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Selected Works

Pierre Corneille

Articles 1 - 3 of 3

Full-Text Articles in Modern Languages

Knowing Irony: The Problem Of Corneille, Nina Ekstein Feb 2016

Knowing Irony: The Problem Of Corneille, Nina Ekstein

Nina C Ekstein

Irony and knowledge exist in a problematic relationship to each other, one that is strikingly similar to that between knowledge and secrets. If irony becomes unambiguously obvious, that is, known to all, it is no longer perceived as irony. And a secret is not a secret if it is widely known. By the same token, someone must perceive irony in order for it to exist, just as a secret must be known by someone. Thus the question of whether a given author is ironic is unlikely to have a clear, unambiguous answer. The probable lack of final clarity does not ...


The Trilogue In Corneille's Theater, Nina Ekstein Feb 2016

The Trilogue In Corneille's Theater, Nina Ekstein

Nina C Ekstein

The classical stage is a locus of action and interaction conveyed through speech. The number of characters interacting on stage and the extent of that interaction are a significant feature of any playwright's dramaturgical practice, and in the case of Corneille - as in the case of most of his colleagues - dialogue, with or without a silent third party present on stage, largely predominates. While study has been made of his use of monologues (Cuénin-Lieber), trilogues and polylogues, at the other end of the spectrum, have received little attention.


Pompée's Absence In Corneille's 'La Mort De Pompée', Nina Ekstein Feb 2016

Pompée's Absence In Corneille's 'La Mort De Pompée', Nina Ekstein

Nina C Ekstein

Corneille's La Mort de Pompée (1643) occupies a curious position in the playwright's oeuvre, coming as it does immediately after the tetralogy. Faced with the never-ending artistic challenge of what to do next, what features to keep from earlier works, how to innovate and thereby captivate his audience, how to outdo his latest success, Corneille made some daring choices in this play. Indeed, this play is commonly viewed as a significant point in Corneille's oeuvre, one at which the playwright moves off in a radically new direction. It is my contention that the basic choice to keep ...