Theatre, Communication, Critical Realism
From oral culture, through the advent of literacy, to the introduction of printing, to the development of electronic media, communication structures have radically altered culture in profound ways. As the first book to take a critical realist approach to
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Copyright material from www.palgraveconnect.com - licensed to npg - PalgraveConnect - 2015-08-02
Copyright material from www.palgraveconnect.com - licensed to npg - PalgraveConnect - 2015-08-02
Theatre, Communication, Critical Realism
10.1057/9780230107953preview - Theatre, Communication, Critical Realism, Tobin Nellhaus
WHAT IS THEATRE? Series Editor: Ann C. Hall
ANN C. HALL has published widely in the area of theatre and film studies, is president of the Harold Pinter Society, and is an active member in the Modern Language Association. In addition to her book A Kind of Alaska: Women in the Plays of O’Neill, Pinter, and Shepard, she has edited a collection of essays, Making the Stage: Essays on Theatre, Drama, and Performance and a book on the various stage, film, print, and television versions of Gaston Leroux’s Phantom of the Opera.
Published titles: Theatre, Communication, Critical Realism by Tobin Nellhaus
10.1057/9780230107953preview - Theatre, Communication, Critical Realism, Tobin Nellhaus
Copyright material from www.palgraveconnect.com - licensed to npg - PalgraveConnect - 2015-08-02
Given the changing nature of audiences, entertainment, and media, the role of theatre in twenty-first century culture is changing. The WHAT IS THEATRE? series brings new and innovative work in literary, cultural, and dramatic criticism into conversation with established theatre texts and trends, in order to offer fresh interpretation and highlight new or undervalued artists, works, and trends.
TOBIN NELLHAUS
10.1057/9780230107953preview - Theatre, Communication, Critical Realism, Tobin Nellhaus
Copyright material from www.palgraveconnect.com - licensed to npg - PalgraveConnect - 2015-08-02
Theatre, Communication, Critical Realism
THEATRE, COMMUNICATION, CRITICAL REALISM
Copyright © Tobin Nellhaus, 2010. Portions of this book derive from the following articles and are used here, in revised form, by permission of the original publishers: “Signs, Social Ontology, and Critical Realism,” Journal for the Theory of Social Behaviour 28.1 (1998): 1–24; “Literacy, Tyranny, and the Invention of Greek Tragedy,” Journal of Dramatic Theory and Criticism 3.2 (1989): 53–71; “Performance Strategies, Image Schemas, and Communication Frameworks,” Performance and Cognition: Theatre Studies and the Cognitive Turn, ed. Bruce McConachie and F. Elizabeth Hart (London: Routledge, 2006): 76–94; “Critical Realism and Performance Strategies,” Staging Philosophy: New Approaches to Theater and Performance, ed. David Krasner and David Saltz (Ann Arbor: University of Michigan Press, 2006): 57–84; “Social Ontology and (Meta) theatricality: Reflexions on Performance and Communication in History,” Journal of Dramatic Theory and Criticism 14.2 (2000): 3–39. Additional portions draw upon ideas first explored in “Science, History, Theater: Theorizing in Two Alternatives to Positivism,” Theatre Journal 45.4 (1993): 505–27; “Mementos of Things to Come: Orality, Literacy and Typology in the Biblia Pauperum,” Printing the Written Word: The Social Hi
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