American Heritage® Dictionary of the English Language, Fourth Edition
- Brecht, Bertolt 1898-1956. German poet and playwright who developed "epic drama,” a style that relies on the audience's reflective detachment rather than the production's atmosphere and action. His works include The Threepenny Opera (1928) and The Caucasian Chalk Circle (1948).
- n. German dramatist and poet who developed a style of epic theater (1898-1956)
“Brecht is possibly the most accessible (and certainly one of the most popular) major 20th century playwright on the world stage.”
“The essay was also published -- before the 1989-1998 Werke's appearance -- in Brecht's Gesammelte”
“Brecht is of course often described, by others and himself, as the Left's plumpes”
“Limits of space allow me to say here only that a shared set of subsequently-celebrated images and ideas appears in Brecht's Shelley essay, Benjamin's Baudelaire essay, and then Brecht's Baudelaire meditations and later poetry.”
“Jones also observes that Peter Bell the Third's famous line about Hell being "a city much like London" reappears in Brecht's 1941 poem "Nachdenkend über die Hölle" [ "On Thinking About Hell"] .5”
“The most telling absence in Brecht's translation of the Mask are the most blatantly "idealist" passages in Shelley, the lines on the allegorical Hope and the symbolist Shape, from what is arguably the crux of Shelley's original poem.”
“Shelley in Brecht, Shelley in Adorno, Shelley in Benjamin*”
“Shelley in Brecht, Shelley in Adorno, Shelley in Benjamin”
“I just wanted to sit somewhere a little more low-key with HK natives, so I popped open my Lonley Planet and found a bar not too far away from my hostel in Causeway Bay called Brecht's Circle.”
“Brecht, that is, powerfully grasps and identifies with Shelley's manner of marrying rhythmic propulsion to textural density, whereby through syntax, cadence, diction, and tone, an intense forward movement and stingingly precise denotation coexist with an imagistic counter-impulse that, with understated elegance, deftly builds back into the poem a cumulatively thickening self-reflection.”
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