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  1. Tragedy in paradise
    family and gender politics in German bourgeois tragedy 1750 - 1850
    Autor*in: Hart, Gail Kathleen
    Erschienen: 1996
    Verlag:  Camden House, Columbia, SC

    "Burgerliches Trauerspiel" or bourgeois tragedy is the most popularly acclaimed and critically documented form of German drama. Beginning in the mid-eighteenth century, some of Germany's greatest dramatists turned away from classical subjects and... mehr

    Standort:
    Freie Universität Berlin, Universitätsbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Link zum Verbundkatalog:
    Kooperativer Bibliotheksverbund Berlin-Brandenburg (KOBV)

     

    "Burgerliches Trauerspiel" or bourgeois tragedy is the most popularly acclaimed and critically documented form of German drama. Beginning in the mid-eighteenth century, some of Germany's greatest dramatists turned away from classical subjects and focused instead on the intricate internecine struggles of the middle class family. Hart's study views bourgeois tragedy and related forms of "family" drama as being the enactment of a threat to stability, to bourgeois or domestic order, organized so as to defeat that threat and relieve the anxieties of a middle-class audience. Within this framework, threats to stability are imagined as "feminine" and then represented as female figures who are then purged from the drama. The opposition of order and chaos, of law and its undoing, is embedded in the figure of a "bourgeois-tragic" father, who faces the dread possibility of being betrayed by a wife, or daughter, who challenges his authority or defies his command Proceeding from these basic assumptions, Hart reads a series of documents, from The London Merchant and Miss Sara Sampson to Hebbel's later Italian plays, as a cultural continuum marked by critical deviancies that include a catalogue of homosocial strategies (usurpation of the feminine or maternal, man-for-woman substitutions) and the regular reenactment of the Biblical myth of the Fall (the "original" challenge to paternal authority)

     
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  2. Tragedy in paradise
    family and gender politics in German bourgeois tragedy 1750 - 1850
    Autor*in: Hart, Gail Kathleen
    Erschienen: 1996
    Verlag:  Camden House, Columbia, SC

    "Burgerliches Trauerspiel" or bourgeois tragedy is the most popularly acclaimed and critically documented form of German drama. Beginning in the mid-eighteenth century, some of Germany's greatest dramatists turned away from classical subjects and... mehr

    Standort:
    Universitätsbibliothek Augsburg
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Link zum Verbundkatalog:
    Bibliotheksverbund Bayern (BVB)

    Standort:
    Universitätsbibliothek Bamberg
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Link zum Verbundkatalog:
    Bibliotheksverbund Bayern (BVB)

    Standort:
    Universitätsbibliothek Bayreuth
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Link zum Verbundkatalog:
    Bibliotheksverbund Bayern (BVB)

    Standort:
    Bayerische Staatsbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Link zum Verbundkatalog:
    Bibliotheksverbund Bayern (BVB)

    Standort:
    Universitätsbibliothek Passau
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Link zum Verbundkatalog:
    Bibliotheksverbund Bayern (BVB)

     

    "Burgerliches Trauerspiel" or bourgeois tragedy is the most popularly acclaimed and critically documented form of German drama. Beginning in the mid-eighteenth century, some of Germany's greatest dramatists turned away from classical subjects and focused instead on the intricate internecine struggles of the middle class family. Hart's study views bourgeois tragedy and related forms of "family" drama as being the enactment of a threat to stability, to bourgeois or domestic order, organized so as to defeat that threat and relieve the anxieties of a middle-class audience. Within this framework, threats to stability are imagined as "feminine" and then represented as female figures who are then purged from the drama. The opposition of order and chaos, of law and its undoing, is embedded in the figure of a "bourgeois-tragic" father, who faces the dread possibility of being betrayed by a wife, or daughter, who challenges his authority or defies his command Proceeding from these basic assumptions, Hart reads a series of documents, from The London Merchant and Miss Sara Sampson to Hebbel's later Italian plays, as a cultural continuum marked by critical deviancies that include a catalogue of homosocial strategies (usurpation of the feminine or maternal, man-for-woman substitutions) and the regular reenactment of the Biblical myth of the Fall (the "original" challenge to paternal authority)

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt