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THE RHETORIC OF CRITICISM: KENNETH BURKE'S DRAMATISM.

机译：批评的修辞学：肯尼思·伯克的DRAMATism。

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摘要

This study attempts to reassemble in a coherent order Kenneth Burke's Dramatistic ideas about literary criticism. It is not a chronological summary of his books. It begins by examining the philosophical premises of Dramatism, from which Burke developed a theory of semantics. It proceeds to examine the ways Burke applied his semantic theory to the practice of literary criticism. Burke's concept of "language as symbolic action" is therefore explored as fundamental to the Dramatistic interpretation of literary structure. This interpretation is then seen as accounting for two dimensions in every literary work: an internal dimension, a disposition of key words promoting a principle of social order; and an external dimension, the proferring of a symbolic sacrifice to an audience, which enhances their emotional allegiance to that principle of social order. Burke's interpretations of individual literary works are then considered as attempts to reveal literature as an agency for social control. Specifically, Burke's analysis of Keats' "Ode on a Grecian Urn" is examined; it illustrates Burke's skeptical regard of literature's social role.;An assessment of Dramatism concludes this study. Burke's critical project is judged to be historically naive. Its object, to emancipate individuals through literary criticism from the forces of social coercion at work in literature, is judged to be unrealizable in contemporary society, due to the peripheral, if not adversarial, position of literature today. Although not recommended for its substance, Burke's Dramatism is recommended for its critical stance. Its awareness of its own ideological activity is commendable, as is its methodological thoroughness in grounding its ideological activity in a "philosophy of literary form." Due to its critical stance, Burke's Dramatism can be inspiring to literary studies today, even if it is recognized as historically misguided.
机译：这项研究试图以连贯的顺序重新组合肯尼思·伯克的文学批评戏剧概念。这不是他的书的时间顺序摘要。它首先考察了戏剧主义的哲学前提，然后伯克从中提出了语义学理论。它着手研究伯克将其语义理论应用于文学批评实践的方式。因此，伯克的“语言作为象征性行动”的概念被探索为文学结构的戏剧性解释的基础。然后，这种解释被视为在每篇文学作品中都涉及两个方面：内部方面，促进社会秩序原则的关键词配置；外部因素是向观众提供象征性的牺牲，从而增强了他们对社会秩序原则的情感忠诚。伯克对个人文学作品的解释被认为是试图揭示文学作为社会控制的媒介。具体来说，考察了伯克对济慈的《希腊缸里的颂》的分析。它说明了伯克对文学的社会角色的怀疑态度。伯克的关键项目在历史上被认为是幼稚的。其目的是通过文学批评从文学作品中的社会胁迫力中解放个人，由于当今文学处于边缘地位，即使不是对抗性的，也被认为在当代社会中是无法实现的。尽管不建议以伯克的戏剧性为实质，但建议以批评的姿态来表现。它对自己的意识形态活动的认识是值得称赞的，在以“文学形式的哲学”为基础的意识形态活动的方法论上的彻底性也是值得赞扬的。由于其批判性的立场，伯克的戏剧学可以启发当今的文学研究，即使它被认为是历史上的误导。

著录项

  • 作者

    WEISBERG, ERIC.;

  • 作者单位

    University of Denver.;

  • 授予单位 University of Denver.;
  • 学科 Literature.
  • 学位 Ph.D.
  • 年度 1984
  • 页码 175 p.
  • 总页数 175
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:51:13

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