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Index
Cover Page
Title Page
Copyright Page
Contents
Acknowledgements
Abbreviations
Translations and Textual Sources
Introduction: Alienating Alienation
Part I: Brecht’s Theory of Alienation
1 Developments towards Alienation
2 The Marxist-Hegelian Background: Complexities and Contradictions
3 Self-Alienation as Technique: ‘Astonishment Guides His Brush’
4 External Alienation: ‘She Cried into Her Sleeve, and He Touched It as if He Had Found It Wet’
5 Enlightened Anti-Illusion and Its Implicit Superstition
6 Dialectical Optics of Alienation: Time and Vision in Brecht
7 Thtricality: Brecht’s Platonic Anti-Theatricality
Part II: Mimesis and Alterity: Diderot’s Exploration of Alienation
8 Dual Forms of Acting: Approximating Diderot and Brecht
9 Alienating Brecht through Diderot
10 ‘L’illusion n’est que pour vous’: The Deluding Effects of Self-Alienation
11 Optics of Illusion: Time and Vision in Diderot
12 From Contrast to Paradox: Relativity of Alienation
13 Theatrum Mundi: Alienation as Implicit Order
14 Sociality, Theatricality and Alienation in Rousseau’s Thought
15 Le Neveu de Rameau: Alienation between Objective Representation and Subjective Experience
Conclusion: The Game is the Game
Bibliography
Index
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