MARC Record from marc_columbia

LEADER: 02300cam a2200409 i 4500
001 14632270
005 20200311155715.0
008 191104s2020 ne b 001 0 eng
010 $a 2019050943
035 $a(OCoLC)on1127667579
040 $aDLC$beng$erda$cDLC$dOCLCO$dOCLCF$dERASA$dYDX
020 $a9789004423299$qhardcover
020 $a900442329X$qhardcover
020 $z9789004423381$qelectronic book
035 $a(OCoLC)1127667579
042 $apcc
050 00 $aPL2869.O128$bZ733 2020
082 00 $a895.12/52$223
049 $aZCUA
100 1 $aFusini, Letizia,$eauthor.
245 10 $aDionysus on the other shore :$bGao Xingjian's theatre of the tragic /$cby Letizia Fusini.
264 1 $aLeiden ;$aBoston :$bBrill,$c[2020]
300 $ax, 243 pages ;$c25 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aSinica leidensia,$x0169-9563 ;$vvolume147
504 $aIncludes bibliographical references and index.
520 $a"In Dionysus on the Other Shore Letizia Fusini argues that throughout his early exile years (late 80s-90s), Gao Xingjian gradually moved away from Absurdist Drama to develop a dramaturgical system with tragic characteristics. Drawing on a range of contemporary theories of tragedy, this book reconfigures some of the key tropes of Gao's post-1987 theater as varied articulations of the Dionysian sparagmos mechanism. They are the dismemberment of the dramatic self, the usage of constricted spaces, the divisive nature of gender relations, and the agony of verbal language. Through a text-based analysis of seven plays, the author ultimately aims to show that in Gao's theater, tragedy is an ongoing and mostly subtextual dynamism generated by an interplay of psychic forces concurrently cohesive and divisive"--$cProvided by publisher.
600 10 $aGao, Xingjian$xCriticism and interpretation.
600 10 $aGao, Xingjian$xTragedies.
650 0 $aChinese drama (Tragedy)$xThemes, motives.
600 17 $aGao, Xingjian.$2fast$0(OCoLC)fst00110478
650 7 $aCriticism and interpretation.$2fast$0(OCoLC)fst01198648
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
830 0 $aSinica Leidensia ;$vv. 147.
852 00 $beal$hDS721$i.S5 v.147