Dramatic Experience

The Poetics of Drama and the Early Modern Public Sphere(s)
Erscheinungsjahr 2016
ISBN: 978-90-04-32975-1
Verlag: Brill

Buch, Englisch, Band 6, 314 Seiten, Format (B × H): 155 mm x 239 mm, Gewicht: 567 g

Reihe: Drama and Theatre in Early Modern Europe

In Dramatic Experience: The Poetics of Drama and the Early Modern Public Sphere(s) Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat (eds.) focus on a fundamental question that transcends the disciplinary boundaries of theatre studies: how and to what extent did the convergence of dramatic theory, theatrical practice, and various modes of audience experience — among both theatregoers and readers of drama — contribute, during the sixteenth to eighteenth centuries, to the emergence of symbolic, social, and cultural space(s) we call ‘public sphere(s)’? Developing a post-Habermasian understanding of the public sphere, the articles in this collection demonstrate that related, if diverging, conceptions of the ‘public’ existed in a variety of forms, locations, and cultures across early modern Europe — and in Asia.

Autoren/Hrsg.

Gvozdeva, Katja

Korneeva, Tatiana

Ospovat, Kirill

Fachgebiete

• Geisteswissenschaften Literaturwissenschaft Literaturgeschichte und Literaturkritik
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft Theatergeschichte
• Geisteswissenschaften Literaturwissenschaft Literaturwissenschaft: Dramen und Dramatiker

Inhaltsverzeichnis

Acknowledgments

Contributor biographies

Introduction

1. Sven Thorsten Kilian, ‘Opening Spaces for the Reading Audience: Fernando de Rojas’s Celestina (1499/1502) and Niccolò Machiavelli’s Mandragola (1518)’

2. Katja Gvozdeva, ‘Why Do Men Go Blind in the Theatre? Gender Riddles and Fools’ Play in the Italian Renaissance Comedy Gl’Ingannati (1532)’

3. Déborah Blocker, ‘The Accademia degli Alterati and the Invention of a New Form of Dramatic Experience: Myth, Allegory, and Theory in Jacopo Peri’s and Ottavio Rinuccini’s Euridice (1600)’

4. Wendy Heller, ‘Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court’

5. Tatiana Korneeva, ‘Entertainment for Melancholics: The Public and the Public Stage in Carlo Gozzi’s L’Amore delle tre melarance’

6. Logan J. Connors, ‘Pierre Nicole, Jean-Baptiste Dubos, and the Psychological Experience of Theatrical Performance in Early Modern France’

7. Kirill Ospovat, ‘The Catharsis of Prosecution: Royal Violence, Poetic Justice, and Public Emotion in the Russian Hamlet (1748)’

8. Nigel Smith, ‘The Politics of Tragedy in the Dutch Republic: Joachim Oudaen’s Martyr Drama in Context’

9. Hans Rudolf Velten, ‘Devils On and Off Stage: Shifting Effects of Fear and Laughter in Late Medieval and Early Modern German Urban Theatre’

10. Toni Bernhart, ‘Imagining the Audience in Eighteenth-Century Folk Theatre in Tyrol’

11. Stanca Scholz-Cionca, ‘Nô within Walls and Beyond: Theatre as Cultural Capital in Edo Japan (1603–1868)’

List of illustrations

List of tables

Index

Über Autor(innen)

Katja Gvozdeva, Ph.D (1994) in French Literature, Gorky Institute of World Literature (Russian Academy of Sciences, Moscow), has been doing research and teaching in Germany since 1998 and is member of the ERC-funded project Early Modern Drama and the Cultural Net (“DramaNet”) at the Freie Universität Berlin. She has published on French, Italian, and German literature and theatre, medieval and early modern European carnivalesque culture and history of literary and dramatic societies, including Savoirs ludiques: Pratiques de divertissement et émergence d'institutions, doctrines et disciplines dans l'Europe moderne, ed. with A.Stroev (2014).

Tatiana Korneeva, Ph.D. (2008) in Classics, Scuola Normale Superiore di Pisa, is Research Fellow at the Freie Universität Berlin and a member of the ERC-funded project Early Modern Drama and the Cultural Net (“DramaNet”), 2010–2016. She is the author of ‘Alter et ipse’: identità e duplicità nel sistema dei personaggi della Tebaide di Stazio (2011). Her research interests include early modern political thought, the reception of the classical tradition, the history of theatre in comparative perspective (1400–1800), and opera studies. She is currently working on a book about the interaction between political discourse, spectatorship, and the emergent public sphere in seventeenth- and eighteenth-century Italian theatre.

Kirill Ospovat, Ph.D. in Russian Literature, Russian State University for the Humanities, Moscow (2005), is Research Associate in the Higher School of Economics in St. Petersburg. He has written on eighteenth-century Russian literary and cultural history, primarily focusing on the functioning of literary aesthetics and intellectual disciplines in early modern structures of power, including his forthcoming book Terror and Pity: Aleksandr Sumarokov and the Theater of Power in Elizabethan Russia (Boston: Academic Studies Press, 2016).