Devlin's Love: Autopoiesis and Harold Pinter's Ashes to Ashes.
This paper uses the concept of autopoiesis to describe Harold Pinter's approach to dramatic composition. The playwright strikes a first note and allows the play to emerge from the resonances and feedback patterns of that note. This autopoietical aesthetic, I argue, began with Samuel Beckett and flow...
| Publicado en: | Substance: A Review of Theory & Literary Criticism Vol. 49; no. 1; pp. 74 - 97 |
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| Formato: | Artículo |
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Johns Hopkins University Press
2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=142243011&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 142243011 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00492426 2FG jtl: Substance: A Review of Theory & Literary Criticism issn: 00492426 maglogo: N pubinfo: dt: 2020 vid: 49 iid: 1 pid: 226 pub: Johns Hopkins University Press artinfo: ui: 142243011 10.1353/sub.2020.0003 ppf: 74 ppct: 23 formats: fmt: @attributes: type: P size: 11.4MB tig: atl: Devlin's Love: Autopoiesis and Harold Pinter's Ashes to Ashes. aug: au: Zimmerman, Guy affil: California State Polytechnic University, Pomona su: Autopoiesis Pinter, Harold, 1930-2008 Neoliberalism Paradox Cognition sug: subj: Autopoiesis Pinter, Harold, 1930-2008 Neoliberalism Paradox Cognition keyword: aporia autopoiesis Beckett enactivism neoliberalism paradox Pinter tragic irony ab: This paper uses the concept of autopoiesis to describe Harold Pinter's approach to dramatic composition. The playwright strikes a first note and allows the play to emerge from the resonances and feedback patterns of that note. This autopoietical aesthetic, I argue, began with Samuel Beckett and flows forward through an important lineage of postwar drama. Because of its compression and its self-referential qualities, Pinter's Ashes to Ashes shows how Pinter's process relates both to the enactivist model of cognition, and to important strains of poststructuralist thought. In Ashes to Ashes, for example, the playwright deploys the fundamental form-generating characteristics of the theatre space itself in this contest against the totalizing schemata of neoliberalism. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Substance: A Review of Theory & Literary Criticism is the property of Johns Hopkins University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Substance: A Review of Theory & Literary Criticism holder: Johns Hopkins University Press dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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