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Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.
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The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
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Schor, Ruth. "Eine alltägliche Tätigkeit : performing the everyday in the avant-garde theatre scene of late nineteenth-century Berlin." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:f182a548-e450-4efa-a3a0-478461d44ab6.
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This dissertation situates late nineteenth-century Berlin's reception of naturalist drama in contemporary discourse about European modernism, which to date has disregarded the significant impact of this cultural environment. Examining the Berlin avant-garde's demand for "truth" and "authenticity," this study highlights its legacy of promoting more honest and dynamic forms of human interaction. Sketching the historical background, Chapter 1 demonstrates how the reception of Henrik Ibsen in Berlin fuelled creative strategies for a more honest approach to theatre. From literary matinees to more egalitarian ways of directing theatre, this moment in cultural history significantly shaped people's understanding of theatre as a tool for social criticism and as a means of creating a sense of intimacy. Two important figures are highlighted here: literary critic and theatre director Otto Brahm, central to the promotion of naturalism, and his more prominent protégé Max Reinhardt, who developed Brahm's legacy. Situating these developments in a theoretical framework, Chapter 2 draws on the concept of "the everyday" as set out by Toril Moi, Stanley Cavell, and Ludwig Wittgenstein to link the role of the ordinary on stage to the avant-garde's search for authenticity and truthfulness. Through this framework, Ibsen's social dramas from A Doll's House to Hedda Gabler (Chapter 3) can be seen perfectly to exemplify this shift in perspective from the 1880s through the 1890s, revealing the complexity of truthfulness in communications. Tracing these themes in other dramatic works, innovative readings of Arthur Schnitzler's Liebelei (Chapter 4) and Rainer Maria Rilke's Das tägliche Leben (Chapter 5) shed new light on these two fin-de-siècle authors. By highlighting these authors' previously unrecognised connections with Berlin's avant-garde theatre scene and their dramatic exploration of interpersonal connection, this study shows both how theatre functioned as a tool to examine human relationships and to what extent twentieth-century literature was grounded in this way of thinking.
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Turner, Irene. "Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.
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Ingham, Michael Anthony. "Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.
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Staton, Maria S. "Christianity in American Indian plays, 1760s-1850s." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1364944.
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The main purpose of this study is to prove that the view on the American Indians, as it is presented in the plays, is determined by two dissimilar sets of values: those related to Christianity and those associated with democracy. The Christian ideals of mercy and benevolence are counterbalanced by the democratic values of freedom and patriotism in such a way that secular ideals in many cases supersede the religious ones. To achieve the purpose of the dissertation, I sifted the plays for a list of notions related to Christianity and, using textual evidence, demonstrated that these notions were not confined to particular pieces but systematically appeared in a significant number of plays. This method allowed me to make a claim that the motif of Christianity was one of the leading ones, yet it was systematically set against another major recurrent subject—the values of democracy. I also established the types of clerical characters in the plays and discovered their common characteristic—the ultimate bankruptcy of their ideals. This finding supported the main conclusion of this study: in the plays under discussion, Christianity was presented as no longer the only valid system of beliefs and was strongly contested by the outlook of democracy.I discovered that the motif of Christianity in the American Indian plays reveals itself in three ways: in the superiority of Christian civilization over Indian lifestyle, in the characterization of Indians within the framework of Christian morality, and in the importance of Christian clergy in the plays. None of these three topics, however, gets an unequivocal interpretation. First, the notion of Christian corruption is distinctly manifest. Second, the Indian heroes and heroines demonstrate important civic virtues: desire for freedom and willingness to sacrifice themselves for their land. Third, since the representation of the clerics varies from saintliness to villainy, the only thing they have in common is the impracticability and incredulity of the ideas they preach. More fundamental truths, it is suggested, should be sought outside of Christianity, and the newly found values should be not so much of a "Christian" as of "democratic" quality.<br>Department of English
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Foster, Clare Louise Elizabeth. "'A very British Greek play' : a critical investigation of the origins and tradition of Greek plays in Greek in England, 1880-1921." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708816.
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Mastag, Horst Dieter. "The transformations of Job in modern German literature." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30647.
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In modern times German authors have made ample use of the Job-theme. The study examines the transformations that the story of Job has undergone in German narrative and dramatic works from Leopold von Sacher-Masoch's Der neue Hiob (1878) to Fritz Zorn's Mars (1977).
The most striking feature of these works lies in their diverse characterization of the Job-figure. As a mythical figure he remains synonymous with the sufferer, but he may be characterized as patient or impatient, humble or arrogant, innocent or guilty, rich or poor, courageous or cowardly; he may be a Jew or a Christian, a Nazi or an anti-Nazi, a believer or an agnostic.
The authors have retained most of the characters included in the Old Testament story. The Job-figure usually has a wife (who doubts and despises God), a number of children (who die in an impending disaster), and several friends (who accuse him of wrong-doing). Concerning the plot, most writers have excluded any prologue in heaven. The suffering of the Job-figure (usually brought on by the loss of loved ones, by physical pain and by mental agony) is always central to the story. More often than not, however, the modern Job-figure exhibits a form of impatience and impiety once misfortune has struck. A theophany (literal confrontation with God) does not occur, but a divine agent may be provided in the form of a dream or a vision, or indirectly by nature. An epilogue (the restoration of Job's health, possessions and children) is usually omitted, but some authors imply a renewal of Job, so as to suggest a purpose for and a hope after his arduous trials.<br>Arts, Faculty of<br>Central Eastern Northern European Studies, Department of<br>Graduate
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Moler, Lara Biasoli. "Da palavra ao silêncio: o teatro simbolista de Maurice Maeterlinck." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-08082007-155902/.
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Nos últimos anos do século XIX, o poeta, dramaturgo e ensaísta belga Maurice Maeterlinck (1862-1949) concretiza as aspirações teatrais do movimento simbolista com um conjunto de oito peças, escritas entre 1889 e 1894, que são testemunho não apenas de sua concepção dramática, mas também da própria evolução do teatro simbolista. Fundamentando-se nas limitações da comunicação verbal e na premissa de um silêncio eloqüente, Maeterlinck desenvolve um projeto de reformulação da linguagem dramática que, recentemente, tem sido apreciado do ponto de vista de sua contribuição para a formação do teatro moderno. Este trabalho tem como objetivo ilustrar o projeto de Maeterlinck por meio de uma apreciação de suas teorias teatrais e de exemplos selecionados de cada uma das oito peças que compõem sua produção simbolista.<br>At the end of the 19th century, the Belgian poet and playwright Maurice Maeterlinck (1862-1949) fulfills the dramatic aspirations of the Symbolist movement through a collection of eight plays, written between 1889 and 1894, which are witnesses not only to the author\'s theatrical conception, but to the symbolist theater evolution as well. Departing from the very limitations of verbal communication and from the conception of an eloquent silence, Maeterlinck develops a project that contemplates a thorough review of the dramatic dialogue, a project which has recently been associated to the making of modern drama. This study seeks to illustrate Maeterlinck`s dramatic project through an appreciation of his theories and examples from the plays which represent his Symbolist drama.
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Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.
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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
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Wright, Elizabeth Helena. "Virginia Woolf and the dramatic imagination." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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Weber, Minon. "Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894)." Thesis, Stockholms universitet, Engelska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574.
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Towards the end of the 19th century Oscar Wilde wrote the four society plays that would become his most famous dramatical works: Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895). The plays combined characteristic Wildean witticisms with cunning social criticism of Victorian society, using stereotypical characters such as the dandy, the fallen woman and the “ideal” woman to mock the double moral and strict social expectations of Victorian society. These plays, and to an extent also Wilde’s symbolist drama Salomé (1891), have been the object of a great deal of scholarly interest, with countless studies conducted on them from various angles and theoretical perspectives. Widely under-discussed, however, are Wilde’s two Elizabethan-Jacobean tragedies, The Duchess of Padua (1883) and A Florentine Tragedy (1894). This thesis therefore sets out to explore The Duchess of Padua and A Florentine Tragedy in order to gain a broader understanding of Wilde’s forgotten dramatical works, while also rediscovering two of Wilde’s most transgressive female characters—Beatrice and Bianca. Challenging traditional ideas of gender and female sexuality, Beatrice and Bianca can be read as proto-feminist figures who continually act transgressively, using their voice and agency to stand up against patriarchy and asserting their rights to experience their lives on their own terms. Through an in-depth study of these plays, this thesis will demonstrate that Wilde’s Elizabethan-Jacobean tragedies, with their strong, modern female characters Beatrice and Bianca deserve greater critical attention on a par with the extensive scholarship on Wilde’s well-known dramatical works.
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Faura, Sánchez Francisco Manuel. "Juan Mayorga y el teatro de la memoria en el contexto social y literario de comienzos de milenio." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668078.
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El estudio de las nuevas tendencias dramatúrgicas contemporáneas no se encuentra alejado de todo lo político y social que está gestándose en la sociedad occidental actual. Los cambios producidos en este comienzo de milenio debido, en gran parte, a las luchas de poder entre lo nuevo y lo tradicional, han originado unas luchas entre todos los ciudadanos que están más o menos vinculados al mundo de la cultura. Por este motivo, este estudio muestra todos esos cambios a través de una mirada crítica a la sociedad, no por el mero hecho de mostrarse escéptico con toda la realidad que rodea a esta época, sino por tratar de una manera dura y rigurosa los tópicos que rodean a los nuevos creadores.
Para concretar estas nuevas tendencias en un solo nombre y a raíz de lo expuesto a lo largo del trabajo, la aproximación a su dramaturgia y los ensayos académicos, Juan Mayorga ha estudiado en su creación una visión crítica y filosófica de la sociedad, así como una desconfianza a las palabras y verdades establecidas a lo largo de la tradición. Juan Mayorga se ha convertido en un autor atrayente para los académicos por su lenguaje dramático y su puesta en escena. Su trabajo como dramaturgo y su reciente inclusión en la Real Academia Española le confieren un mérito lingüístico y filosófico que impregna todo su trabajo como dramaturgo. Los espectadores que asisten a sus eventos teatrales han de entrar en el juego político-teatral que él mismo propone.<br>The study of the new contemporary dramaturgical tendencies is not far from everything political and social which occurs in the western society. The changes produced in this beginning of the millennium due, in large part, to the clash of cultures between the new and the traditional, have led to struggles among all citizens who are linked to the culture world. For this reason, this study shows all these changes through a critical look at society, not just keeping skeptical of all this reality what surround this time, but treating in a extensive and rigorous way the topics that wraps up the new creators.
To concretize these new tendencies in a single name and following the exposition throughout the work, the approach to his dramaturgy and the academic essays, Juan Mayorga has studied in his creation a critical and philosophical point of view of the society, as well as a distrust to the words and truths established throughout the tradition. Juan Mayorga has become an attractive author for academics because of his dramatic language and his staging. His work as a playwright and his recent inclusion in the Royal Spanish Academy give him a linguistic and philosophical merit that spreads out all his playwright work. The spectators who attend their theatrical events have to enter into the political-theatrical game that he proposes.
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Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.
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Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.
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Gregorio, Amélie. "L’«Arabe» dans le théâtre français, du début de la colonisation de l’Algérie aux grandes expositions coloniales (1830-1931) : de représentations en discours." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2105.
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Dès 1830, le théâtre s’empare du thème de la conquête de l’Algérie puis il accompagne l’expansion coloniale en Afrique du Nord, événements majeurs qui ont marqué la vie politique française du XIXe et du début du XXe siècle. Véritable phénomène social et culturel de masse, il a fortement contribué à imposer l’esprit colonial et l’idée d’empire dans les mentalités. Mais dans quelle mesure exacte a-t-il été un acteur culturel de cette politique d’expansion et de domination ? Avec quelle fréquence, quelles inflexions ? Quelles représentations de l’« Arabe » a-t-il véhiculé, et comment les a-t-il transformées en discours idéologiques, reçus en direct par un public donné ? A-t-il été aussi le lieu d’une prise de distance, voire d’une contestation de la colonisation ? Au théâtre, l’altérité est mise en mots, mais aussi et surtout portée sur scène, par le corps et la voix du comédien, presque toujours français et blanc. L’autre, « indigène », celui qui interpelle, inquiète ou fascine, acquiert une visibilité accrue, le temps de la représentation. L’altérité est réduite par certains auteurs à des stéréotypes que d’autres mettent au contraire en question. L’image de l’Arabe, mais aussi du Kabyle, du Touareg et du métissé, a suivi les courants idéologiques qui ont sous-tendu les grandes étapes de l’expansion coloniale, jusqu’aux prémices des mouvements de décolonisation. Sur le plan esthétique, la représentation de l’« Arabe » est-elle l’occasion d’un renouvellement en matière de jeu, de langage, de décor et de costume ? La recherche de l’« exotisme » dans les formes spectaculaires laisse-t-elle parfois place au souci de rencontre et (re)connaissance de l’autre ? La portée à la fois littéraire, culturelle, sociale et historique du sujet nécessite de mobiliser et croiser des approches esthétique, dramaturgique, sociocritique et postcoloniale<br>Since 1830, drama has taken over the Algerian conquest theme then backed the colonial expansion in North Africa, two major events which marked French political life from the 19th century to the early 20th century. As a real social and cultural overall phenomenon, it has strongly contributed to impose the colonial spirit and the empire idea into people's minds. But to what extent exactly has it played a cultural role in this expansion and domination policy? At what frequency and with which inflexions? Which representations of the "Arab" has drama conveyed, and how has it transformed them into an ideological discourse, through a live performance received by a given audience? Has it also been a place of distancing, even contesting colonization? Otherness is put into words with drama, but it is also and mostly brought onto the scene through the body and the voice of the actor, almost always French and white. The other "native", the one who puts question, worries or fascinates, gains an enhanced visibility, for the time of the performance. Otherness is reduced to stereotypes by some authors while others call them into question. The image of the Arab – but also of the Kabylian, the Tuareg, and the mixed-race – has followed the ideological currents that have underlain the great steps of the colonial expansion, until the beginnings of the decolonization movement. On the aesthetic level, is the representation of the "Arab" the opportunity of a renewal in terms of performance, language, setting, and costumes? Does seeking "exoticism" in spectacular forms give sometimes way to concern about meeting and knowing, or acknowledging, the other? The literary, cultural, social and historical significance of the subject requires to mobilize and cross aesthetic, dramaturgic, sociocritical and post colonial approaches
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Campbell, Stephanie 1983. "Le sublime, le grotesque et le meurtre spectaculaire : l'esthétique de la violence dans le drame romantique." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116056.
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This thesis focuses on the representation of physical violence in the first Romantic French dramas of the 19th century. Before 1829, the Classic movement forbade spectacles of violence in the major theatres. However, with the production of the first Romantic play, Henri III et sa cour, the stage was transformed into a space of murder, physical brutality and suicide. In this study, we will interrogate the reasons for which violent acts reappear on the French stage. The influence of the guillotine will be examined as well as the sublime and grotesque nature of murder. The theories of Christine Marcandier-Colard, which explore the supreme beauty of criminality, will lead us to determine which ideologies are communicated through the depictions of death. We will also analyze the reaction of the public in regard to brutality in the theatre, as well as the role that violence plays in the development of a new society. Although violence inherently possesses a destructive value, its aesthetic value in the theatre advocates a veritable evolution of the French society towards democracy.
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St, Pierre Kelly M. "Revolutionizing Czechness: Smetana and Propaganda in the Umělecká Beseda." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1333472822.
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Plançon, Séverine. "Le lyrisme élégiaque dans les mélodies d'Henri Duparc : une approche du "drame d'âme"." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20015.
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Ce travail met en évidence les manifestations lyriques et élégiaques dans le corpus des dix-sept mélodies d’Henri Duparc, à travers une analyse des discours poético-musicaux. Du point de vue conceptuel, le transfert de la notion de lyrisme, de la poétique vers la musique, permet de construire une représentation du lyrisme duparcien, située à la croisée du lyrisme poétique et des possibles de la structuration musicale. La première partie décline les différentes facettes de ce lyrisme à travers les moyens stylistiques du lyrisme poétique (l’élévation et la répétition) et du lyrisme musical (la "voix-violon", les posés de voix, la recomposition, la brièveté, l’emphase). La deuxième partie – la lecture interprétative des textes poétiques – expose quatre situations élégiaques, les plus représentatives du style duparcien. Ce prisme révèle la démarche compositionnelle d’Henri Duparc : il travaille par thématiques, qu’il traite plusieurs fois sous différents angles, pour en montrer les différentes facettes émotionnelles. En dégageant les idées dramatiques d’Henri Duparc à partir de sa correspondance, la troisième partie démontre que les mélodies constituent pour ce compositeur un laboratoire d’expérimentation de ce qu'il a lui-même nommé le "drame d’âme", qui s'élaborait au sein du projet de "La Roussalka", son unique drame lyrique, inachevé, puis détruit. Ces mélodies mettent en évidence les limites compositionnelles de ce musicien en matière de drame lyrique, élaboré sans action extérieure, sans enchaînement de situations dramatiques et sans personnage. Au terme de cette étude, les mélodies apparaissent donc comme la forme la plus aboutie dont il était capable<br>This dissertation highlights lyric and elegiac works in the corpus of seventeen melodies of Henri Duparc, through an analysis of the poetic and musical speeches. From the abstract point of view, the transfer of the notion of lyricism, from poetics to music, helps to build a representation of Duparc’s personal lyricism, that lays between the poetic lyricism and the possibilities of the musical structure. The first part of this study presents the various ways of lyricism through stylistic means of poetic lyricism (elevation of thought and repetition) and of musical lyricism (the idea of "violin-voice", the level of the voice, the rewriting of the works, the brevity, the bombast). The second part - the interpretative reading of the poetic texts – sheds lights on four elegiac situations, which are the more representative of the composer’s style. This prism reveals the Henri Duparc’s approach of composition: he works by themes, which he handles several times under different angles, to show the various emotional sides. Revealing Henri Duparc's dramatic ideas from his correspondence, the third part demonstrates that his melodies establish for this composer a laboratory of experiment of what he called himself the "drama of the soul", which he developed within the project of "La Roussalka", his unique operatic drama, unfinished then destroyed. These melodies highlight the limits of this musician writing skills regarding operatic drama, developed separate from action, without sequence of dramatic situations and without characters. At the end of this study, the melodies appear as the most accomplished shape in which Henri Duparc was proficient
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Inners, Margaret L. "C.D. Grabbe's Hannibal: A New Translation for the American Stage." 2008. https://scholarworks.umass.edu/theses/131.
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Schrauder, Monika. "The kiss in the dream." 2010. https://scholarworks.umass.edu/theses/387.
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In my thesis I have translated five dramas by Karoline von Günderrode: Mora, written at the latest 1804 but likely 1801/02; Hildgund, created before 1804; Nikator written the middle of 1804; Udohla originated around the turn of 1804/05; Magie und Schicksal written the beginning of 1805; all were published under the pseudonym Tian in 1805, except Mora which was printed in 1804. (Refer to Walter Morgenthaler's Karoline von Günderrode, Sämtliche Werke und Ausgewählte Studien, 90, 116, 142, 147, 156.) Günderrode is usually classified as a writer aligned with German Romanticism, however, her works, like her life, defy easy categorization. Her struggle with contemporary gender roles is especially evident in her dramatic texts, where her idiosyncratic choice of form, structure, themes, and linguistic idioms – which I will present here as a position between German Romanticism and Classicism – locate her in a poetic realm of her own creation. This is a realm in which she can transcend the personal tragedies that permeate her existence and in which her vision of love as a union of equals struggles to find a fulfilling conclusion. This utopian conclusion is denied her both in her dramatic texts and life which ends in tragedy and death.
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Dembická, Lucie. "Vesnické drama v tvorbě L. N. Tolstého a bratří Mrštíků." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-368011.
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The key feature of realism in drama is capturing a person including all it's problems and flaws. Authors L. N. Tolstoj and Mrštík brothers in Government of darkness and Marysha congruently focused on life in countryside and the negative, almost destructive, way in which cities and their culture influence it. The aim of this thesis was to capture the main motives in the changes of life in Russian and Czech countryside. This analysis concludes that the most significant shifts are in peoples' morals, mostly due to the fact that both individuals as well as the whole society were intensively driven to earn and accumulate wealth, even at the cost of happiness, health or, sadly, human life. Tolstoj's drama also captures in more detail and depth abandonment of religion in pursuit of personal profit. Although the religious motive is an inherent part of rural mentality, it's mostly missing in the play by Mrštík brothers, who themselves were atheist. Significant space in those plays has been dedicated to female characters. They are described as either dominant, manipulative women with clear goals, or the authors emphasize their vulnerability and lack of experience. Matrjona and Lízalka are mature women whose main goal is to financially provide for their childs without any regard for their children's...
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"Imagistic action: an interdisciplinary study of poetic tension in Yeats' theatre." 2000. http://library.cuhk.edu.hk/record=b5895814.
Full textAbstract:
by Wong Hing Yi.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2000.<br>Includes bibliographical references (leaves 131-137).<br>Abstracts in English and Chinese.<br>Introduction --- p.1<br>Chapter Chapter One --- "“The Last Romantic or the First Modern?"": in the light of the predecessors and contemporaries" --- p.7<br>Chapter Chapter Two --- "“More than Cool Reason"": a study of the poetic metaphor in Yeats's poems" --- p.29<br>Chapter Chapter Three --- """An illusion that should not be quite an illusion"": a study of the visual image in Yeats´ةs plays" --- p.51<br>Chapter Chapter Four --- Image as Action: Yeats as the forerunner of the modern theatre --- p.80<br>Conclusion --- p.112<br>Illustrations --- p.119<br>References --- p.131