Smethurst Mae J (69 results)

Paperback. Condition: New. New copy.

Condition: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Condition: New. New copy.

Soft cover. Condition: Very Good. Softcover Paperback with only minor reading wear; book is clean, unmarked. In stock. Ships from MN, USA.

paperback. Condition: Very Good. price sticker on front cover Very Good paperback with light shelfwear - NICE! Standard-sized.

Condition: New. 2010. paperback. . Not a first edition copy. . . . Books ship from the US and Ireland.

Condition: New. 2010. paperback. . Not a first edition copy. . . .

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New.

Paperback. Condition: New. In an important and unique contribution to the study of noh, this volume includes, for the first time, essays on the subject of one noh play written by scholars from both sides of the Pacific Ocean in their own language, Japanese or English (with a summary of each contribution translated into the other language also included). The essays show some of the breadth and depth that is available for the study of Japanese literature and drama both in Japan and abroad. Japanese scholars Amano Fumio, Nishino Haruo, Takemoto Mikio, and Wakita Haruko join with actor Uzawa Hisa and American scholars Monica Bethe, Steven Brown, Susan Klein, William LaFleur, Susan Matisoff, Carolyn Morley, Mae Smethurst, and Arthur Thornhill, to interpret the noh Ominameshi, all from the vantage point of their own analytical approaches. The intent is to provide the reader with more than just an introduction to the variety of ways of studying noh in general by focusing on one particular play and analyzing it closely and from many directions.The volume includes a preface and introduction plus 19 color and 4 black-and-white illustrations; one less literal and one more literal translation of the noh accompanied by the Japanese texts; and contributions interpreting Ominameshi in the light of medieval commentaries, the ai-kyogen, new historicism, gender studies, legends surrounding the history of the play's setting, the etiology of the graves of the two principal characters, poetic usage, other plays on the subject of ominameshi, the religious background and meaning, authorship, structure, performance, costumes and masks. The volume concludes with reflections on the performance of the play by Uzawa Hisa in Pittsburgh, Pennsylvania, during the conference out of which the book developed.…

Condition: As New. Unread book in perfect condition.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Soft cover. Condition: Good. 1st Edition. Minor edge and corner wear; lightly scuffed and scratched; spine is gently creased; some light shelf wear; ex-library with the usual library markings; overall a nice used copy! Blue and white illustrated wrapper with black and white lettering. 115 historical and informative pages! "This book explores the ramifications of understanding the similarities and differences between the tragedies of Euripides and Sophocles and realistic Japanese noh. First, it looks at the relationship of Aristotle's definition of tragedy to the tragedies he favored. Next, his definition is applied to realistic noh, in order to show how they do and do not conform to his definition. In the third and fourth chapters, the focus moves to those junctures in the dramas that Aristotle considered crucial to a complex plot - recognitions and sudden reversals -, and shows how they are presented in performance. Chapter 3 examines the climactic moments of realistic noh and demonstrates that it is at precisely these moments that a third actor becomes involved in the dialogue or that an actor in various ways steps out of character. Chapter 4 explores how plays by Euripides and Sophocles deal with critical turns in the plot, as Aristotle defined it. It is not by an actor stepping out of character, but by the playwright's involvement of the third actor in the dialogue. The argument of this book reveals a similar symbiosis between plot and performance in both dramatic forms.By looking at noh through the lens of Aristotle and two Greek tragedies that he favored, the book uncovers first an Aristotelian plot structure in realistic noh and the relationship between the crucial points in the plot and its performance; and on the Greek side, looking at the tragedies through the lens of noh suggests a hitherto unnoticed relationship between the structure of the tragedies and their performance, that is, the involvement of the third actor at the climactic moments of the plot. This observation helps to account for Aristotle's view that tragedy be limited to three actors.".…

Condition: New. In English.

Condition: New.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New.

Condition: As New. Unread book in perfect condition.

Taschenbuch. Condition: Neu. Neuware - This volume of five noh translations (containing an introduction, translations, short commentaries and a glossary) differs from most others in that none of the plays are of the mugenno type, but are instead genzaino, real-life noh. The plays focus on living characters rather than spirits or ghosts, and on dramatic action rather than poetry, song and dance. In addition the five noh satisfy several of the most important features of Aristotle's definition of good tragedy. That is, they all have plot, which Aristotle says in his Poetics is the imitation of action. The plot centers on characters who are related to each other or are a part of the same household. In each plot, a fatal or harmful event is either enacted or threatened, and there is an unexpected change in the direction of the action. In Shun'ei, a father, visited by his son, is pardoned from a death sentence; in Dampu, a son visits his father, who is then executed, and upon avenging his father's death, unexpectedly escapes the killer's henchmen; in Shichikiochi and Nakamitsu, a son thought to have been killed turns up alive, much to the amazement of his father; and finally, in Nishikido, a brother turns on his own brother and attacks with military force. This volume is intended to provide the reader with a translation of noh plays that either have not been previously translated into English or have not been translated for a long time. The translations are as faithful as possible to the original Japanese so that the reader can gain a close glimpse of the language and action of this particular type of noh. It is a noh filled with action compared to many that have been translated, a noh that appealed to the public at large during the medieval period. Bibliography and scholarly notes are kept to a minimum.…

Condition: New.

Paperback. Condition: New. This book explores the ramifications of understanding the similarities and differences between the tragedies of Euripides and Sophocles and realistic Japanese noh. First, it looks at the relationship of Aristotle's definition of tragedy to the tragedies he favored. Next, his definition is applied to realistic noh, in order to show how they do and do not conform to his definition. In the third and fourth chapters, the focus moves to those junctures in the dramas that Aristotle considered crucial to a complex plot - recognitions and sudden reversals -, and shows how they are presented in performance. Chapter 3 examines the climactic moments of realistic noh and demonstrates that it is at precisely these moments that a third actor becomes involved in the dialogue or that an actor in various ways steps out of character. Chapter 4 explores how plays by Euripides and Sophocles deal with critical turns in the plot, as Aristotle defined it. It is not by an actor stepping out of character, but by the playwright's involvement of the third actor in the dialogue. The argument of this book reveals a similar symbiosis between plot and performance in both dramatic forms.By looking at noh through the lens of Aristotle and two Greek tragedies that he favored, the book uncovers first an Aristotelian plot structure in realistic noh and the relationship between the crucial points in the plot and its performance; and on the Greek side, looking at the tragedies through the lens of noh suggests a hitherto unnoticed relationship between the structure of the tragedies and their performance, that is, the involvement of the third actor at the climactic moments of the plot. This observation helps to account for Aristotle's view that tragedy be limited to three actors. …

Condition: As New. Unread book in perfect condition.

Condition: New.

Hardcover. Condition: Good Condition. Dust Jacket Condition: Good Dustjacket. XII, 343 pages; little signs of use - good condtion.

Condition: New. &Uumlber den Autoredited and translated byMae J. SmethurstKlappentextrnrnMAE SMETHURST is Professor of Classics and East Asian Languages and Literatures at the University of Pittsburgh. Her other publications incl.

Paperback. Condition: Brand New. 362 pages. 8.25x5.50x0.75 inches. In Stock.

Paperback. Condition: New. In shrink wrap. Looks like an interesting title.

Condition: New. In English.

Condition: New.

Paperback. Condition: New. In shrink wrap. Looks like an interesting title.