The 3 reference contexts in paper I. Kartavtseva V., E. Serebryakova-Shibelbeyn M. (2017) “SIMILAR AND DIFFERENT FEATURES OF B. BRECHT’S AND F. DÜRRENMATT’S METAPOETICS DURING THE SECOND WORLD WAR” / spz:neicon:stavapk:350

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    He wrote: «Of course, seeing the senselessness, the hopelessness of this world, one might despair, yet despair is not the result of this world. A different answer might be: not to despair, but to decide to accept the world in which we often live like Gulliver among the giants»
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    . A human was considered in his works as a grain of sand in the world of soulless, self-suffi cient abstractions faced an imminent and painful death, and crushed by a complex structure of unnatural relations [5: p. 8].
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    At the end of the work, he says: «Da habe ich dich genommen, dich, den Mörder, und habe dich in meine furchtbarste Waffe verwandelt, denn dich trieb die Verzweifl ung, der Mörder musste einen anderen Mörder fi nden. Ich machte mein Ziel zu deinem Ziel»
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    . The creativity of Brecht is also characterized by the appearance of a certain duality of hero. For example, the main character of the play «Mother Courage and Her Children» (Die Mutter Courage und ihre Kinder) is also a negative and positive character.
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    Spectators came accidentally. It looked like some foreigners came into my bedroom by accident. Working in the theater is fi nished for me after the full rehearsal. It is not a premier, it is done for playgoers»
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    . The organization of theater space plays very important role for Brecht too. It becomes an important point for «the epic theater theory». He says, «Scene must tell. There are no narrator and no «fourth wall» [1: p. 54].
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