LEADER 04926nam 2200649 a 450 001 9910781544303321 005 20230421050721.0 010 $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 $aTheater audiences 615 0$aDrama$xExplication. 615 0$aReader-response criticism. 615 0$aDramatic criticism. 615 0$aTheater audiences. 676 $a801/.952 700 $aRivera-Rodas$b Oscar$01478296 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910781544303321 996 $aEl metateatro y la drama?tica de Vargas Llosa$93693951 997 $aUNINA LEADER 03741nam 2200577 450 001 9910822179403321 005 20230725025455.0 010 $a1-282-87388-1 010 $a9786612873881 010 $a1-4411-3071-3 035 $a(CKB)2670000000056532 035 $a(EBL)601817 035 $a(OCoLC)676700749 035 $a(MiAaPQ)EBC601817 035 $a(MiAaPQ)EBC5309786 035 $a(MiAaPQ)EBC3003046 035 $a(Au-PeEL)EBL3003046 035 $a(OCoLC)928191705 035 $a(EXLCZ)992670000000056532 100 $a20180315h20102010 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 14$aThe ethics of metropolitan growth $ethe future of our built environment /$fRobert Kirkman 210 1$aLondon, [England] ;$aNew York, New York :$cContinuum,$d2010. 210 4$dİ2010 215 $a1 online resource (193 p.) 225 1 $aThink Now 300 $aDescription based upon print version of record. 311 $a1-4411-0280-9 320 $aIncludes bibliographical references and index. 327 $aIntroduction -- Ethics -- How was the project chosen? -- Are the goals of the project worth reaching? -- Are the means used to reach the goals of the project appropriate? -- Does the project conflict with projects other individuals or groups are pursuing? -- Does the project conflict with other projects the same individual or group is pursuing? -- Is the project self-defeating? -- Ethics and environment -- What is the place in which the project will unfold? -- How might the project change the place and its broader context? -- How much can we know about how the project will unfold in this place? -- Metropolitan growth -- How should we characterize the built environment of the United States? -- What are the dynamics that shape the built environment? -- The ethics of metropolitan growth -- Is this a good place to live? (well-being) -- Who gets to benefit from this place and who does not? (justice) -- How long can this place last? (sustainability) -- Who should make decisions about this place? (legitimacy) -- Using the framework -- Reveal hidden complexity in ethical judgments -- Identify points of agreement and disagreement -- Focus deliberation -- Search for new possibilities -- The limits of ethics -- To what extent can people act responsibly? -- To what extent can people be held responsible for their actions? 330 $aThe Ethics of Metropolitan Growth is about the decisions people make that shape the built environment, from the everyday concerns of homeowners and commuters to grand gestures of national policy. Decisions about the built environment have taken on a particular urgency in recent months. The financial crisis that began in the home mortgage system, the instability of fuel prices, and long-term projections of oil depletion and climate change are now intertwined with more conventional concerns about metropolitan growth, such as traffic flow and air quality. Now, it would seem, is an excellent time 410 0$aThink now. 606 $aCities and towns$xGrowth$xMoral and ethical aspects 606 $aUrbanization$xMoral and ethical aspects 606 $aCity planning$xMoral and ethical aspects 615 0$aCities and towns$xGrowth$xMoral and ethical aspects. 615 0$aUrbanization$xMoral and ethical aspects. 615 0$aCity planning$xMoral and ethical aspects. 676 $a174/.93071216 700 $aKirkman$b Robert$f1968-$01629882 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910822179403321 996 $aThe ethics of metropolitan growth$94118738 997 $aUNINA