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  1. Euripides and Menander.M. Andrewes - 1924 - Classical Quarterly 18 (1):1-10.
    Greek New Comedy, as we know it from references and fragmentary MSS., is the meeting-place of three confluent streams—comedy of manners, Aristophanic comedy, and tragedy. From Sicilian comedy, through Epicharmus at Syracuse and Crates and Pherecrates at Athens, it inherited certain stock stage figures, and a tradition of ‘invented’ plots and sententious speech. Old Comedy it resembled in its fun and informality and many stage conventions; and, indeed, the resemblance was so marked, in at least one of the later plays (...)
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  2. Performance in Greek and Roman Theatre Ed. By George W. M. Harrison and Vayos Liapis.Rosa Andujar - 2014 - Classical World: A Quarterly Journal on Antiquity 108 (1):137-138.
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  3. The Aesthetics of the Russian Revolutionary Theatre 1917–21.Vahan D. Barooshian - 1975 - British Journal of Aesthetics 15 (2):99-117.
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  4. Black Rain: The Apocalyptic Aesthetic and the Spectator's Ethical Challenge in (Israeli) Theater.Zahava Caspi - 2013 - 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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  5. Should Philosophers Become Playwrights?Spyridon George Couvalis - 1986 - Inquiry : An Interdisciplinary Journal of Philosophy 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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  6. Aristotle.Angela Curran - 2012 - In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. pp. 21-33.
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  7. A Counter-Example to Theatrical Type Theories.John Dilworth - 2003 - 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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  8. The Fictionality of Plays.John Dilworth - 2002 - Journal of Aesthetics and Art Criticism 60 (3):263–273.
    The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works (...)
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  9. Theater, Representation, Types and Interpretation.John Dilworth - 2002 - 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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  10. Postspektakuläres Theater.André Eiermann - 2009 - Bielefeld: Transcript.
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  11. El naixement de la tragèdia o hel·lenisme i pessimisme: Seguit de correspondència amb l'autor.Joan Ferrarons Llagostera & Mosè Cometta - 2014
    «El naixement de la tragèdia» és el primer llibre de Friedrich Nietzsche i constitueix una de les contribucions més importants a l’estudi de l’art tràgica. L’admiració de l’autor per Schopenhauer i Wagner impregna la seva crítica a la concepció imperant sobre els grecs, considerats fins aleshores un poble alegre i serè. Segons el filòsof, però, els grecs necessitaven la tragèdia per a superar el pessimisme i el nihilisme en què estaven sumits. En aquestes pàgines, la tragèdia neix entre l’ebrietat primigènia (...)
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  12. Fondane-Artaud: Une Pensée au-Delà des Catégories.R. Fotiade - 1998 - Europe (827).
    A comparative analysis of Fondane's and Artaud's conceptions of the theatre and of their engagement with the cinema during the 1920s and 1930s.
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  13. God No Longer Amuses.Ramona Fotiade - unknown
    Book-review of the new critical edition of Benjamin Fondane's Théâtre complet and his philosophical writings, La Conscience malheureuse.
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  14. Tragedy and Reparation.Elisa Galgut - 2009 - 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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  15. Hegel's Theory of Tragedy.Stephen Houlgate - 2007 - In Hegel and the Arts. Northwestern University Press.
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  16. Convention, Audience, and Narrative: Which Play is the Thing?Leslie A. Howe - 2011 - 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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  17. The Theatre in the Middle Ages: Western European Stage Conditions, C. 800–1576. [REVIEW]Stanley Kahrl - 1980 - Speculum 55 (4):851-853.
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  18. Performing the Middle Ages From 'Beowulf' to 'Othello'. [REVIEW]Ellen Mackay - 2009 - The Medieval Review 12.
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  19. Two Loves I Have: Of Comfort and Despair in Shakespearean Genre.Claire Elizabeth McEachern - 2014 - 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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  20. Narrative, Emotion, and Insight. [REVIEW]Rafe Mcgregor - 2012 - Journal of Aesthetics and Art Criticism 70 (3):319-321.
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  21. Scrutinizing the Art of Theater.Aaron Meskin - 2009 - Journal of Aesthetic Education 43 (3):pp. 51-66.
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  22. Theatre Translation as Collaboration: A Case in Point in British Contemporary Drama.Andrea Peghinelli - 2012 - Journal for Communication and Culture 2 (1):20-30.
    Theatre translation is usually seen as a more elaborate dimension of literary translation because the text being translated is considered to be just one of the elements of theatre discourse. When translating a play, the translator should always adapt for performance the text he or she is recreating and be aware that a performer will deliver the lines. The translator, then, must take into account both the pragmatic and the semantic expressiveness of the word and remember that they are always (...)
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  23. Some Ontology of Interactive Art.Dominic Preston - 2014 - Philosophy and Technology 27 (2):267-278.
    Lopes (2010) offers an account of computer art, which he argues is a new art form. Part of what makes computer art distinctive, according to Lopes, is its interactivity, a quality found in few non-computer artworks. Given the rise in prominence of such artworks, most notably videogames, they are surely worthy of philosophical inquiry. I believe their ontology and properties are particularly worthy of study, as an understanding of these will prove crucial to critical understanding and evaluation of the works (...)
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  24. A Phenomenological Analysis of the Actor's Perceptions During the Creative Act.Shelley McKnight Russell-Parks - 1989 - Dissertation, Florida State University
    The subject of this study is the experience of acting. The separation of artistic act and artwork results here not in a psychoanalytical analysis of the artwork via artist, but rather in a focus on the artistic act from the perspective of the actor. This dissertation is a theoretical work, not an empirical study. The research is drawn from a broad base of theoretical and practical texts on acting, a set of interviews with professional and student actors on the subject (...)
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  25. The Paradox of Onstage Emotion.Michelle Saint - 2014 - 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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  26. Culture-Blind Shakespeare: Multiculturalism and Diversity.Ali Salami (ed.) - 2016 - New Castle: Cambridge Scholars Publishing.
    This collection of essays offers a panoramic plethora of responses to Shakespeare by both Western and Eastern critics, indicating that the Bard crosses all nationalities and deserves to be defined as a global writer, which is why he is easily appreciated, manipulated, translated, adapted, and interpreted by everyone everywhere. Divided into three parts, this volume deals with a wide range of issues on culture and multiculturalism, and hammers home the idea that the works of Shakespeare can be not only universally (...)
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  27. The Aesthetic Response: The Reader in Macbeth.Ali Salami - 2012 - Folia Linguistica Et Litteraria 12.
    This article seeks to explore the different strategies the Bard uses in order to evoke sympathy in the reader for Macbeth who is so persistent in the path of evil. What strategy does Shakespeare use in order to provoke such a deep emotional response from his readers? By using paradoxes in the play, the Bard creates a world of illusion, fear and wild imagination. The paradoxical world in Macbeth startles us into marvel and fear, challenges our commonly held opinions, and (...)
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  28. The Appearance of Early Vernacular Plays: Forms, Functions, and the Future of Medieval Theater.Carol Symes - 2002 - Speculum 77 (3):778-831.
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  29. Cavell, King Lear und das Theater der Konvention.Katrin Trüstedt - 2009 - In Kathrin Thiele & Katrin Trüstedt (eds.), Happy Days: Lebenswissen nach Cavell. München: Fink Verlag. pp. 107-130.
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  30. The Tragedy of Law in Shakespearean Romance.Katrin Trüstedt - 2007 - Law and Humanities 2:167–82..
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  31. Reading Drama.Tzachi Zamir - 2012 - Journal of Aesthetics and Art Criticism 70 (2):179-192.
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