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3 books about European drama (Tragedy)

	A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film V. Ulea Southern Illinois University Press, 2002 Library of Congress PN1922.U43 2002 \| Dewey Decimal 808.2 Applying systems theory to the comedies of Chekhov, Balzac, Kleist, Moliere, and Shakespeare, A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film approaches dramatic genre from the point of view of the degree of richness and strength of a character’s potential. Its main focus is to establish a methodology for analyzing the potential from multidimensional perspectives, using systems thinking. The whole concept is an alternative to the Aristotelian plot-based approach and is applied to an analysis of western and eastern European authors as well as contemporary American film. This innovative study consists of three parts: The first part is mostly theoretical, proposing a new definition of the dramatic as a category linked to general systems phenomena and offering a new classification of dramatic genre. In the second part, Ulea offers a textual analysis of some works based on this new classification. She analyzes comedies, tragedies, and dramas on the same or similar topics in order to reveal what makes them belong to opposite types of dramatic genre. Additionally, she considers the question of fate and chance, with regard to tragedy and comedy, from the point of view of the predispositioning theory. In the third part, Ulea explores an analysis of the comedy of a new type—CNT. Her emphasis is on the integration of the part and the whole in approaching the protagonist’s potential. She introduces the term quasi-strong potential in order to reveal the illusory strength of protagonists of the CNT and to show the technique of CNT’s analysis and synthesis. Ulea’s research begins with the notion of the comic, traditionally considered synonymous with the laughable, and attempts to approach it as independent from the laughable and laughter. The necessity to do so is dictated by the desire to penetrate the enigmatic nature of Chekhov’s comedy. The result is A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film, a completely new approach to potential and systems thinking—which has never been a focus of dramatic theory before. Such potential is the touchstone of the comic and comedy, their permanent basic characteristic, the heart and axis around which the comedic world spins. Expand Description
	In the Shadows of Romance: Romantic Tragic Drama in Germany, England, and France Jeffrey N. Cox Ohio University Press, 2011 Library of Congress PN1898.E85C68 1987 \| Dewey Decimal 809.2512
	Shadows of the Enlightenment: Tragic Drama during Europe’s Age of Reason Blair Hoxby The Ohio State University Press, 2022 Library of Congress PN1898.E85S53 2022 \| Dewey Decimal 809.2512 To refer to Enlightenment tragedy is to teeter on the brink of paradox. The eighteenth century is famous for its celebration and deployment of ideals such as optimism, reason, and human progress—ideals seemingly contradicted by the pessimism and passion of much classical tragedy. Moreover, tragedy in the Enlightenment is also often overlooked in favor of its illustrious seventeenth-century predecessors. In Shadows of the Enlightenment, an assemblage of respected experts specializing in classical, eighteenth-century, comparative, and modernist literary traditions offer a corrective analysis, proving that the Enlightenment was a critical period for tragic drama, during which the signature classical influences of the era coexisted with an emerging modern identity. By analyzing a highly diverse set of works—from Johann Christoph Gottsched to Voltaire to Joanna Baillie—with a rare pan-European scope, the contributors excavate the dynamic, and indeed paradoxical, entanglement of antiquity and modernity encapsulated by Enlightenment tragedy. Contributors: Joshua Billings, Logan J. Connors, Adrian Daub, Cécile Dudouyt, James Harriman-Smith, Joseph Harris, Alex Eric Hernandez, Blair Hoxby, Russ Leo, Larry F. Norman, Stefan Tilg Expand Description

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3 books about European drama (Tragedy)

A Concept of Dramatic Genre and the Comedy of a New Type

Chess, Literature, and Film

Southern Illinois University Press, 2002

Applying systems theory to the comedies of Chekhov, Balzac, Kleist, Moliere, and Shakespeare, A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film approaches dramatic genre from the point of view of the degree of richness and strength of a character’s potential. Its main focus is to establish a methodology for analyzing the potential from multidimensional perspectives, using systems thinking. The whole concept is an alternative to the Aristotelian plot-based approach and is applied to an analysis of western and eastern European authors as well as contemporary American film.

This innovative study consists of three parts: The first part is mostly theoretical, proposing a new definition of the dramatic as a category linked to general systems phenomena and offering a new classification of dramatic genre. In the second part, Ulea offers a textual analysis of some works based on this new classification. She analyzes comedies, tragedies, and dramas on the same or similar topics in order to reveal what makes them belong to opposite types of dramatic genre.

Additionally, she considers the question of fate and chance, with regard to tragedy and comedy, from the point of view of the predispositioning theory. In the third part, Ulea explores an analysis of the comedy of a new type—CNT. Her emphasis is on the integration of the part and the whole in approaching the protagonist’s potential. She introduces the term quasi-strong potential in order to reveal the illusory strength of protagonists of the CNT and to show the technique of CNT’s analysis and synthesis.

Ulea’s research begins with the notion of the comic, traditionally considered synonymous with the laughable, and attempts to approach it as independent from the laughable and laughter. The necessity to do so is dictated by the desire to penetrate the enigmatic nature of Chekhov’s comedy. The result is A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film, a completely new approach to potential and systems thinking—which has never been a focus of dramatic theory before. Such potential is the touchstone of the comic and comedy, their permanent basic characteristic, the heart and axis around which the comedic world spins.

In the Shadows of Romance

Romantic Tragic Drama in Germany, England, and France

Ohio University Press, 2011

Shadows of the Enlightenment

Tragic Drama during Europe’s Age of Reason

The Ohio State University Press, 2022

To refer to Enlightenment tragedy is to teeter on the brink of paradox. The eighteenth century is famous for its celebration and deployment of ideals such as optimism, reason, and human progress—ideals seemingly contradicted by the pessimism and passion of much classical tragedy. Moreover, tragedy in the Enlightenment is also often overlooked in favor of its illustrious seventeenth-century predecessors. In Shadows of the Enlightenment, an assemblage of respected experts specializing in classical, eighteenth-century, comparative, and modernist literary traditions offer a corrective analysis, proving that the Enlightenment was a critical period for tragic drama, during which the signature classical influences of the era coexisted with an emerging modern identity. By analyzing a highly diverse set of works—from Johann Christoph Gottsched to Voltaire to Joanna Baillie—with a rare pan-European scope, the contributors excavate the dynamic, and indeed paradoxical, entanglement of antiquity and modernity encapsulated by Enlightenment tragedy.

Contributors: Joshua Billings, Logan J. Connors, Adrian Daub, Cécile Dudouyt, James Harriman-Smith, Joseph Harris, Alex Eric Hernandez, Blair Hoxby, Russ Leo, Larry F. Norman, Stefan Tilg