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Artaud and the gnostic drama

作者: Jane R Goodall
出版商: Oxford : Clarendon Press ; Oxford ; New York : Oxford University Press, 1994.
版本/格式:   圖書 : 英語所有版本和格式的總覽
資料庫:WorldCat
提要:
This study offers a reappraisal of the importance of Antonin Artaud (1896-1948) in contemporary critical debate, and examines the intricate parallels between his heretical dramaturgy and the heresies of ancient Gnosticism.
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詳細書目

類型/形式: Criticism, interpretation, etc
其他的實體格式: Online version:
Goodall, Jane R.
Artaud and the gnostic drama.
Oxford : Clarendon Press ; Oxford ; New York : Oxford University Press, 1994
(OCoLC)624052190
提及的人: Antonin Artaud; Antonin Artaud; Antonin Artaud; Antonin Artaud
資料類型: 網際網路資源
文件類型: 圖書, 網路資源
所有的作者/貢獻者: Jane R Goodall
ISBN: 0198151861 9780198151869
OCLC系統控制編碼: 28293928
描述: 230 pages ; 23 cm
内容: 1. The Mise-en-scene --
2. Plotting the Point of Destruction --
3. Becoming the Alien Protagonist --
4. The Theatre of Cruelty --
5. Voyaging into Gnosis --
6. Houses of Correction --
7. To Have Done ...
責任: Jane Goodall.
更多資訊:

摘要:

This study offers a reappraisal of the importance of Antonin Artaud (1896-1948) in contemporary critical debate, and examines the intricate parallels between his heretical dramaturgy and the heresies of ancient Gnosticism.

Artaud is a figure who, mythologized as an icon of failure and madness, has achieved the pathos of a martyrdom. One of the effects of this myth has been to draw the screen of pathos over the self-mythologizing and self-dramatizing which generate the extraordinary energies in Artaud's vast oeuvre.

Using the term 'heresy' in place of 'madness' to designate the impassioned thought processes which escape the terms of orthodox western epistemology, this book situates Artaud, as the most extravagant of heretics, in company with the Gnostics whose speculations served to define heresy in the beginnings of the Christian tradition.

Like that of the Gnostics, Artaud's cosmology is inherently dramatic, setting creature against creator, force against form, matter against spirit, pious knowledge against heretical gnosis.

Jane Goodall argues that major post-structuralist critics such as Derrida, Deleuze, and Foucault, who have enlisted Artaud in their own anti-orthodoxies, have refused to pay attention to the terms of his own heresy. In this refusal, they display an anxiety towards the gnostic drama and its heresies, which mount an assault that may be more powerful than their own upon the founding tenets of western thought.

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