A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film

A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film

A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film

A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film

Synopsis

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.

Excerpt

This book is an attempt to approach dramatic genre from the point of view of the degree of richness and strength of a character's potential. My main goal is to establish a methodology for analyzing the potential from a multidimensional perspective, using systems thinking. The whole concept is an alternative to the Aristotelian plot-based (externally motivated) approach, and it is applied to an analysis of western and eastern European authors and also to contemporary American film.

This research touches on important questions linked to strategic thinking, decision making, and chaos and order; these are the basic notions forming the category of dramatic genre as approached from a nonorthodox perspective.

The book consists of three parts. Part one is mostly theoretical, proposing a new definition of the dramatic as a category linked to the general systems phenomenon and offering a new classification of dramatic genre. In my classification, dramatic genre is divided into types (pure and mixed) and their variants and into branches (pure and mixed) and their variants. Basic types are defined by the characters' potential, differing in degree of strength and richness, and are the following: comedy (limited and weak potential), dramedy (rich and powerful potential), and drama (average/above average and strong potential). Basic branches are defined by types of outcome (successful, unsuccessful, and ambiguous) and by types of potential. All definitions of dramatic genre, including its types and branches, are given from a multidimensional perspective.

In part two, I perform a textual analysis of some works based on this new classification. Comedies, tragedies, and dramas of the same or of similar topics undergo thorough analysis to reveal what makes them belong to opposite types of dramatic genre. In the process, I reconsider the traditional definitions of dramatic genre of some works in accordance with the new understanding of the notion of the dramatic as linked exclusively to the degree of richness and strength of characters' potential. This part of the book also ap-

Search by... Author
Show... All Results Primary Sources Peer-reviewed

Oops!

An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.