Yearbook of Comparative Criticism, Volume 8Joseph Strelka |
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Page 33
... experience based on the mechanisms of tension and release . This is why the organic unity of the tragic plot consists in the fact that it has a beginning , a middle , and an end — a cliché of experience which is at the same time the ...
... experience based on the mechanisms of tension and release . This is why the organic unity of the tragic plot consists in the fact that it has a beginning , a middle , and an end — a cliché of experience which is at the same time the ...
Page 39
... experience . Both imply that there is an inherently dra- matic quality in all experience , so that drama is less a fortuitous human artifact than the characteristic expression of the histrionic sensibility native to the human species ...
... experience . Both imply that there is an inherently dra- matic quality in all experience , so that drama is less a fortuitous human artifact than the characteristic expression of the histrionic sensibility native to the human species ...
Page 122
... experience , I disagree with the application of this insight to literary criticism . To be sure , critics are readers , but as critics they are usually aware of their sphere of experience and also realize the relativity of possible ...
... experience , I disagree with the application of this insight to literary criticism . To be sure , critics are readers , but as critics they are usually aware of their sphere of experience and also realize the relativity of possible ...
Contents
DICHOTOMY OF ARTISTIC GENRES | 3 |
TOWARD A DEFINITION OF LITERARY GENRES | 41 |
SOME IDIOSYNCRATIC CONCEPTS | 80 |
Copyright | |
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aesthetic Andromaque Aristotle artistic aspect attitude audience ballad basic century character classification comedy comic concept criteria defined definition Dichtung distinction distinguish drama elements epic epic theater example experience expression fact fiction first-person narrative French Frye Frye's function genre theory German Hamburger hero historical human imagination imitatio individual interpretation Jan Mukařovský kind language linguistic literary criticism literary genres literature littérature logical ludic-aesthetic lyric poetry meaning medieval Middle Ages mimesis mimetic Minnesangs modes Molière narration narrative nature norm novel object oral Paris performance philosophical play poem poet poetic possible Prague Linguistic Circle present preterit principle problem prose question Racine's reader reality statement reception relation relationship Roman Jakobson satire semiotic sense songs specific Staiger statement-subject story structure subforms T.S. Eliot themes tion tive Todorov Tom Jones traditional tragedy tragic types Tzvetan Todorov University verse word writing