parabasis


Also found in: Wikipedia.

parabasis

(pəˈræbəsɪs)
n, pl -ses (-ˌsiːz)
(Theatre) (in classical Greek comedy) an address from the chorus to the audience
[C19: from Greek, from parabanein to step forward]
Translations
References in periodicals archive ?
O Coro, deixado sozinho por Sofocles no palco como uma parabasis, fala das leis eternas que ninguem pode violar sem receber, em troca, castigos violentos.
For de Man, it is the site of the "permanent parabasis," or continual interruption, of meaning that is the essence of the ironic.
(10) Anna Kornbluh, "The Economic Problem of Sympathy: Parabasis, Interest, and Realist Form in Middlemarch" ELH 11 (2010): 946.
A lengthy discussion early on highlights the concept of "parabasis" (derived from Paul de Man) when "self-consciousness" or "disruption" would be much clearer.
Opium is evoked at two explicitly self-reflective moments in the text, moments of narrative parabasis that conjoin narcotic and reflective states once again.
Alternatively, the imperative of this Ask need not, necessarily, call directly to the spirit, but by way of parabasis might signal a self-exhortation of the poet, as he, shaken, must reassure himself of the very questioning gesture here at play.
Defining irony as "the permanent parabasis of the allegory of tropes," de Man performs a reading of Schlegel to assert that irony disrupts the entire system through which the self is posited, the posited entity relates to itself, and meaning is made (179).
(7) I am referring to Friedrich Schlegel's definition of irony as "permanent parabasis" (Firchow: 257-71).
En ella, la autora repasa, en clave metaforica, por un lado la contraposicion entre Esquilo y Euripides (en Ranas) y la contraposicion entre Aristofanes y los otros comediantes (en la parabasis de Caballeros).
En el caso de la Comedia Antigua, esta exhibicion de la obra como artificio se realiza exclusivamente en la parabasis, momento de suspension de la ilusion dramatica en que ocurre el desplazamiento de un nivel retorico a otro--de la ficcion a la realidad, cuando el corifeo se quita la mascara y adelantandose hacia el publico dirige sus criticas al ordenamiento politico y social--.
Nevertheless, Bloom is of the opinion that the "epistemological approach" is itself "a trope." Moreover, irony, in its primary sense of alegory (you say x in order to suggest y), is according to Bloom (1997: XIX, XX) "the epistemological trope-of-tropes," while for de Man this constituted the very condition of literary language whereby is produced that "permanent parabasis of meaning" (i.e.