LEADER 04959nam 2200661 a 450 001 9910480696903321 005 20170810183252.0 010 $a1-283-35853-0 010 $a9786613358530 010 $a90-272-7731-1 035 $a(CKB)2550000000073839 035 $a(EBL)805780 035 $a(OCoLC)769342189 035 $a(SSID)ssj0001012539 035 $a(PQKBManifestationID)11591067 035 $a(PQKBTitleCode)TC0001012539 035 $a(PQKBWorkID)11053004 035 $a(PQKB)11636562 035 $a(MiAaPQ)EBC805780 035 $a(EXLCZ)992550000000073839 100 $a19920918d1992 uy 0 101 0 $aspa 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 13$aEl metateatro y la drama?tica de Vargas Llosa$b[electronic resource] $ehacia una poe?tica del espectador /$fOscar Rivera-Rodas 210 $aAmsterdam ;$aPhiladelphia $cJ. Benjamins Pub. Co.$d1992 215 $a1 online resource (222 p.) 225 1 $aPurdue University monographs in Romance languages,$x0165-8743 ;$vv. 41 300 $aDescription based upon print version of record. 311 $a1-55619-310-6 311 $a90-272-1767-X 320 $aIncludes bibliographical references. 327 $aEL METATEATRO Y LA DRAMA?TICA DE VARGAS LLOSA; Editorial page; Title page; Copyright page; Table of contents; Introduccio?n: Prolego?menos al metateatro; 1. Ficcio?n y metaficcio?n en el teatro; LA FICCIO?N TEATRAL COMO ENUNCIACIO?N; LA FICCIO?N TEATRAL COMO ENUNCIADO; EL TEATRO: TEMPORALIDAD PRESENTE; 1.1. METAFICCIO?N: DESEMBRAGUE DE LA FICCIO?N; LA DEIXIS DE LA METAFICCIO?N; LA CONCIENCIA Y LA METAFICCIO?N; METAFICCIO?N COMO DEIXIS INTERIOR; 1.2. EL PERSONAJE METAFICTICIO; REALIDAD E IMAGINACIO?N EN EL TEATRO; EL PERSONAJE DE LA METAFICCIO?N; EL PERSONAJE ""ESPECTADOR/ACTOR"" 327 $a2. Reflexividad y estructura drama?ticaLA REFLEXIVIDAD EN EL TEATRO; EL METATEATRO DE VARGAS LLOSA; LA ENUNCIACIO?N DRAMA?TICA COMO TEMA; LA FUNCIO?N DE LA ESTRUCTURA METATEATRAL; LA REFLEXIVIDAD COMO DIFERIMIENTO; 2.1. LA REFLEXIVIDAD DE LA HISTORIA; LA SEN?ORITA DE TACNA; PRIMER ACTO: FICCIO?N Y METAFICCIO?N; SEGUNDO ACTO: FICCIO?N Y METAFICCIO?N; 2.2. LA REFLEXIVIDAD DEL PERSONAJE; KATHIE Y EL HIPOPO?TAMO; PRIMER ACTO: FICCIO?N Y METAFICCIO?N; SEGUNDO ACTO: FICCIO?N Y METAFICCIO?N; 2.3. LA REFLEXIVIDAD DE LAS ACCIONES; LA CHUNGA; PRIMER ACTO: FICCIO?N Y METAFICCIO?N; SEGUNDO ACTO: FICCIO?N Y METAFICCIO?N 327 $a3. La ficcio?n, o las fronteras asfixiantesESTRUCTURA DE LA DIE?GESIS; LA SEMIOSIS DE LA FICCIO?N; 3.1. LA REDUCCIO?N DE LA FICCIO?N; EL PERSONAJE COMO LECTOR IMPLI?CITO; EL PERSONAJE COMO ACTOR; EL PERSONAJE COMO ESPECTADOR; 3.2. LA DEIXIS DEL DISCURSO TEATRAL; LA DEIXIS DE LA FICCIO?N; REPRESENTACIO?N E INTERTEXTUALIDAD; EL ACTO DE LENGUAJE EN ESCENA; 4. La metaficcio?n, o el laberinto de las maravillas; LOS TEXTOS AUSENTES Y DEL SILENCIO; 4.1. LA CONCIENCIA COMO ESPACIO METATEATRAL; TRANSFORMACIONES PARADIGMA?TICAS; LA METAFICCIO?N Y SU DECONSTRUCCIO?N; DECONSTRUCCIO?N Y DIFERENCIA 327 $a4.2. ESTATUTO ACTORIAL Y ALTERIDADTIPOLOGI?A DE LOS PARLAMENTOS; EL PERSONAJE COMO ESPECTADOR IMPLI?CITO; 5. Metateatro: poe?tica del espectador; DE LA REFLEXIO?N A LA DIALE?CTICA; EL ESPACIO DE LA DIALE?CTICA; 5.1. LA SEMIO?TICA DEL ESPECTADOR; LA ESTRATEGIA DEL ESPECTADOR; EL ESPECTADOR POSITIVISTA; EL DISCURSO DEL ESPECTADOR; 5.2. EL ESPECTADOR Y EL CONTRATO DE VERIDICCIO?N; METATEATRO: PERCEPCIO?N ESPECTADORA; LA CONCIENCIA SINTAGMA?TICA; EL METATEATRO COMO META-TEATRO; Notas; Bibliografi?a citada 330 $aRivera-Rodas proposes a new concept about what he calls the poetics of the theatrical reception. The discussion of this phenomenon, which also deals with metatheater, focuses on the dramatic work of Mario Vargas Llosa. Examination of the complex relationships of contemporary dramatic structures provides a new definition of metatheater and its effects on the public. Metatheater is shown as a semiotic result not theatrically representable, since it takes place only in the spectator's perceptible experience. Therefore, it does not exist prior to the theatrical or reading reception, nor is it pres 410 0$aPurdue University monographs in Romance languages ;$vv. 41. 606 $aDrama$xExplication 606 $aReader-response criticism 606 $aDramatic criticism 606 $aTheater audiences 608 $aElectronic books. 615 0$aDrama$xExplication. 615 0$aReader-response criticism. 615 0$aDramatic criticism. 615 0$aTheater audiences. 676 $a801/.952 700 $aRivera-Rodas$b Oscar$0942936 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910480696903321 996 $aEl metateatro y la drama?tica de Vargas Llosa$92127862 997 $aUNINA LEADER 00956nam 2200337Ia 450 001 9910794631803321 005 20200520144314.0 035 $a(CKB)4200000000000558 035 $a(MiAaPQ)EBC3314403 035 $a(Au-PeEL)EBL3314403 035 $a(CaPaEBR)ebr5000572 035 $a(OCoLC)913814157 035 $a(EXLCZ)994200000000000558 100 $a20010502d2001 uy 0 101 0 $aeng 135 $aurcn||||||||| 200 14$aThe Devil's dictionary$b[electronic resource] /$fby Ambrose Bierce 210 $aRaleigh, NC $cAlex Catalogue$d2001 215 $a147 p 606 $aAmerican wit and humor 606 $aAmerican literature 615 0$aAmerican wit and humor. 615 0$aAmerican literature. 700 $aBierce$b Ambrose$f1842-1914?$0196349 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910794631803321 996 $aDevil's dictionary$91566253 997 $aUNINA LEADER 03349nam 22006732 450 001 9910814262803321 005 20151005020621.0 010 $a1-139-12404-8 010 $a1-107-22603-1 010 $a1-283-29829-5 010 $a9786613298294 010 $a1-139-12208-8 010 $a0-511-84333-X 010 $a1-139-11634-7 010 $a1-139-12700-4 010 $a1-139-11417-4 010 $a1-139-11198-1 035 $a(CKB)2670000000122593 035 $a(EBL)775005 035 $a(OCoLC)759152323 035 $a(SSID)ssj0000554959 035 $a(PQKBManifestationID)11308416 035 $a(PQKBTitleCode)TC0000554959 035 $a(PQKBWorkID)10518167 035 $a(PQKB)11287100 035 $a(UkCbUP)CR9780511843334 035 $a(Au-PeEL)EBL775005 035 $a(CaPaEBR)ebr10502865 035 $a(CaONFJC)MIL329829 035 $a(MiAaPQ)EBC775005 035 $a(EXLCZ)992670000000122593 100 $a20141103d2011|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 13$aAn introduction to the Unitarian and Universalist traditions /$fAndrea Greenwood, Mark W. Harris$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d2011. 215 $a1 online resource (ix, 257 pages) $cdigital, PDF file(s) 225 1 $aIntroduction to religion 300 $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015). 311 $a0-521-70771-4 311 $a0-521-88148-X 320 $aIncludes bibliographical references and index. 327 $aIntroduction -- Beginnings -- Great Britain -- From relevation to reason: America 1630-1833 -- From reason to intuition to freedom: USA 1833-1894 -- A religion for one world -- Congregational polity -- Worship -- Sources of faith -- Science and ecology -- Architecture, art, and music -- Education and social justice -- Current issues, new directions. 330 $aHow is a free faith expressed, organised and governed? How are diverse spiritualities and theologies made compatible? What might a religion based in reason and democracy offer today's world? This book will help the reader to understand the contemporary liberal religion of Unitarian Universalism in a historical and global context. Andrea Greenwood and Mark W. Harris challenge the view that the Unitarianism of New England is indigenous and the point from which the religion spread. Relationships between Polish radicals and the English Dissenters existed and the English radicals profoundly influenced the Unitarianism of the nascent United States. 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