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Table of Contents
Introduction
A Plea for a Scientific Approach to Theatre Studies
Part I. Disciplines of Theatre Research
1. Cognitive Intent of Theatre
2. Theatre Narratology
3. Theatre Mythology
4. Theatre Pragmatics
5. Theatre Ethics
6. Theatre Irony
7. Theatre Genres
8. Theatre Aesthetics
9. Theatre Semiotics
10. Theatre Figures of Speech
11. Theatre Rhetoric
12. Theatre Psychoanalysis
13. Theatre Reception
14. Theatre History and Sociology
Part II. Structure of Fictional World
15. Personified Layer
16. Mythical Layer
17. Praxical Layer
18. Naive Layer
19. Ironic Layer
20. Modal Layer
21. Aesthetic Layer
22. Structure of Character
23. Metaphoric Layer
24. Rhetoric Layer
Part III. Analyses of Whole Fictional Worlds
25. Euripides' "The Bacchae"
26. Tirso de Molina's "The Trickster of Sevilla"
27. Garcia Lorca's "The House of Bernarda Alba"
Concluding Remarks
A Plea for a Scientific Approach to Theatre Studies
Part I. Disciplines of Theatre Research
1. Cognitive Intent of Theatre
2. Theatre Narratology
3. Theatre Mythology
4. Theatre Pragmatics
5. Theatre Ethics
6. Theatre Irony
7. Theatre Genres
8. Theatre Aesthetics
9. Theatre Semiotics
10. Theatre Figures of Speech
11. Theatre Rhetoric
12. Theatre Psychoanalysis
13. Theatre Reception
14. Theatre History and Sociology
Part II. Structure of Fictional World
15. Personified Layer
16. Mythical Layer
17. Praxical Layer
18. Naive Layer
19. Ironic Layer
20. Modal Layer
21. Aesthetic Layer
22. Structure of Character
23. Metaphoric Layer
24. Rhetoric Layer
Part III. Analyses of Whole Fictional Worlds
25. Euripides' "The Bacchae"
26. Tirso de Molina's "The Trickster of Sevilla"
27. Garcia Lorca's "The House of Bernarda Alba"
Concluding Remarks