By Vera Zubarev(aka Ulea) PhD
Utilising structures concept 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 ways dramatic style from the perspective of the measure of richness and energy of a character’s capability. Its major concentration is to set up a strategy for interpreting the aptitude from multidimensional views, utilizing structures pondering. the total notion is a substitute for the Aristotelian plot-based method and is utilized to an research of western and jap eu authors in addition to modern American film. This cutting edge research involves 3 elements: the 1st half is usually theoretical, providing a brand new definition of the dramatic as a class associated with common platforms phenomena and delivering a brand new category of dramatic style. within the moment half, Ulea bargains a textual research of a few works according to this new class. She analyzes comedies, tragedies, and dramas at the related or related themes with the intention to display what makes them belong to contrary different types of dramatic genre. Additionally, she considers the query of destiny and likelihood, in regards to tragedy and comedy, from the viewpoint of the predispositioning concept. 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 full in drawing close the protagonist’s capability. She introduces the time period quasi-strong strength that allows you to exhibit the illusory power of protagonists of the CNT and to teach the means of CNT’s research and synthesis. Ulea’s study starts off with the thought of the comedian, normally thought of synonymous with the laughable, and makes an attempt to procedure it as self sustaining from the laughable and laughter. the need to achieve this is dictated by means of 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 kind: Chess, Literature, and movie, a totally new method of strength and platforms thinking—which hasn't ever been a spotlight of dramatic concept ahead of. Such strength is the touchstone of the comedian and comedy, their everlasting simple attribute, the center and axis round which the comedic global spins.
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Additional info for A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film
The probabilistic approach in the evaluation of this character would be, therefore, “to pick only the essentials from among the initial parameters, together with their valuations. ” (Katsenelinboigen, Concept of Indeterminism 29) This explains why the majority of readers omit those details that would not otherwise allow them to consistently integrate all the characteristics; by such characteristics I mean a description of Behrman as a drinker and loafer combined with negative evaluations. But as soon as we see his uniqueness and understand that such an approach would be inaccurate from the point of view of the future, we should refer to predispositioning as a method: The new methods assume a deeper dissection of the system into its constituent elements and an integral evaluation of its various states 21 22 Dramatic Genre as a General Systems Phenomenon through a linear polynomial.
5) Like Grawe, I differentiate between the comedy of trivial action and the comedy of witty, intelligent characters of works termed “comedies” (by either their authors or their critics) with a subsequent degree of the laughable in them. However, I do not consider this second type to be comedy; I call it succedy. The Dramatic as an Independent Category Subsumption of the notion of the comic by the laughable. The notion of the comic in literary criticism is reduced to the laughable/funny. According to the Encyclopedia of Aesthetics, “Since the Greeks, laughter has been the characteristically comic response, and throughout history, theories of laughter have shaped theories of comedy” (Kelly 1: 402).
And reaches a sorrowful or disastrous conclusion. (260) The degree of seriousness, which is different in different works, is not discussed in the statement above, creating a major problem in defining a genre 28 The Dramatic as an Independent Category of literary works whose degree of seriousness creates a spectrum. Not only is there no degree assigned to the initial parameter (seriousness), but there is no explicit discussion of the dual parameter (its evaluation). Katsenelinboigen’s system of measuring an entity: initial and dual parameters.
A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film by Vera Zubarev(aka Ulea) PhD