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The Crucible: A Play in Four Acts (Penguin Modern Classics) (Englisch) Taschenbuch – 24. Februar 2000

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  • Taschenbuch: 128 Seiten
  • Verlag: Penguin Classics; Auflage: New Ed (24. Februar 2000)
  • Sprache: Englisch
  • ISBN-10: 0141182555
  • ISBN-13: 978-0141182551
  • Größe und/oder Gewicht: 12,9 x 0,9 x 19,8 cm
  • Durchschnittliche Kundenbewertung: 4.2 von 5 Sternen  Alle Rezensionen anzeigen (82 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 62.677 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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Arthur Miller's classic parable of mass hysteria draws a chilling parallel between the Salem witch-hunt of 1692 - one of the strangest and most awful chapters in human history - and the McCarthyism which gripped America in the 1950s. The story of how the small community of Salem is stirred into madness by superstition, paranoia and malice, culminating in a violent climax, is a savage attack on the evils of mindless persecution and the terrifying power of false accusations.

Über den Autor und weitere Mitwirkende

Arthur Miller was born in New York City in 1915 and studied at the University of Michigan. His plays include All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge and A Memory of Two Mondays (1955), After the Fall (1963), Incident at Vichy (1964), The Price (1968), The Creation of the World and Other Business (1972) and The American Clock. He has also written two novels, Focus (1945), and The Misfits, which was filmed in 1960, and the text for In Russia (1969), Chinese Encounters (1979), and In the Country (1977), three books of photographs by his wife, Inge Morath. His most recent works include a memoir, Timebends (1987), and the plays The Ride Down Mt. Morgan (1991), The Last Yankee (1993), Broken Glass (1993), which won the Olivier Award for Best Play of the London Season, and Mr. Peter's Connections (1998). He has twice won the New York Drama Critics Circle Award, and in 1949 he was awarded the Pulitzer Prize.

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A small upper bedroom in the home of reverend Samuel parris, Salem, Massachusetts, in the spring of the year 1692. Lesen Sie die erste Seite
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Die hilfreichsten Kundenrezensionen

1 von 1 Kunden fanden die folgende Rezension hilfreich Von Money Mike Luedke am 19. September 2000
Format: Taschenbuch
Arhtur Miller's "The Crucible" is a masterful work in its representation of the horrific time period in early-American colonial history during the 17th-century when the Salem witch trials were taking place. As well as doing the aforementioned within his play, it presents a stunning metaphor for a time period in which America was plunged into the communism scare by Wisconsin Senator Joe McCarthy. Accusations were hurled both in Salem and in the McCarthy-era and a "disease" of sorts was taking root within these misguided ways. In the case of Salem, those in question were subjected to court proceedings of the most unjust and one-sided ways. The fear of Satan influenced the ways of the Salem population and therefore, all who were suspected of mingling with the Prince of Darkness were executed. In the case of McCarthy, if one failed to conform to the "true" American way, they were immediately suspected of communist ideals and dealings and accusations were further hurled and imprisonment was in line. For one to fully understand the aim of Miller's work, the reader must first understand the time period in which he was writing and the events therein. However, if one would simply desire to get a look into not only a dark side of American history, but a dark side of the human being itself, "The Crucible" depicts both in excellent style and is well worth reading. In the words of Levar Burton though, " don't have to take my word for it..." PEACE!
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1 von 1 Kunden fanden die folgende Rezension hilfreich Von Rick Zuma am 28. Juli 2000
Format: Taschenbuch
A considerable number of plays from the 50s come across as melodramatic, cynical and stilted today. In contrast, Miller's classic remains powerful and universal - but not for the usual reasons you'd expect. As a drama it has more in common with 19th century works in the tradition of Ibsen or even the novels of Hugo than with the 50s authors like Williams, Beckett, O'Neill, or even the Miller of Death of a Salesmen. Instead of the drab, pathetic, cowardly, sad, sniveling, or absurdist characters of some of his contemporaries we see people of moral stature. People in the mist of an irrational hysteria with normal human frailties but with moral sense. An interesting dimension is added in the portrayal of the villains. At one point in the play it seems expedient for the 'chief inquisitor' to temper or betray his crusade. He chooses to follow his vision (I am being vague to avoid giving away any plot). Compare this to Hugo's Javert in Les Miserables. By writing the villain in such a manner both authors create a drama that pits two moral codes - two views of reality. This elevates Miller's play to the level of a romantic realist drama.
Many of the other reviewers will point out the intended parallels to events of the 50s. However, Miller's play is more universal and can be viewed in relation to any fanatical hysteria. This is still timely today given the Politically Correct hysteria on college campuses.
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1 von 1 Kunden fanden die folgende Rezension hilfreich Von rareoopdvds am 18. Februar 2000
Format: Taschenbuch
This is the first play by Arthur Miller I have read, and I inquired into mostly because of my interest with Witchcraft and the Salem trials. A wonderful play that shows the hypocrisy of a town threatened by purported withcraft. The cried of "witch" by anyone in this town aroused and scared everyone. The lead characters Abagail Williams along with Reverend Parris and John Proctor. I will not give any story here, for you should read it and be surprised and amazed. Nonetheless, the story lets one wonder how such a town and belief in the Bible (more so than God) can lead to such havok. The laws are simple: 1) You are not a witch until someone points the finger at you. 2) You can deny these charges, but you will be hung. 3) If you confess you are a witch, then the sentence is jail. 4) If you do not believe in withcraft you will be hung. These were the beliefs of the time, and it is demonstrated in this marvelous play. Arthur Miller tells an exciting story based on history (although he says its not literal history for there were some need for dramatic purpose), of a time when things were simple in America and Massachusettes, yet like all towns in the world, there is always something brewing in the minds of the good who want to banish evil from their homes. Highly reccomended!
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Certainly Arthur Miller's The Crucible is a social play. Miller dramatically represents "the way men ought to live," a life of moderation. Social plays, according to Miller, must not destroy he who becomes cognizant as the curtain falls. The Crucible destroys neither Rebecca Nurse, nor John Proctor; this piece destroys those who seek to destroy. The drama is social because man must choose the middle ground; if not he destroys his fellow man. Contrary to conventional wisdom, Miller's play is not merely a parallel to the McCarthy era, but an additional reminder that moderation is the true path in life. Social dramas, as Miller defines, show man the way to live; The Crucible tells man that in order to prosper he must eschew dichotomy. Only he who obstinately clings to the dichotomy of right and wrong and good and evil will truly suffer, while inhibiting man's progress...Arthur Miller's The Crucible is a brilliant social drama. Miller brilliantly accounts that in 1692 and 1953 "the world is gripped between two diametrically opposed absolutes"(Miller 33). These absolutes are the Devils who haunt Salem, depriving the town of its life. Miller's social drama opens up to man the haunting historical fact that if man should stray from the center, he will destroy his polis, and his fellow man. "The concept of unity, in which positive and negatives are attributes of the same force," Miller elucidates, "in which good and evil are relative, ever-changing, and always joined to the same phenomenon - such a concept is still reserved to the few who have grasped the history of ideas"(Miller 33). Moderation is the key to man's happiness; with dichotomy present, so too is the evil of man.
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