Fluid Roles and Fragmented Time in Diane di Prima’s “The Discontent of the Russian Prince”
This article explores the fragmentation and temporal rupture in Diane di Prima’s lesser-known yet captivating play, “The Discontent of the Russian Prince” (1959), a work that broadens the Beat fragmentation aesthetic and contests traditional notions of narrative chronology. Going beyond gender comme...
Gespeichert in:
| Veröffentlicht in: | URI:https://journals.openedition.org/ejas, |
|---|---|
| Hauptverfasser: | , |
| Format: | Article ou chapitre numérique |
| Sprache: | Anglais |
| Veröffentlicht: |
European journal of American studies
2026
|
| Schlagworte: | |
| Online Zugang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Zusammenfassung: | This article explores the fragmentation and temporal rupture in Diane di Prima’s lesser-known yet captivating play, “The Discontent of the Russian Prince” (1959), a work that broadens the Beat fragmentation aesthetic and contests traditional notions of narrative chronology. Going beyond gender commentary, the article scrutinizes other intriguing aspects of di Prima’s dramatic text, including metatextual references, stage directions, and character dynamics. We analyze instances from the play and concentrate on di Prima's efforts to contest traditional notions of dramatic space, speaker ambiguity, and temporality. Through contingent outcomes and fragmentation, “The Discontent of the Russian Prince” undermines linear narrative chronology and cultivates a rich sense of temporal polyphony. By examining this lesser-known play, our research promotes further investigation of underrepresented dramatic works within the Beat movement and updates our understanding of di Prima. |
|---|