By Vera Zubarev(aka Ulea) PhD
Making use of structures thought to the comedies of Chekhov, Balzac, Kleist, Moliere, and Shakespeare, an idea of Dramatic style and the Comedy of a brand new sort: Chess, Literature, and picture techniques dramatic style from the perspective of the measure of richness and power of a character’s strength. Its major concentration is to set up a strategy for interpreting the aptitude from multidimensional views, utilizing platforms considering. the total thought is an alternative choice to the Aristotelian plot-based procedure and is utilized to an research of western and japanese eu authors in addition to modern American film. This cutting edge research involves 3 elements: the 1st half is usually theoretical, offering a brand new definition of the dramatic as a class associated with basic platforms phenomena and supplying a brand new type of dramatic style. within the moment half, Ulea deals a textual research of a few works in keeping with this new class. She analyzes comedies, tragedies, and dramas at the related or related subject matters that allows you to show what makes them belong to contrary kinds of dramatic genre. Additionally, she considers the query of destiny and probability, with reference to tragedy and comedy, from the perspective of the predispositioning idea. within the 3rd half, Ulea explores an research of the comedy of a brand new type—CNT. Her emphasis is at the integration of the half and the complete in forthcoming the protagonist’s power. She introduces the time period quasi-strong power in an effort to show the illusory energy of protagonists of the CNT and to teach the means of CNT’s research and synthesis. Ulea’s examine starts off with the proposal of the comedian, regularly thought of synonymous with the laughable, and makes an attempt to method it as self sustaining from the laughable and laughter. the need to achieve this is dictated through the need to penetrate the enigmatic nature of Chekhov’s comedy. the result's an idea of Dramatic style and the Comedy of a brand new sort: Chess, Literature, and movie, a totally new method of power and platforms thinking—which hasn't ever been a spotlight of dramatic concept sooner than. Such power is the touchstone of the comedian and comedy, their everlasting easy attribute, the center and axis round which the comedic global spins.
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Extra resources for A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film
The house itself conveys some essential symbolism enriching the structure of the implied space. The room in which the housekeeper operates is described as having “the open window”—a symbol of the world as an openended system. Two things are emphasized with regard to the window: it lets the flies “fly out and in,” and it gives an idea of the world beyond the house. The world outside of the house is represented as extremely rich and beautiful, so that the house with the sugar-loaf is not the only place for the flies’ delight (the summer “spreads dainties for them at every step”).
As the metaphor extends, however, the flies acquire the features of fantastic creatures—flies-officials—that in turn generate the appearance of new beings. First of all, this concerns a mentioning of a “sparkling sugar-loaf ” about which the flies are flitting. With the introduction of this new object (the sugar loaf) that has no analogy in the first part of the comparison, the development of the implied space begins. Indeed, although the flies have “prototypes” in the space of action—the officials—the sugar-loaf appears to be an object pertaining only to a symbolic sphere with a broad field of meanings (which should be supported and developed by a subsequent analysis of other symbols).
Tragedy is essentially an imitation not of persons but of action and life, of happiness and misery. All human happiness or misery takes the form of action; the end for which we live is a certain kind of activity, not a quality. Character gives us qualities, but it is in our actions—what we do—that we are happy or the reverse. (Basic Works 1461; 1450a, 16–20) The Aristotelian philosophy resembles behaviorism, which has never inquired into the individual’s inner structure, genetic code, or system of emotions; therefore, an observation on a person’s behavior is the only possible way to speculate about his or her character.
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