Bertolt Brecht’s Adaptations and Anti-capitalist Aesthetics Today: Consciousness, Literature and the Arts, cartea 61
Autor Anthony Squiersen Limba Engleză Hardback – 27 mar 2025
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Specificații
ISBN-13: 9789004721869
ISBN-10: 900472186X
Dimensiuni: 155 x 235 mm
Greutate: 0 kg
Editura: Brill
Colecția Brill
Seria Consciousness, Literature and the Arts
ISBN-10: 900472186X
Dimensiuni: 155 x 235 mm
Greutate: 0 kg
Editura: Brill
Colecția Brill
Seria Consciousness, Literature and the Arts
Notă biografică
Anthony Squiers is a faculty member at AMDA College of the Performing Arts and co-editor of E-CIBS, the performance journal of the International Brecht Society. He is author of An Introduction to the Social and Political Philosophy of Bertolt Brecht.
Cuprins
Acknowledgements
List of Figures
1Why Brecht and Why His Adaptations?
1 Introduction
2 A Vexing Quirk in Brechtian Scholarship and the Weaponization of Art-Philosophy
3 A Lost Revolution
4 Weaponization
5 Objectives, Research Question, and Contribution
6 Overview of Book
2Brecht’s Theory and Method of Adaptation
1 Brecht’s Politics
2 Marxism’s Impact on Brecht’s Work
3 Marxism’s Impact on Brecht’s Biography
4 Problems with the Bourgeois Theatrical Heritage
5 Brecht on the Bourgeois Ideology
6 Making Conscious Experience Possible
7 Conscious Experience and the Classics
8 The Fabel and Gestus
8.1Gestus
8.2Social Gestus
8.3Gestus in Text
8.4The Fabel and Adaptation
9 Adaptation and Estrangement Effects
10 Historicizing and Intertextual Discourse
10.1Historicizing
10.2Intertextual Discourse
11 Praxis and Experimentation
11.1Praxis
11.2Experimentation
12 Summary
3Freedom and Alienation in Brecht’s The Tutor
1 Introduction
2 Synopsis of Lenz’s The Tutor
2.1Act i
2.2Act ii
2.3Act iii
2.4Act iv
2.5Act v
3 Interpretive Summary of Brecht’s The Tutor
3.1Prologue
3.2Act 1
3.3Act 2
3.4Act 3
3.5Interlude
3.6Act 4
3.7Act 5
3.8Epilogue
4 Summary
4Conquest and Magical Thinking in Brecht’s Don Juan
1 Introduction
1.1A Transferable Method
1.2Chapter Overview
2 Summary of Molière’s Don Juan
2.1Act i
2.2Act ii
2.3Act iii
2.4Act iv
2.5Act v
3 Interpretive Summary of Brecht’s Don Juan
3.1Act i
3.2Act ii
3.3Act iii
3.4Act iv
4 Summary
5Courage and Action in Brecht’s “Socrates Wounded”
1 Introduction
2 Summary of Plato’s Socrates at Delium
2.1The Unity of the Virtues and Courage as Wisdom
2.2Courage in the Laches
2.3Courage in the Apology
3 Interpretive Summary of “Socrates Wounded”
4 Summary
6War and Capitalism in Brecht’s Kriegsfibel
1 Introduction
1.1The Photos and Layout of the Kriegsfibel
1.2Epigrams in the Kriegsfibel
2 Fabel in the Kriegsfibel
3 Estrangement in the Kriegsfibel
3.1Cutting and Pasting as Estrangement
3.2Estrangement in the Text-Pictorial Interface
3.2.1 The Verbal and the Visual
3.2.2 Elevated Poetic Diction and Prosaic Imagery
3.3Estrangement through Visual Flow
4 Gestus in the Kriegsfibel
5 Kriegsfibel Analysis
5.1Non-linear Narrative Structure
5.2Ideological Underpinnings
5.2.1 Photo-Epigram 28 and the Gestus of Being Mesmerised
5.2.2 Photo-Epigram 51 and the Gestus of Being Blind
5.2.3 Photo-Epigram 8 and the Gestus of Keeping an Eye Out
5.2.4 Photo-Epigram 33 and the Gestus of Going up in Smoke
5.2.5 Photo-Epigram 15 and the Gestus of Fear
5.3Material Interests
5.3.1 Photo-Epigram 5 and the Gestus of Shooting the Bird
5.3.2 Photo-Epigrams 37 and the Gestus of Lusting After
5.3.3 Photo-Epigram 44 and the Gestus of Remembering the Dead
5.4What Happens Next?
5.4.1 Photo-Epigrams 58 & 64 and the Gestus of Hanging Your Head in Defeat
5.4.2 Photo-Epigram 69 and the Gestus of Fascism
5.4.3 The Gestus of Learning and Historicizing
6 Summary
7Brecht’s Theory and Method of Adaptation and Anti-capitalist Aesthetics Today
1 Summary
2 Making Brecht Whole
2.1Contribution to Brechtian Scholarship
2.2Contribution to Adaptation Studies Scholarship
2.3Contribution to Anti-capitalist Aesthetics Today: Is Brecht Still Useful?
2.3.1 Utility of Gestus
2.3.2 Utility of Estrangement Effects and Historicizing
2.3.3 Utility of Fabel
2.3.4 Utility of Brecht’s Theory and Method of Adaptation
2.3.5 Utility of Theory-Praxis
3 Conclusion
4 In(conclusion)
Index
List of Figures
1Why Brecht and Why His Adaptations?
1 Introduction
2 A Vexing Quirk in Brechtian Scholarship and the Weaponization of Art-Philosophy
3 A Lost Revolution
4 Weaponization
5 Objectives, Research Question, and Contribution
6 Overview of Book
2Brecht’s Theory and Method of Adaptation
1 Brecht’s Politics
2 Marxism’s Impact on Brecht’s Work
3 Marxism’s Impact on Brecht’s Biography
4 Problems with the Bourgeois Theatrical Heritage
5 Brecht on the Bourgeois Ideology
6 Making Conscious Experience Possible
7 Conscious Experience and the Classics
8 The Fabel and Gestus
8.1Gestus
8.2Social Gestus
8.3Gestus in Text
8.4The Fabel and Adaptation
9 Adaptation and Estrangement Effects
10 Historicizing and Intertextual Discourse
10.1Historicizing
10.2Intertextual Discourse
11 Praxis and Experimentation
11.1Praxis
11.2Experimentation
12 Summary
3Freedom and Alienation in Brecht’s The Tutor
1 Introduction
2 Synopsis of Lenz’s The Tutor
2.1Act i
2.2Act ii
2.3Act iii
2.4Act iv
2.5Act v
3 Interpretive Summary of Brecht’s The Tutor
3.1Prologue
3.2Act 1
3.3Act 2
3.4Act 3
3.5Interlude
3.6Act 4
3.7Act 5
3.8Epilogue
4 Summary
4Conquest and Magical Thinking in Brecht’s Don Juan
1 Introduction
1.1A Transferable Method
1.2Chapter Overview
2 Summary of Molière’s Don Juan
2.1Act i
2.2Act ii
2.3Act iii
2.4Act iv
2.5Act v
3 Interpretive Summary of Brecht’s Don Juan
3.1Act i
3.2Act ii
3.3Act iii
3.4Act iv
4 Summary
5Courage and Action in Brecht’s “Socrates Wounded”
1 Introduction
2 Summary of Plato’s Socrates at Delium
2.1The Unity of the Virtues and Courage as Wisdom
2.2Courage in the Laches
2.3Courage in the Apology
3 Interpretive Summary of “Socrates Wounded”
4 Summary
6War and Capitalism in Brecht’s Kriegsfibel
1 Introduction
1.1The Photos and Layout of the Kriegsfibel
1.2Epigrams in the Kriegsfibel
2 Fabel in the Kriegsfibel
3 Estrangement in the Kriegsfibel
3.1Cutting and Pasting as Estrangement
3.2Estrangement in the Text-Pictorial Interface
3.2.1 The Verbal and the Visual
3.2.2 Elevated Poetic Diction and Prosaic Imagery
3.3Estrangement through Visual Flow
4 Gestus in the Kriegsfibel
5 Kriegsfibel Analysis
5.1Non-linear Narrative Structure
5.2Ideological Underpinnings
5.2.1 Photo-Epigram 28 and the Gestus of Being Mesmerised
5.2.2 Photo-Epigram 51 and the Gestus of Being Blind
5.2.3 Photo-Epigram 8 and the Gestus of Keeping an Eye Out
5.2.4 Photo-Epigram 33 and the Gestus of Going up in Smoke
5.2.5 Photo-Epigram 15 and the Gestus of Fear
5.3Material Interests
5.3.1 Photo-Epigram 5 and the Gestus of Shooting the Bird
5.3.2 Photo-Epigrams 37 and the Gestus of Lusting After
5.3.3 Photo-Epigram 44 and the Gestus of Remembering the Dead
5.4What Happens Next?
5.4.1 Photo-Epigrams 58 & 64 and the Gestus of Hanging Your Head in Defeat
5.4.2 Photo-Epigram 69 and the Gestus of Fascism
5.4.3 The Gestus of Learning and Historicizing
6 Summary
7Brecht’s Theory and Method of Adaptation and Anti-capitalist Aesthetics Today
1 Summary
2 Making Brecht Whole
2.1Contribution to Brechtian Scholarship
2.2Contribution to Adaptation Studies Scholarship
2.3Contribution to Anti-capitalist Aesthetics Today: Is Brecht Still Useful?
2.3.1 Utility of Gestus
2.3.2 Utility of Estrangement Effects and Historicizing
2.3.3 Utility of Fabel
2.3.4 Utility of Brecht’s Theory and Method of Adaptation
2.3.5 Utility of Theory-Praxis
3 Conclusion
4 In(conclusion)
Index