DEMASTES, William W.Beyond Naturalism: A New Realism in American Theatre

Author(s):  
Patricia M. Troxel
Keyword(s):  
1989 ◽  
Vol 61 (3) ◽  
pp. 502
Author(s):  
Teresa Pyzik ◽  
William W. Demastes
Keyword(s):  

1994 ◽  
Vol 10 (39) ◽  
pp. 242-254 ◽  
Author(s):  
William W. Demastes

In 1978, Robert Brustein observed that Ibsen's The Master Builder subtly undermined the tenets of naturalism for which both the play and its author are usually remembered. Here, William W. Demastes suggests that, though lacking precise paradigms when they wrote the play and the critique, Ibsen and Brustein both approach the understanding of human interaction in ways that are currently explained through the ‘new’ scientific paradigm of chaos theory. This essay presents a general summary of chaos theory, applies it to The Master Builder, suggests ways in which Ibsen anticipates the postmodernists, and how, in turn, chaos theory can help in comprehending several paths that the theatre has followed since the inception of postmodernism. William W. Demastes is associate professor of English at Louisiana State University, and is author of Beyond Naturalism: a New Realism in American Theatre (1988). This essay is an extension of his book, and is designed in part as in introduction to his next book-length study, on the confluence of scientific and dramatic thought in the twentieth century.


Author(s):  
Marwan Awni Kamil

This study attempts to give a description and analysis derived from the new realism school in the international relations of the visions of the great powers of the geopolitical changes witnessed in the Middle East after 2011 and the corresponding effects at the level of the international system. It also examines the alliances of the major powers in the region and its policies, with a fixed and variable statement to produce a reading that is based on a certain degree of comprehensiveness and objectivity.


2019 ◽  
pp. 272-277
Author(s):  
Anna V. Zhuchkova

The review considers A. Rudalyov’s book 4 Shots [ 4 vystrela ], devoted to the ‘new realism’, a trend in 2000s Russian literature, and more specifically, works of four ‘new realists’: Z. Prilepin, R. Senchin, S. Shargunov, and G. Sadulaev. The reviewer criticizes the author for an incomplete and biased presentation of ‘new realism’, which had been a focus of intense discussions among literary critics and scholars for over a decade. The same flaw blights the descriptions of the four chapters’ respective protagonists: Prilepin, Senchin, Shargunov, and Sadulaev. Rudalyov ended up writing a panegyric, albeit with very sparse language, mainly by repetition of flattering epithets from the press. He failed, however, to address the discussion of the ‘new realism’ by critics or supply a review of literary theoretical research on the subject. Therefore, the reviewer finds the book lacking in any historical-literary and philological value.


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