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This book defines and exemplifies a major genre of modern dramatic writing, termed historiographic metatheatre, in which self-reflexive engagements with the traditions and forms of dramatic art illumi

'Michael Field' (1884–1914) was the pseudonym of two women, the aunt and niece Katharine Bradley and Edith Cooper, who lived and wrote together as 'lovers'. The large oeuvre contains poems, dramas, and a vast diary. Marion Thain recounts the development of a fascinating and idiosyncratic poetic persona, which became a self-reflexive study in aestheticism. The constructed life and work of 'Michael Field' is used here to deepen and complicate our understanding of many of the most distinctive aesthetic debates of the late nineteenth and early twentieth centuries; a process unified by the recurring engagement with theories of time and history that structures this book. This analysis of poetry, aestheticism and the fin de siècle, through the performance of 'Michael Field', has implications that reach far beyond an understanding of one poet's work. Scholars of both Victorian and modernist literature will learn much from this innovative and compelling study.

由萊因霍爾德·尼布爾著的《自我與歷史的戲劇(精)/上海三聯人文經典書庫》這本歷史哲學著作，出版於1955年，被評價為尼布爾*為理論性和*深刻的著作。書的序言中作者坦言，書中對自我的分析受到猶太哲學家馬丁·布伯《我與你》的影響。正文第一部分論及人的獨特性，作者把人視為一種不斷“對話”的自由的存在，生活在與自我、他者的對話之中；自我作為共同體的成員，也生活在歷史的戲劇之中。第二部分，作者通過比較西方文化的希伯來成分和希臘成分，批判了經驗文化以及對人性的錯誤認識。書的第三部分，討論財產、等級和正義，共同體的整合，以及個體和集體的命運等問題。