Bibliografija: str. [379]-413. - Kazalo

Foreword -- Prologue -- Towards a Transgeneric and Contextual Theory of Narrative in Drama, Or, Reframing 'Drama' as a Narrative Genre -- 'Enter Drama!' Putting the Genre (Back) Centre Stage in the Study of Literature and Culture -- A Neglected Subject Matter : On the Need of Reframing Drama as Narrative in the Twenty-First Century -- 'Drama and Narrative' : The State of the Art in Literary Studies and Arising Research Desiderata -- Narratology of Drama : Delineating Objectives and Research Questions -- Resolving Pressing Problems in the Study of Dramatic Storytelling and Narrative in Drama : Methodology and Corpus -- Outlining This Study's Structure -- Rising Action : Towards a Narratology of Drama -- Theorising the Processes of Intersecting Narrative Theory with Drama Theory and of (Re-)Writing Drama History : Challenges, Necessities, and Theoretical Premises -- Drawing the Consequences of the 'Instability' of Genre in General and Drama in Particular : Suggesting a Conceptual Reframing of Drama as a Potentially (Highly) Narrative Category and Taking Up the Cudgels for a Narratological Examination of 'Dramatic Narration' -- Intersections of Drama and Narrative in and around Drama : Placing and Characterising Them -- Suggestions for a Peripeteia in Drama and Narrative Theory : A Culturally Sensitive Narratology of Drama and Dramatic Narration -- Four Basic Concepts at the Heart of the Intersection(s) of Drama and Narrative : Framing 'Drama' and 'Narrative' as Cognitive Schemata and as Modes; 'Narrativity' and 'Dramatic Quality' as Transgeneric Qualities of Difference -- The Semantic Dimensions of 'Narrative' and 'Drama' as Modes and Features in Dramatic Storytelling -- Narrative Matters in Drama : Story and Discourse in Drama as Core Levels of Narratological Analysis and a Narratological Communication Model of Drama -- The Cultural Dynamics and the Performative Power of Dramatic Storytelling : A Culturally Sensitive Approach to Narrative in Drama -- The History of Narrative and Narration in British Drama : The Cultural Dynamics and Performative Power of Dramatic Storytelling -- $t Stories in Conflict and Competition : Alternative Histories, Complementary Tales, and Lies in Early Modern Drama -- Emplotting Competing Narratives in Dramatic Narration : The Dramatic Retelling of English National History in William Shakespeare's Meta-Histories of King Henry IV, Part One and Part Two -- The Dramatic Exploitation of Biography and Processing of Jacobean Culture : Tales of Duplicity, Janus-Faced Worlds, and Violence in John Webster's Revenge Tragedy The White Devil -- The Bending and Expanding of Dramatic Conventions as Problematisations of Simplistic Worldviews and Morals : William Shakespeare and George Wilkin's Romance Pericles Exploiting the Generative Narrator and the Genre of the Medieval Short Story Cycle -- Dominant Forms and Potential Functions of Narrative in an 'Age of Lying and Dissimulation' : The Exploitation of Conflicting Stories to Cultural Ends in Early Modern Dramatic Narration -- The Containment of Different Narratives and of Narratives of Difference in Drama : The Renewal and Self-Definition of a 'Sleeping' Genre as well as Theatrical Configurations of Restoration and Early Eighteenth-Century (Drama) Cultures -- The State and the State of the Art in Restoration Drama : John Dryden's Epically Construed Tragicomedy Marriage à la Mode as Philosophy of (Marriage, Sex, and) State and as Poetological Definition of Drama -- Narrative and Moral Double Binds in Aphra Behn's The Rover : Experiments in Narrative Perspective and Authorial Comment by Way of Dramatic Expression as well as Assessments of Female Life Options in the Restoration Period -- Analogy and Difference in John Gay's The Beggar's Opera : Generative Narrators as Playwrights and Actors and their Narrative Resistance to Genre Conventions as well as to the Aberrations of an Emerging Capitalist Culture -- Dominant Forms and Potential Functions of Narrative in Restoration and Early-Eighteenth-Century Plays : The Exploration of Contained Difference in Dramatic Narration as a Means of Genre-Definition and Political Engagement

From Stage to Page, from the Publicly Politic to the Metaphysically Private : Late Eighteenth-Century and Romantic Drama as a Genre in Transformation, Dramatising Diegetic Storytelling and Narrativising (Revolutionary) Change in Society and Conflict in Selves -- Educating the Nation, Domesticating the Colony, and Moralising (Old and New) Money : The Dramatisation of Diegetic Storytelling and of Elocutionary Didactics in Richard Cumberland's Sentimental Comedy The West Indian -- The Transgressive and Transformative Power of the Gothic Tale : The Increasing Narrative Infiltration of Dramatic Discourse in Joanna Baillie's Romantic Tragedy Orra as a Revolt against Genre Boundaries and Patriarchal Subjugation -- From the Theatre to the Mind, from 'Drama as Was' to the Romantic Gesamtkunstwerk : Lord Byron's Closet Drama Manfred as a Dramatic Focalisation on and of a Self in Conflict -- Dominant Forms and Potential Functions of Narrative in Late Eighteenth-Century and Romantic Plays : The Dramatisation of Storytelling and the Narrativisation of Drama as Way of Forging a Nation, Revolting against Society, and Tearing Down (Genre) Borders -- Expanding the Allowances of Drama by Generic Encounters with Narrative in Victorian and Early-Twentieth-Century Plays : Intersecting Drama and Narrative as Means to Fight against Hypocritical Hegemonies as well as to Perform and Forestall Political Change -- Reducing Dramatic Modes in Favour of Narrative (sensu Diegetic) Modes in George Bernard Shaw's Mrs Warren's Profession : Politicising Drama and Attacking an Ideologically Blinded Middle and Upper Class with 'Stories' that Counter Hegemonic Narratives of Society -- Modernising Traditional Dramatic Modes and Theatrical Qualities, Using Them as Instruments of Political Pressure : Cicely Hamilton and Christopher St John's How the Vote Was Won as Performance of Gender Inequality and Political Conversion -- Coping with Events That Defy Their Telling, with National Trauma, Personal Loss, and Disjointed Time between the Wars : The Foregrounding of Story Mise en Abymes, Narrative Instance, and Character Focalisation in J. M. Barrie's Post-World War I Play Mary Rose -- Dominant Forms and Potential Functions of Narrative in Victorian and Early-Twentieth-Century Plays : The Narrativisation of Drama as a Ways of Partaking in Political Debate and Coping with Post-War Realities -- From Stories in Drama to the Drama of (Performed) Stories : Late-Twentieth and Early-Twenty-First-Century Dissolutions of Established Generic Traditions and Cultural Histories as Well as the Generation of New, 'Ex-centric' Genres and Histories through Narrative -- Staging and Questioning Authorial Omnipotence : Desecrating the 'Holy Trinity of Protagonist, Narrator, and Focaliser' in Peter Shaffer's Post-Modern Gesamtkunstwerk Amadeus as a Means of Unveiling and Undermining Traditional Normalisation and Unification Tendencies -- Making Drama Ex-Centric with Ex-Centric Narratives : The Shaking Up and Re-Juggling of Genre Conventions and Naive Worldviews in debbie tucker green's Drama of Stories, stoning mary -- Forming and Performing Speculative and Narrative Bubbles in Lucy Prebble's Enron : A Dramatic Excess of Multi-Genericity as an Approximation of the Mechanisms of an Excessive, All-Devouring Global Market and a Critique of the Post-Industrial (Mis)information Age -- Dominant Forms and Potential Functions of Narrative in LateTwentieth-Century and Early-Twenty-First-Century Plays : Forming New Dramatic Genres By Way of (Intermedial) Narrative and, in Performing Them, Reforming Hegemonic Histories and Societies in the Information Age -- Conclusion : 'The Contextual Dynamics of Dramatic Storytelling' and the 'Performative Power of Narrative in British Plays' -- Isolating the Dominant Trans-Historical Forms of Dramatic Storytelling and Narrative in British Plays -- Abstracting Four Hypotheses as to the Broad, Trans-Historical Contextual Function of Narrative in British Plays -- Outlining Possible Directions and Suggestions for Further Research -- References -- Index.

This volume argues against Gérard Genette's theory that there is an insurmountable opposition between drama and narrative and shows that the two forms of storytelling have been productively intertwined throughout literary history. Building on the idea that plays often incorporate elements from other genres, especially narrative ones, the present study theorises drama as a fundamentally narrative genre. Guided by the question of how drama tells stories, the first part of the study delineates the general characteristics of dramatic narration and zooms in on the use of narrative forms in drama. The second part proposes a history of dramatic storytelling from the Renaissance to the twenty-first century that transcends conventional genre boundaries. Close readings of exemplary British plays provide an overview of the dominant narrative modes in each period and point to their impact in the broader cultural and historical context of the plays. Finally, the volume argues that throughout history, highly narrative plays have had a performative power that reached well beyond the stage: dramatic storytelling not only reflects socio-political realities, but also largely shapes them.