Relevant bibliographies by topics / Allegorical drama

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Allegorical drama'

Author: Grafiati
Published: 22 February 2023
Last updated: 15 June 2025

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Journal articles on the topic "Allegorical drama"

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Borg, Ruben. "Past, Passivity, Passion: Deleuze's Allegorical Drama." CounterText 5, no. 1 (2019): 70–88. http://dx.doi.org/10.3366/count.2019.0151.

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This article offers a rhetorical analysis of Deleuze's concept of the past, understood not as a modification of the present but as a pre-predicative, non-subjective articulation of time. Focusing on the discussion of the three passive syntheses of time in Chapter 2 of Difference and Repetition, it traces the continuity between past, passivity and passion across Deleuze's body of work in an effort not only to remark on the conceptual resonances between them, but, more importantly, to examine the figural and formal choices that codify those resonances, and to some extent over-determine them – in particular, Deleuze's recourse to allegory and tragic form. Though the past is constituted as a primordial component of time, it already exceeds itself in the passivity of that constitutive moment, of that originary gesture by which it is first committed to historical experience. The process is rendered in dramatic terms: Habitus and Mnemosyne (Habit and Memory; Present and Past) are first pitted against each other – respectively, as the origin of time and its ground. They are then overthrown by an unnamed third element ‘which subordinates the other two to itself’ and opens the whole to infinity. The article thematises the significance of the past within this allegorical drama, develops the character, and draws out the temporal structures encoded in Deleuze's figurations.
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Todic, Sofija. "Ibsen’s Danse Macabre: The importance of auditory elements in Henrik Ibsen’s drama John Gabriel Borkman." Muzikologija, no. 13 (2012): 163–80. http://dx.doi.org/10.2298/muz120130017t.

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In the drama John Gabriel Borkman Ibsen attributes great importance to sounds. The contrast between presence and absence of sounds, other sound effects and especially the Danse Macabre played on the piano emphasize the drama?s eerie atmosphere. Danse Macabre can be also seen as the drama?s key metaphor, and it connects the first and the second acts and creates unity of time and action. The allegorical meanings of this composition can serve as a paradigm in the interpretation of each character, their relations, and the whole dramatic action even. The focus of this work is on the auditory layer of the drama, emphasizing the important function of the auditory included in a dramatic work.
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Beckwith, S. "Language Goes on Holiday: English Allegorical Drama and the Virtue Tradition." Journal of Medieval and Early Modern Studies 42, no. 1 (2012): 107–30. http://dx.doi.org/10.1215/10829636-1473118.

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Ryu, Jaekook. "The Meaning of Accepting Traditional Fairy Tales in Park U-seop's Radio-drama for Children: Focusing on “Loyal Tiger” and “Sneeze of a Fox”." Korean Society of Culture and Convergence 45, no. 1 (2023): 511–22. http://dx.doi.org/10.33645/cnc.2023.01.45.01.511.

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Park U-seop pioneered the radio drama genre and continued his fairy tale work for five years from 1937 to 1941. Especially this paper analyzes to find the meaning of accepting traditional fairy tale with Park’s passionate two radio dramas, “Loyal Tiger” and “Sneeze of a Fox” in 1938. In the two works, Park U-seop used his unique storytelling and expression techniques, and aimed for an allegorical method to effectively capture moral and ethical lessons. To find out the method, this paper focuses on acceptance of moral and didactic messages of fables. The two fairy tale dramas contain various areas of life in human history and the psychological prototype of the people. In addition, it reveals that the virtues of lessons based on reconciliation, forgiveness, and faith were implied in the works.
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Kosicka-Pajewska, Aleksandra. "Dramatyczność kolorów historii." Przestrzenie Teorii, no. 36 (December 15, 2021): 55–69. http://dx.doi.org/10.14746/pt.2021.36.3.

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The drama of Katyń. The theory of colors, Julia Holewińska based on Józef Czapski’s Old Bielsko Memories, although largely processed. The protagonist of the play is Józef Czapski, a painter-capist, writer, intellectual, prisoner of Starobielsk, Pawliszczew Boru, Griazowiec, who builds his paintings in the performance with colors. The setting for these events is Kozielsk, where the artist was not held, which proves that this is not Czapski’s biography, nor is it a documentary account of camp life. The playwright, on the basis of a harsh and humiliating reality, showed human sensitivity. In Holewińska’s drama, Czapski acts as a guide through the camp experience through the eyes of a colorist. In each sequence, the artist expresses his view of color in art. There are two more allegorical characters in the drama: Our Lady of Kazan, who embodies three beings: Our Lady of Kazan (The Blessed Virgin of Kazan) – as the sacred, the real pilot Janina Lewandowska, and femininity in general. The second allegorical figure is the great Katyń liar, who personifies the whole apparatus of repression and oppression of the NKVD. The background for the conversations between these characters is a two-person choir – one out of a thousand and the Second of thousand. Art of Katyń. The theory of colors is devoted to painful historical events, despite the fact that it is subject to various playwriting procedures, it is moving in its meaning.
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Choudhury, Mita. "Orrery and the London stage: A loyalist's contribution to restoration allegorical drama." Studia Neophilologica 62, no. 1 (1990): 43–59. http://dx.doi.org/10.1080/00393279008588039.

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Zaborowska-Musiał, Justyna. "Senex sapiens et senex stupidus – wykorzystanie figury starca w alegorycznych kreacjach Sędziego, Lichwy i Alchemii w podręczniku Franza Langa SI „De actione scenica”, 1727." Symbolae Philologorum Posnaniensium Graecae et Latinae 31, no. 2 (2021): 109–42. http://dx.doi.org/10.14746/sppgl.2021.xxxi.2.9.

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The article focuses on the analysis of the role and importance of the figure of an old man in the allegorical images of Judge (Iudex), Usury (Foeneratio) and Alchemy (Alchimia) proposed by the Jesuit lecturer, playwright, and author of theatrical performances and drama theatre theorist, Franz Lang in his very important (it marked an high point of theatrical outpoot) handbook of acting De actione scenica published in Munich in 1727.
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Wilson, Jeffrey R. "Why Shakespeare? Irony and Liberalism in Canonization." Modern Language Quarterly 81, no. 1 (2020): 33–64. http://dx.doi.org/10.1215/00267929-7933076.

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Abstract When scholars consider Shakespeare’s rise and lasting popularity in modern culture, they usually tell us how he assumed his position at the head of the canon but not why. This essay contends that Shakespeare’s elevation in the early nineteenth century resulted from the confluence of his strategy as an author and the political commitments of his canonizers. Specifically, Shakespeare’s ironic mode made his drama uniquely appealing to the political liberals at the forefront of English culture. In their own ways, Shakespeare and his proponents were antiauthoritarian: the literary antiauthoritarianism in his drama (the irony granting audiences the freedom of interpretation) perfectly matched the political antiauthoritarianism (liberalism) advocated by the likes of Adam Smith and John Stuart Mill. Thus it is possible to speak of bardolatry as an allegorical intertext for liberal politics.
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Johnson, Eric J. "A THEATRICAL AND TEXTUAL LABORATORY: THE CLAUDE E. ANIBAL COLLECTION OF SPANISH DRAMA." Theatre Survey 53, no. 2 (2012): 279–87. http://dx.doi.org/10.1017/s0040557412000099.

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For generations, scholars of seventeenth- and eighteenth-century Spanish drama have been attempting to define the parameters that characterize the comedia suelta, but to date no firm consensus about the form's textual or generic qualities has been reached. Broadly defined, the term comedia suelta embraces theatrical works written in a variety of styles, including farsas (short, humorous, carnivalesque texts); sainetes (short productions or distinct portions of larger works that are normally danced and sung); eglogas (brief pastoral works, often with sad or somber overtones); entremeses (concise comedic pieces emphasizing the burlesque and the grotesque); and autos (succinct allegorical religious productions frequently tied to the celebration of the Eucharist). Other theatrical forms and subgenres current in Spanish drama of the period might also easily be classified as sueltas, depending on one's particular point of view.
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Herbert, Daniel. "“It Is What It Is”:The Wireand the Politics of Anti-Allegorical Television Drama." Quarterly Review of Film and Video 29, no. 3 (2012): 191–202. http://dx.doi.org/10.1080/10509200903120047.

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Dissertations / Theses on the topic "Allegorical drama"

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Refini, Eugenio. "Teatro del mondo, teatro dell'anima. Sondaggi sul codice allegorico nel dramma morale del tardo Rinascimento." Doctoral thesis, Scuola Normale Superiore, 2010. http://hdl.handle.net/11384/86072.

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Hagey, Jason A. "Truth Begins In Lies': The Paradoxes Of Western Society In House M.D." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3264.

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The core of House M.D. is its assertion that current Western civilization lives in a perpetual state of dissonance: we desire to have the rawness of emotion but we can only handle this rawness when we combine it with intellect, even if that intellect lies to us. This is the ontological paradox that the televisual text grapples with. Through the use of archetypal analysis and allegorical interpretation, this thesis reveals that dissonance and its relationship to contemporary Western society. Through House M.D. we realize that there are structures to the paradoxes that we live and there are paradoxes in our structures. Dr. House is a trickster in an allegory of American capitalist culture. The trickster metaphorically pulls away from society the rules protecting cultural values. Dr. House and House M.D. participate in revealing the cultural disruption of the current moment of Western society. While playing on the genres of detective fiction and hospital dramas, House M.D. is an existential allegory exposing the paradox that we can never be free while still seeking our own self-interest.
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Avila, Alex. "THE BRONX COCKED BACK AND SMOKING MULTIFARIOUS PROSE PERFORMANCE." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/394.

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The Bronx Cocked Back And Smoking is a collection of multifarious prose performances recounting the historical, personal, social, political and cultural constructs of a city birthed by violence. This body of work is accompanied by video, audio, photography, and theatre performance texts. St. Mary’s Housing project, in the Bronx, is the foundation where most of this literary work takes place. The modern day Griot (storyteller) is a Poet, guiding his audience through the social inequalities and disparities that plague St. Mary’s community. The Poet shares personal traumatic insights while simultaneously utilizing writing as a form of survival to the conditions of the Bronx. This multi-platform performance highlights the metaphorical and physical concerns with the cycle of violence. This question is answered through the Poet’s choice by selecting the pen over the gun.
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Books on the topic "Allegorical drama"

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Vijayakrishnan, K. Pūrṇapuruṣarthacandrodayam: Sanskrit allegorical drama. Sukr̥tīndra Oriental Research Institute, 2015.

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Aggarwal, Usha. Philosophical approach to Sanskrit allegorical dramas. Sultan Chand, 1988.

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Campoy, Diego. Sleeping Soul: Allegorical Stage Drama in One Prologue and Two Acts. Independently Published, 2017.

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Hudson, Nicholas. Formal Experimentation and Theories of Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0020.

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This chapter situates the theory and practice of the early novel in the context of developing ideas about literary art in general. It argues that issues such as the relationship between fiction and probability, or between historical fact and allegorical truth, belonged to a wider and evolving discussion of literary art. The neoclassical rules that predominated in the Restoration came under challenge in the early eighteenth century, a reassessment that facilitated the ‘rise of the novel’ after 1740. On the other hand, the evident exclusion of the novel from an authoritative classical tradition made this ambiguous form artistically undisciplined and morally suspect. Particularly as the outlaw ‘novel’ began to gain a real foothold in the print marketplace during the 1720s, proving its ability to captivate readers in ways not authorized in neoclassical theory, it needed to be harmonized with the tradition of the epic, comic drama, and other ancient genres.
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Majumder, Doyeeta. Tyranny and Usurpation. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941688.001.0001.

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This book examines the fraught relationship between the sixteenth-century formulations of the theories of sovereign violence, tyranny and usurpation and the manifestations of these ideas on the contemporary English stage. It will attempt to trace an evolution of the poetics of English and Scottish political drama through the early, middle, and late decades of the sixteenth-century in conjunction with developments in the political thought of the century, linking theatre and politics through the representations of the problematic figure of the usurper or, in Machiavellian terms, the ‘New Prince’. While the early Tudor morality plays are concerned with the legitimate monarch who becomes a tyrant, the later historical and tragic drama of the century foregrounds the figure of the illegitimate monarch who is a tyrant by default. On the one hand the sudden proliferation of usurpation plots in Elizabethan drama and the transition from the legitimate tyrant to the usurper tyrant is linked to the dramaturgical shift from the allegorical morality play tradition to later history plays and tragedies, and on the other it is reflective of a poetic turn in political thought which impelled political writers to conceive of the state and sovereignty as a product of human ‘poiesis’, independent of transcendental legitimization. The poetics of political drama and the emergence of the idea of ‘poiesis’ in the political context merge in the figure of the nuove principe: the prince without dynastic claims who creates his sovereignty by dint of his own ‘virtu’ and through an act of law-making violence.
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Meng, Jing. Fragmented Memories and Screening Nostalgia for the Cultural Revolution. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528462.001.0001.

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This book explores the way personal memories and micro-narratives of the Cultural Revolution are represented in post-2001 films and television dramas in mainland China, unravelling the complex political, social and cultural forces imbricated within the personalized narrative modes of remembering the past in postsocialist China. While representations of personal stories mushroomed after the Culture Revolution, the deepened marketization and privatization after 2001 have triggered a new wave of representations of personal memories on screen, which divert from those earlier allegorical narratives and are more sentimental, fragmented and nostalgic. The personalized reminiscences of the past suggest an alternative narrative to official history and grand narratives, and at the same time, by promoting the sentiment of nostalgia, they also become a marketing strategy. Rather than perceiving the rising micro-narratives as either homogeneous or autonomous, this book argues that they often embody disparate qualities and potentials. Moreover, the various micro-narratives and personal memories at play facilitate fresh understandings of China’s socialist past and postsocialist present: the legacies of socialism continue to influence China, constituting the postsocialist reality that accommodates different ideologies and temporalities.
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Book chapters on the topic "Allegorical drama"

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Hoxby, Blair. "Allegorical drama." In The Cambridge Companion to Allegory. Cambridge University Press, 2010. http://dx.doi.org/10.1017/ccol9780521862295.015.

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"Allegorical Satire?: Gigantomachia." In Stuart Academic Drama. Routledge, 2017. http://dx.doi.org/10.4324/9781315294612-12.

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"The Allegorical/Debate Play." In Stuart Academic Drama. Routledge, 2017. http://dx.doi.org/10.4324/9781315294612-10.

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Watkins, John. "The allegorical theatre: moralities, interludes, and Protestant drama." In The Cambridge History of Medieval English Literature. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521444200.035.

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Cavaliere, Stefania. "Religious Syncretism and Literary Innovation." In Text and Tradition in Early Modern North India. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199478866.003.0009.

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Stefania Cavaliere shows that the Vijñānagītā of Keshavdas is much more than a translation of an allegorical Sanskrit drama, the Prabodhacandrodaya of Krishnamishra. The allegorical battle between aspects of the mind in Krishnamishra’s text becomes in Keshavdas’s hands a platform for a much broader discussion of metaphysics, theology and religious aesthetics, incorporating such diverse influences as the Yogavāsiṣṭha, the Purāṇas, the Dharmaśāstras, and the Bhagavad Gītā. In this way the Vijñānagītā reads more like a scientific treatise (śāstra) than a work of allegorical poetry, and reflects Keshavdas’s erudition and innovation in weaving together strands of bhakti, Advaita Vedānta and rasa aesthetic theory.
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Lehman, Robert S. "Allegory." In Impossible Modernism. Stanford University Press, 2016. http://dx.doi.org/10.11126/stanford/9780804799041.003.0007.

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This chapter concerns the role of allegory in Walter Benjamin’s writings, and specifically on the challenge that allegory presents to time as the latter manifests itself by ordering human history. Benjamin develops his allegorical challenge to time in The Origin of German Tragic Drama, his studies of Baudelaire and, most profoundly, the ninth thesis “On the Concept of History.” In the last of these texts, Benjamin’s allegorical presentation of the “new angel” depicts a vision of history without time, a vision in which events occur absent any temporal continuity. In this impossible vision, the critical force of what Benjamin calls the “allegorical intention” emerges.
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Oldham, Joseph. "Conspiracy as a crisis of procedure in Bird of Prey (BBC 1, 1982) and Edge of Darkness (BBC 2, 1985)." In Paranoid Visions. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994150.003.0005.

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This chapter examines a strand of topical BBC conspiracy dramas from the 1980s which utilised the serial form’s increasing popularity for original drama. Drawing upon 1970s Hollywood films, these presented a paranoid narrative showing the collapse of the procedural certainties that had characterised earlier spy series. Firstly, the chapter closely examines Ron Hutchinson’ Bird of Prey (BBC 1, 1982), which dramatised the rise of a gangster capitalism emerging from continental Europe and a growing surveillance state. It then analyses Troy Kennedy Martin’s Edge of Darkness (BBC 2, 1985), a more prestigious serial which provided a closer response to the ascendance of Margaret Thatcher’s Conservative government and its pursuit of free market economics. The resultant abandonment of the social-democratic consensus fundamentally challenged the very basis of the BBC’s ‘rejection of politics’, and these serials are read as allegorical expressions of a new collapse of certainty in the Corporation’s constitutional position.
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Hershinow, David. "The Realist Turn: Parrhêsia, Character and the Limits of Didacticism." In Shakespeare and the Truth-Teller. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439572.003.0003.

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Chapter 2 offers a new account of literary realism and its origins in early modern drama in order to explain why a crisis of character—both literary and ethical—begins to cohere around the figure of the Cynic truth-teller only in the sixteenth century. It argues that the proliferation of non-allegorical characters in early modern drama is the result of a new development in the protocols of literary didacticism, one in which literature can increasingly instruct audiences in the ethics of self-care by offering up to judgment the actions and outcomes of characters fashioned to be verisimilar to people. Moving into the seventeenth century and beyond, literary realism becomes fictionality’s dominant representational mode precisely because it serves as a virtual arena in which to exercise one’s practical wisdom (phronesis) about the ethical means and political ends of action.
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Watanabe-O'Kelly, Helen. "Staging Empire as History and Allegory in Austria and Germany." In Projecting Imperial Power. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198802471.003.0011.

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Theatrical presentations of the foundational myths of the Austrian and German empires, either as costumed processions and pageants or as specially commissioned plays for the theatre, were staged on anniversaries and important jubilees. In Austria, the most important was Franz Joseph’s Diamond Jubilee in 1908, when a pageant of 12,000 lay participants took place in Vienna, while other elements of the national myth were presented on the stage. Wilhelm II played an active part in promoting the imperial theatre festival in Wiesbaden between 1896 and 1914, for which parts of the Hohenzollern myth were dramatized. In 1897, on Wilhelm I’s hundredth birthday, Ernst von Wildenbruch’s Willehalm was performed in Berlin, a verse drama presenting Wilhelm I in allegorical form as the hero who rescued Germany from the evil French.
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Auger, Peter. "Curating the Protestant Imagination." In Du Bartas' Legacy in England and Scotland. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198827818.003.0004.

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Even before a full translation existed, there were diverse English responses to Du Bartas’ insistence that divine verse should peg human creativity to the mind of the Creator. William Scott’s Model of Poesy sets this pessimistic view against more positive, socially engaged arguments closer to Sir Philip Sidney’s Defence of Poesy. Scott and Sidney both translated Du Bartas, as did Robert Barret, whose verse chronicle The Sacred Warr is an early poem that faithfully follows Du Bartas’ ‘paterne’. Despite Edmund Spenser’s reported interest in Du Bartas, his poems (especially The Faerie Queene) suggest that human ignorance requires poets to write about non-fictional truths using allegorical structures. Those who did not read French might have encountered Du Bartas in Elizabethan drama, as a character in Christopher Marlowe’s Massacre at Paris, or in paraphrased extracts in George Peele’s David and Bethsabe and the anonymous Taming of a Shrew.
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