FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W313506508> ?p ?o ?g. }

• W313506508 startingPage "517" @default.
• W313506508 abstract "1 The first documented definition of the aside as a dramatic technique, and not just as an occasional stage direction, is usually credited the French scholar Henri-Jules Pilet de La Mesnardiere, who in his 1640 book La Poetique, written at the express request of cardinal Richelieu, uses this term describe the fifth type of Sentimens forcez 'unnatural sentiments' (254). La Mesnardiere employs the neologism l'a-parte when he discusses a dramaturgical error, quite common in young playwrights, that originates in modern Spanish and Italian drama. He defines it in a following manner: Je nomme ainsi ces beaux discours qu'un Personnage fait a part en la presence d'un autre sur l'un des coins du Theatre, tandis que le dernier Acteur est contraint pour aider au jeu, d'estre sans yeux & sans oreilles; puis qu'a ne point farder les choses, s'il n'est & sourd & aveugle, il faut qu'il scache malgre lui ce que l'autre fait a sa veue, & qu'il veut pourtant lui cacher. (267) I name thus those beautiful speeches which one Character makes aside in the presence of another in one of the corners of the Theatre, whilst the latter Actor is obliged pretend in this act be without eyes & without ears; then, not conceal it at all, unless he is both deaf & blind, he must, in spite of his knowledge, ignore that which the other does in his view & which he wants, however, hide from him. Despite La Mesnardiere's somewhat negative take on l'a-parte, his observations were soon adopted by other French critics and the term aside, beginning with the abbe d'Aubignac's 1657 definition of the a parte as a type of implicit narration (qtd. in Arnaud 250), becomes an indispensable part of theatrical vocabulary. Etymologically, the noun l'aparte originates in the Latin expression a parte sua (on his/her side) and in the 1580s was adopted as an Italian adverb a parte, but even in the latter case the word is not used as a theatrical term until the early nineteenth century (see Imbs 201). Beside this word, a number of other terms are commonly used in French neoclassical drama indicate this kind of delivery. Stage directions such as bas or a lui-meme (to himself) are often used concurrently with a part, while speaking past other characters on the stage may also be denoted with the use of strategically placed dashes, with italics, or by putting the aside-lines in parentheses. The basic definition of the aside is relatively simple and has been rarely contested. David Bain, in his exhaustive study Actors and Audience. A Study of Asides and Related Conventions in Greek Drama, defines the aside as any utterance by either speaker not intended be heard by the other and not in fact heard or properly heard by him (17). In his analysis of Elizabethan stage conventions, Alan C. Dessen points out that in the seventeenth century the word had three possible meanings, but eventually focuses on the last option, according which delivering one's lines aside means to direct a speech so as (somehow) maintain the fiction that it cannot be heard by other onstage figures (53). Also interesting are Catherine Kerbrat-Orecchioni's description of the aside as trope communicationel 'a communicational trope' (239) and Nathalie Fournier's elaborate definition of l'aparte as a procede dramatique, discours secret (monologue ou dialogue), derobe par convention aux autres personnages en scene et a ses consequences, liees a un trait essentiel, la convention du secret, qui implique la presence sur scene des allocutes exclus de l' aparte et oblige a envisager les incidences sur l'aparte du decoupage scenique et du lieu scenique. (L'aparte 47) dramatic proceeding, secret discourse (in monologue or dialogue), concealed by convention from the other characters on the stage and from its consequences, dependent on an essential feature, the convention of secrecy, which implies the presence on the stage of speakers excluded from the aside and demands that one consider the effect on the aside of theatrical editing and theatrical location. …" @default.
• W313506508 created "2016-06-24" @default.
• W313506508 creator A5073096782 @default.
• W313506508 date "2001-09-22" @default.
• W313506508 modified "2023-09-23" @default.
• W313506508 title "From Invention to Convention: A Critical View of the Evolution of the Aside in French Neoclassical Drama" @default.
• W313506508 cites W1566368809 @default.
• W313506508 cites W1966909222 @default.
• W313506508 cites W2034969723 @default.
• W313506508 cites W2264742718 @default.
• W313506508 cites W2316153560 @default.
• W313506508 cites W648062139 @default.
• W313506508 hasPublicationYear "2001" @default.
• W313506508 type Work @default.
• W313506508 sameAs 313506508 @default.
• W313506508 citedByCount "0" @default.
• W313506508 crossrefType "journal-article" @default.
• W313506508 hasAuthorship W313506508A5073096782 @default.
• W313506508 hasConcept C102792161 @default.
• W313506508 hasConcept C124952713 @default.
• W313506508 hasConcept C138885662 @default.
• W313506508 hasConcept C142362112 @default.
• W313506508 hasConcept C144024400 @default.
• W313506508 hasConcept C15708023 @default.
• W313506508 hasConcept C2524010 @default.
• W313506508 hasConcept C2778120072 @default.
• W313506508 hasConcept C2780608745 @default.
• W313506508 hasConcept C2780861071 @default.
• W313506508 hasConcept C33923547 @default.
• W313506508 hasConcept C36289849 @default.
• W313506508 hasConcept C41895202 @default.
• W313506508 hasConcept C52119013 @default.
• W313506508 hasConcept C523419034 @default.
• W313506508 hasConcept C93285893 @default.
• W313506508 hasConceptScore W313506508C102792161 @default.
• W313506508 hasConceptScore W313506508C124952713 @default.
• W313506508 hasConceptScore W313506508C138885662 @default.
• W313506508 hasConceptScore W313506508C142362112 @default.
• W313506508 hasConceptScore W313506508C144024400 @default.
• W313506508 hasConceptScore W313506508C15708023 @default.
• W313506508 hasConceptScore W313506508C2524010 @default.
• W313506508 hasConceptScore W313506508C2778120072 @default.
• W313506508 hasConceptScore W313506508C2780608745 @default.
• W313506508 hasConceptScore W313506508C2780861071 @default.
• W313506508 hasConceptScore W313506508C33923547 @default.
• W313506508 hasConceptScore W313506508C36289849 @default.
• W313506508 hasConceptScore W313506508C41895202 @default.
• W313506508 hasConceptScore W313506508C52119013 @default.
• W313506508 hasConceptScore W313506508C523419034 @default.
• W313506508 hasConceptScore W313506508C93285893 @default.
• W313506508 hasIssue "3" @default.
• W313506508 hasLocation W3135065081 @default.
• W313506508 hasOpenAccess W313506508 @default.
• W313506508 hasPrimaryLocation W3135065081 @default.
• W313506508 hasRelatedWork W126267052 @default.
• W313506508 hasRelatedWork W126347605 @default.
• W313506508 hasRelatedWork W173512852 @default.
• W313506508 hasRelatedWork W1973866789 @default.
• W313506508 hasRelatedWork W1975745702 @default.
• W313506508 hasRelatedWork W1977407436 @default.
• W313506508 hasRelatedWork W1992146224 @default.
• W313506508 hasRelatedWork W1994380852 @default.
• W313506508 hasRelatedWork W2022411256 @default.
• W313506508 hasRelatedWork W2059294410 @default.
• W313506508 hasRelatedWork W2084011401 @default.
• W313506508 hasRelatedWork W2087698874 @default.
• W313506508 hasRelatedWork W2324241394 @default.
• W313506508 hasRelatedWork W2329574892 @default.
• W313506508 hasRelatedWork W2334134262 @default.
• W313506508 hasRelatedWork W2492870733 @default.
• W313506508 hasRelatedWork W277387562 @default.
• W313506508 hasRelatedWork W294168829 @default.
• W313506508 hasRelatedWork W188702550 @default.
• W313506508 hasRelatedWork W35785956 @default.
• W313506508 hasVolume "35" @default.
• W313506508 isParatext "false" @default.
• W313506508 isRetracted "false" @default.
• W313506508 magId "313506508" @default.
• W313506508 workType "article" @default.