Subjects of Terror: Nerval, Hegel, and the Modern Self (review)

Subjects of Terror: Nerval, Hegel, and the Modern Self (review) BOOK NOTES a survey of critical receptions of late nineteenth and early twentieth-century theatre and to attest to the caliber and range of a journal is variety and distinction. Rosenberg's fine essay from 1963-64, late in the collection, on the antihumanism of Pirandello's infinite, reflective negativity in the face of the realities of Italy during and after Mussolini, initiates the arc of Modernist theatre criticism which the most recent--and first essay in the collection--begins, Johnston's reconsideration of temporality and recovery of the past as features not merely of Wagner and Yeats but as characteristic of the apparently revolutionary Ibsen. The practitioner essays about the craft and experience of performance by Knowlson and Cohn on Beckett in an international consideration of the role of the author, the nature of modern and Styan on Pirandello, for example, connect the literary, aesthetic, and ideological to the performative, marking theatre as both a distinct genre and as participating subjectivity, and the patterns of victimage. The collection balances Carlson's elegant structuralist reading ofIbsen's Rosmersholm with Parker's intertextual critique oftransgressive gender in Strindberg's Miss Julie. Marker and Innes complement Fuchs's French Feminist critique of the metaphysics of Ibsen's Ladyfrom the Sea with Paolucci's precise, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

Subjects of Terror: Nerval, Hegel, and the Modern Self (review)

The Comparatist, Volume 25 (1) – Oct 3, 2001

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Publisher
University of North Carolina Press
Copyright
Copyright © Southern Comparative Literature Association.
ISSN
1559-0887
Publisher site
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Abstract

BOOK NOTES a survey of critical receptions of late nineteenth and early twentieth-century theatre and to attest to the caliber and range of a journal is variety and distinction. Rosenberg's fine essay from 1963-64, late in the collection, on the antihumanism of Pirandello's infinite, reflective negativity in the face of the realities of Italy during and after Mussolini, initiates the arc of Modernist theatre criticism which the most recent--and first essay in the collection--begins, Johnston's reconsideration of temporality and recovery of the past as features not merely of Wagner and Yeats but as characteristic of the apparently revolutionary Ibsen. The practitioner essays about the craft and experience of performance by Knowlson and Cohn on Beckett in an international consideration of the role of the author, the nature of modern and Styan on Pirandello, for example, connect the literary, aesthetic, and ideological to the performative, marking theatre as both a distinct genre and as participating subjectivity, and the patterns of victimage. The collection balances Carlson's elegant structuralist reading ofIbsen's Rosmersholm with Parker's intertextual critique oftransgressive gender in Strindberg's Miss Julie. Marker and Innes complement Fuchs's French Feminist critique of the metaphysics of Ibsen's Ladyfrom the Sea with Paolucci's precise,

Journal

The ComparatistUniversity of North Carolina Press

Published: Oct 3, 2001

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