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Modern plays are strikingly diverse and, as a result, any attempt
to locate an underlying unity between them encounters difficulties:
to focus on what they have in common is often to overlook what is
of primary importance in particular plays; to focus on their
differences is to note the novelty of the plays without increasing
their accessibility. In this study, first published in 1985, Austin
E. Quigley takes as his paradigm case the relationship between the
world of the stage and the world of the audience, and explores
various modes of communication between domains. He asks how changes
in the structure of the drama relate to changes in the structure of
the theatre, and changes in the role of the audience. Detailed
interpretations of plays by Pinero, Ibsen, Strindberg, Brecht,
Ionesco, Beckett and Pinter question principles about the modern
theatre and establish links between drama structure and theatre
structure, theme, and performance space.
Modern plays are strikingly diverse and, as a result, any
attempt to locate an underlying unity between them encounters
difficulties: to focus on what they have in common is often to
overlook what is of primary importance in particular plays; to
focus on their differences is to note the novelty of the plays
without increasing their accessibility. In this study, first
published in 1985, Austin E. Quigley takes as his paradigm case the
relationship between the world of the stage and the world of the
audience, and explores various modes of communication between
domains. He asks how changes in the structure of the drama relate
to changes in the structure of the theatre, and changes in the role
of the audience. Detailed interpretations of plays by Pinero,
Ibsen, Strindberg, Brecht, Ionesco, Beckett and Pinter question
principles about the modern theatre and establish links between
drama structure and theatre structure, theme, and performance
space.
In spite of steady growth in popularity, Pinter's plays have
continued to elude adequate critical appraisal. Considering the
last decade's scholarship, Austin E. Quigley attributes the impasse
in Pinter criticism to the failure of Pinter's readers to
appreciate the diversity of ways in which language can transmit
information. This explanation places recent commentaries in a new
light and enables the author to take a fresh approach to the plays
themselves. Originally published in 1975. The Princeton Legacy
Library uses the latest print-on-demand technology to again make
available previously out-of-print books from the distinguished
backlist of Princeton University Press. These editions preserve the
original texts of these important books while presenting them in
durable paperback and hardcover editions. The goal of the Princeton
Legacy Library is to vastly increase access to the rich scholarly
heritage found in the thousands of books published by Princeton
University Press since its founding in 1905.
In spite of steady growth in popularity, Pinter's plays have
continued to elude adequate critical appraisal. Considering the
last decade's scholarship, Austin E. Quigley attributes the impasse
in Pinter criticism to the failure of Pinter's readers to
appreciate the diversity of ways in which language can transmit
information. This explanation places recent commentaries in a new
light and enables the author to take a fresh approach to the plays
themselves. Originally published in 1975. The Princeton Legacy
Library uses the latest print-on-demand technology to again make
available previously out-of-print books from the distinguished
backlist of Princeton University Press. These editions preserve the
original texts of these important books while presenting them in
durable paperback and hardcover editions. The goal of the Princeton
Legacy Library is to vastly increase access to the rich scholarly
heritage found in the thousands of books published by Princeton
University Press since its founding in 1905.
In the aftermath of debate about the death of literary theory,
Austin E. Quigley asks whether theory has failed us or we have
failed literary theory. Theory can thrive, he argues, only if we
understand how it can be strategically deployed to reveal what it
does not presuppose. This involves the repositioning of theoretical
inquiry relative to historical and critical inquiry and the
repositioning of theories relative to each other. What follows is a
thought-provoking reexamination of the controversial claims of
pluralism in literary studies. The book explores the related roles
of literary history, criticism, and theory by tracing the
fascinating history of linguistics as an intellectual problem in
the twentieth century. Quigley's approach clarifies the pluralistic
nature of literary inquiry, the viability and life cycles of
theories, the controversial status of canonicity, and the polemical
nature of the culture wars by positioning them all in the context
of recurring debates about language that have their earliest
exemplifications in classical times.
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