Brecht qui, bien qu'ils aient réfuté radicalement les théories aristoté- liciennes, ne se sont pas moins distingués l'un de l'autre pour donner les deux grandes voies que l'on sait (...)
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  36.  27
    Eine Rehabilitierungs-Maßnahme Alfred Kurellas Kritik an Bertolt Brechts Lob der Parteidisziplin.Martin Schaad - 2011 - Zeitschrift für Religions- Und Geistesgeschichte 63 (3):273-298.
    This essay seeks to illuminate the motives behind Alfred Kurella's damning review of Bertold Brecht's Lehrstück The Measures Taken. This review of 1931 is commonly regarded as having turned the official marxist literary critique against Brecht, straining the relations between the playwright and the nomenklatura for the years that followed. Yet, a closer examination of Alfred Kurella's biography reveals that his review of The Measures Taken has much less to do with Bertold Brecht or with marxist cultural (...)
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  37.  40
    IMAGES RE-READ: The Method of Georges Didi-Huberman.Laura Katherine Smith, Stijn De Cauwer, Jorge Rodriguez Solorzano, Elise Woodard & Jacques Rancière - 2018 - Angelaki 23 (4):11-18.
    In this text, Jacques Rancière critically discusses the work of Georges Didi-Huberman on images. He disagrees with various claims seemingly made by Didi-Huberman about images, such as that they can “take position” or that they are “active.” Rancière argues that Didi-Huberman adds another form of dialectics to the simpler form of dialectics adopted by Bertolt Brecht and Harun Farocki in their works, namely one that also involves a layering of different temporalities. However, both in Brecht’s War Primer (...)
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  38.  8
    Hegelian Comedy. Donougho - 2016 - Philosophy and Rhetoric 49 (2):196-220.
    Dying is easy; comedy is hard. Comedy is sovereign. I begin with an excerpt from Bertolt Brecht’s Fugitive Conversations. Ziffel, a physicist, is chatting with the worker Kalle: For humor, I always think of the philosopher Hegel.... He had the makings of one of the greatest humorists among the philosophers.... I read his book The Great Logic once, when I had rheumatism and couldn’t move. It’s one of the greatest humorous works of world literature. It treats of the (...)
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  39. The Complicated History of Einfühlung.Magdalena Nowak - 2011 - Argument: Biannual Philosophical Journal 1 (2):301-326.
    The article analyses the history of the Einfühlung concept. Theories of ‘feeling into’ Nature, works of art or feelings and behaviours of other persons by German philosophers of the second half of the nineteenth century Robert and Friedrich Vischer and Theodor Lipps are evoked, as well as similar theory of understanding (Verstehen) by Wilhelm Dilthey and Friedrich Schleiermacher, to which Dilthey refers. The meaning of the term Einfühlung within Edith Stein’s thought is also analysed. Both Einfühlung and Verstehen were criticized (...)
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  40.  16
    Adorno. A Political Biography.Lorenz Jäger - 2004 - Yale University Press.
    Theodor W. Adorno—philosopher, cultural critic, sociologist, and music theorist—was one of the most important German intellectuals of the twentieth century. This concise, readable life is the first attempt to look at his philosophical and literary work in its essential political context. Central to Adorno’s intellectual development were his musical training, his father’s Jewish roots, and the rise of National Socialism in Germany, which forced him to emigrate to the United States. While in exile, he and Max Horkheimer wrote Dialectic of (...)
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  41.  33
    Equality and Exploitation in the Market Socialist Community.N. Scott Arnold - 1992 - Social Philosophy and Policy 9 (1):1.
    Historically, critics of capitalism have had a great deal to say about the defects and social ills that afflict capitalist society and correspondingly little to say about how alternative institutional arrangements might solve these problems. One can only speculate about why this has been so. One reason might be a simple matter of priorities. Bertolt Brecht once said that when a man's house is on fire, one does not inquire too closely into alternative arrangements for shelter. The analogy (...)
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  42. Philosophers and Thespians: Thinking Performance.Freddie Rokem - 2009 - Stanford University Press.
    The interaction between philosophy and theater or performance has recently become an important and innovative area of inquiry. _Philosophers and Thespians_ contributes to this emerging field by looking at four direct encounters between philosophers and thespians, beginning with Socrates, Agathon, and Aristophanes in Plato's _Symposium_ and ending with a discussion between Walter Benjamin and Bertolt Brecht about a short text by Franz Kafka. Rokem also examines in detail Hamlet's complex and tragic split identity as both philosopher and thespian, (...)
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  43. The Correspondence of Walter Benjamin, 1910-1940.Gershom Scholem, Theodor W. Adorno, Manfred R. Jacobson & Evelyn M. Jacobson (eds.) - 2012 - University of Chicago Press.
    Called “the most important critic of his time” by Hannah Arendt, Walter Benjamin has only become more influential over the years, as his work has assumed a crucial place in current debates over the interactions of art, culture, and meaning. A “natural and extraordinary talent for letter writing was one of the most captivating facets of his nature,” writes Gershom Scholem in his Foreword to this volume; and Benjamin's correspondence reveals the evolution of some of his most powerful ideas, while (...)
     
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  44.  11
    Critical Image Configurations: The Work of Georges Didi-Huberman.Laura Katherine Smith & Stijn De Cauwer - 2018 - Angelaki 23 (4):1-2.
    In this text, Jacques Rancière critically discusses the work of Georges Didi-Huberman on images. He disagrees with various claims seemingly made by Didi-Huberman about images, such as that they can “take position” or that they are “active.” Rancière argues that Didi-Huberman adds another form of dialectics to the simpler form of dialectics adopted by Bertolt Brecht and Harun Farocki in their works, namely one that also involves a layering of different temporalities. However, both in Brecht’s War Primer (...)
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  45.  3
    Critical Image Configurations: The Work of Georges Didi-Huberman.Laura Katherine Smith & Stijn De Cauwer - 2018 - Angelaki 23 (4):3-10.
    In this text, Jacques Rancière critically discusses the work of Georges Didi-Huberman on images. He disagrees with various claims seemingly made by Didi-Huberman about images, such as that they can “take position” or that they are “active.” Rancière argues that Didi-Huberman adds another form of dialectics to the simpler form of dialectics adopted by Bertolt Brecht and Harun Farocki in their works, namely one that also involves a layering of different temporalities. However, both in Brecht’s War Primer (...)
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  46. In Würde Altern.Ralf Stoecker - 2017 - In Mario Brandhorst & Weber-Guskar Eva (eds.), Menschenwürde: Eine philosophische Debatte über Dimensionen ihrer Kontingenz. Berlin, Deutschland: Suhrkamp. pp. 338-360.
    Kurz nach dem Zweiten Weltkrieg veröffentlichte Bertolt Brecht eine Reihe von so genannten "Kalendergeschichten". Eine dieser Kalendergeschichten hatte den Titel "Die unwürdige Greisin", und sie handelte von seiner Großmutter. Brecht berichtet darin von den letzten beiden Lebensjahren der alten Frau. Bis zum Tod ihres Mannes hatte sie offensichdich ein aufopferungsvolles Leben ganz im Dienste der Familie geführt. In den beiden Jahren danach veränderte sie ihr Leben aber auf dramatische Weise. Sie lockerte die Verbindungen zu ihren erwachsenen Kindern (...)
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  47. In Praise of Theatre.Alain Badiou & Nicolas Truong - 2015 - Polity.
    _In Praise of Theatre_ is Alain Badiou’s latest work on the ‘most complete of the arts,’ the theatrical stage. This book, certain to be of great interest to scholars and theatre practitioners alike, elaborates the theory of the theatre developed by Badiou in works such as Rhapsody for the Theatre and the ‘Theses on Theatre’ and enquires into the status of a theatre that would be adequate to our ‘contemporary, market-oriented chaos.’ In a departure from his usual emphasis upon canonical (...)
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  48.  5
    Performing in the Chaosmos : Farts, Follicles, Mathematics and Delirium in Deleuze.Herbert Blau - 2009 - In Laura Cull (ed.), Deleuze and Performance. Edinburgh University Press.
    This chapter address the value of Deleuzian ideas for performance. It attempts to establish the connection of Gilles Deleuze's works with various practitioners including Bertolt Brecht, the Living Theatre, and the KRAKEN Group. It analyses Deleuze and Félix Guattari's Anti-Oedipus and suggests that Deleuze considers performance as the autoerotic on automatic in runaway machines, given over to pure expenditure in the libidinal economy.
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  49. Qualcosa manca… Un dialogo sulle contraddizioni del desiderio utopico [Something is missing… A dialogue on the contradictions of utopian longing].Ernst Bloch & Theodor Adorno - 2006 - la Società Degli Individui 26:11-26.
    In questo dialogo radiofonico del 1964 Bloch e Adorno discutono della nostalgia per ciò che non è ancora, per un qualcosa che manca, come af¬fermato nel Mahagonny di Bertolt Brecht. L’utopia, in Moro e Campa¬nella, era l’isola in cui vigeva uno stato di cose giusto, la optima res pu¬blica. L’utopia è quindi ricerca di realizzazione, di libertà, di giustizia. Nonostante oggi la parola ‘utopia’ sia caduta in discredito a causa del com¬piersi di un gran numero di cosiddetti sogni (...)
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  50.  21
    The Tragic Sense of Life, or We Are Left with Self : Theatrical Roots Re-Visited.Jean Bodin - 2008 - The European Legacy 13 (3):277-285.
    Although the self is distinct from identity, this essay offers some insight into how identity is maintained—in the processes by which a self is formed, and through the actual content of the schemata that compose the self-concept. The author explains how in the 1920s utopian representations of a “new man” indicate the blank space where an aesthetic for the self can appear long before a theory of choice and commitment can exist in reality. Far from being a dramaturgical plan of (...)
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