Intertextuality of love in modern drama: A study of West European and Russian drama
Hashamova, Yana Savova
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https://hdl.handle.net/2142/22860
Description
Title
Intertextuality of love in modern drama: A study of West European and Russian drama
Author(s)
Hashamova, Yana Savova
Issue Date
1996
Doctoral Committee Chair(s)
Pachmuss, Temira A.
Department of Study
Slavic Languages and Literatures
Discipline
Slavic Languages and Literatures
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
Ph.D.
Degree Level
Dissertation
Keyword(s)
Literature, Comparative
Literature, Modern
Literature, Germanic
Literature, Slavic and East European
Theater
Language
eng
Abstract
The dissertation is a study of the intertextual dimension of love in the modern dramatic discourse of Europe. Intertextuality is the basic methodological concept and it is observed as difference rather than similarity. It originally comes from Bakhtin's ideas about dialogism and is later coined by Roland Barthes and Julia Kristeva.
The intertextuality of love is studied on two planes, philosophy of love and poetics of love. The first part defines the voices of Ibsen, Strindberg, Maeterlinck, Chekhov, Hippius, and Merezhlovsky, thereby reconstructing the philosophical level of the polyphony of love.
Ibsen's voice opened the dialogue of love in modern times with the assertion-instigation: Love is Freedom. The response to this line is quite the opposite in spirit and nature and comes from the voice of Strindberg who shouts: Love is Hatred. The voice of Maeterlinck enriches the polyphony with another tonality: Love is a Miracle. Chekhov enteres the polyphony with the intention of encompassing as well as rejecting the other voices already in place. His authorial voice conveys the message: Love is Life. The last voice in the polyphony of love conducted in the dissertation is that of Hippius and Merezhkovsky. Their voice intensified the metaphysics of love by declaring that God is Love.
The dissertation does not resist the temptation to offer postmodern, in general, and post-Freudian, in particular, perspective of the modern philosophical concepts of love. The notions of love developed in Modernism as studied through the works of the playwrights cover the whole spectrum of ego development, presented through the id, the ego, and the superego.
The poetics of love suggests the language of drama as a possible language of love. The poetics of drama finds a common dramatic model of closed structures which is typical for Modern drama. Chekhov's drama is the only exception, introducing open structures.
This dissertation joins a metadialogue with other critical opinions on the same subjects. Julia Kristeva's study on love and Bakhtin's theory about polyphony have been questioned and highlighted.
This study attempts to stimulate and revitalize the perception of complex interrelationships such as text-intertext-metatext.
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