Adapting to the Stage: Theatre and the Work of Henry JamesAshgate, 2000 - 195 páginas The American novelist and playwright, Henry James, was drawn to the theatre and the shifting conventions of drama throughout his writing career. This study demonstrates that from the 1890s onwards James concentrated on adapting his novels and stories to and from the stage, and increasingly employed metaphors that spoke of novel-writing in terms of playwriting. Christopher Greenwood argues that these metaphors helped James to conceive himself as an artist who composed characters dramatically and visually, and in doing so sets his novels significantly apart from those of his contemporaries. |
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Página 10
... narrator , aping the well - made play's on - stage commentator figure , the raisonneur , so as to ' live and breathe and rub shoulders ' with the characters who shared the stage with him . What Nussbaum describes , beyond the fact of ...
... narrator , aping the well - made play's on - stage commentator figure , the raisonneur , so as to ' live and breathe and rub shoulders ' with the characters who shared the stage with him . What Nussbaum describes , beyond the fact of ...
Página 137
... narration , becomes self - contained , separate from the traditional narrator's omniscience . And if the narrator then moves into Fleda's mind in the passage with ' the girl had a vain sense ' the effect of isolation , of disjunction ...
... narration , becomes self - contained , separate from the traditional narrator's omniscience . And if the narrator then moves into Fleda's mind in the passage with ' the girl had a vain sense ' the effect of isolation , of disjunction ...
Página 143
... narrator in an audience . Indeed it is here that James's idea of transforming the reader into the beholder of a painting becomes easier to understand . James tried to emulate painting's significant collocation of elements in order to ...
... narrator in an audience . Indeed it is here that James's idea of transforming the reader into the beholder of a painting becomes easier to understand . James tried to emulate painting's significant collocation of elements in order to ...
Índice
Psychological Space in The Summersoft Group and the Late Plays | 25 |
Ellipsis and the Fourth Wall | 96 |
Abandoning the Soliloquy | 116 |
Direitos de autor | |
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Outras edições - Ver tudo
Adapting to the Stage: Theatre and the Work of Henry James Chris Greenwood Pré-visualização limitada - 2017 |
Adapting to the Stage: Theatre and the Work of Henry James Chris Greenwood Pré-visualização indisponível - 2018 |
Adapting to the Stage: Theatre and the Work of Henry James Chris Greenwood Pré-visualização indisponível - 2017 |
Palavras e frases frequentes
achieve action actors adapted American appeared artist attempt attention audience Awkward Age become characters comes communication condition connection contemporary criticism Daisy Miller demonstrates describes developed dimension direct drama effect elements English face fiction figure Fleda French Gereth gesture give hand Henry James High imagination indicates interest involved James's kind letter light limits living London look manner material means metaphor moment moral motivation movement narrator nature Newman novel objects observation Owen painting particularly past performance person physical plot position possible Poynton Preface present produced psychological reading reference relations relationship remarks represent Rose scene secret sense separated situation social soliloquy space spectator speech stage story success suggest takes theatre theatrical things thinking tradition turn understanding visual well-made play whole Winterbourne witness writing York