Bøger af John Reibetanz

Grounded in the local and immediate - from Toronto's rivers and ravines to its highways and skyscrapers - John Reibetanz's Metromorphoses explores, in roughly chronological order, some of the radical changes that have taken place in the city during the course of its history.

The dramatic traditions and conventions available to Shakespeare at the time he wrote King Lear were so rich and varied as to constitute an extremely resonant and complex vocabulary, one that Shakespeare fully utilized to shape his audience's response and to create the unique world of this play. Professor Reibetanz argues that many of the qualities that set Lear apart from Shakespeare's other tragedies are those it shares with Jacobean drama rather than with earlier Elizabethan drama. The tightly enclosed world of the play, operating within an internal logic independent of the real world, reflects a structure, to cultivate sheer virtuosity of technique, however, Shakespeare used it to reinforce a profound, archetypal emotional experience, an effect more characteristic of Greek than of Jacobean tragedy. Shakespeare's use of popular Elizabethan conventions of character definition similarly conveys the elemental quality of a play-world detached from ordinary reality. Yet Shakespeare adopts the conventions not to catapult his characters into the abstract and theoretical world of earlier drama but to apply the power of that world to an essentially human experience. The play asserts, structurally and thematically, the dominance of feeling above form.The Lear World reflects the depth and eclecticism of Shakespeare's use of dramatic traditions, and deepens our understanding of a compelling and powerful tragedy.

In New Songs for Orpheus, John Reibetanz updates Ovid's poetry. His words showed him to be a person of deep empathy for natural, animal, and human worlds, and Reibetanz posits that Ovid would be eager to take account of all that we have learned about them in the past two thousand years.

In Earth Words, John Reibetanz breaks bread with three earlier writers through the glosa, a poetic form that unfolds as a dialogue. The collection inscribes a series of concentric circles, moving outwards from the eleventh-century world of Wang An-shih through the nineteenth century of Henry Thoreau and into the twentieth century with Emily Carr.