Academic literature on the topic 'Domestic drama, English'
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Journal articles on the topic "Domestic drama, English"
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Sheeha, Iman. "Separation Scenes: Domestic Drama in Early Modern England. By Ann C. Christensen." English: Journal of the English Association 67, no. 256 (2018): 68–71. http://dx.doi.org/10.1093/english/efy003.
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Simon-Jones, Lindsey Marie. "Neighbor Hob and neighbor Lob." English Text Construction 6, no. 1 (April 5, 2013): 40–59. http://dx.doi.org/10.1075/etc.6.1.03sim.
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Drawing on scholars like Paula Blank, Janette Dillon and Tim Machan, this article argues that, in the Tudor university and court plays of Shakespeare’s youth, the stigmatization of non-standard, dialect speakers demonstrates a cultural renegotiation of the contemporary linguistic climate. By defining the English language and the English people not against a foreign Other, but rather against the domestic, servile, and dialect-speaking Other, sixteenth-century playwrights demonstrated the threat of non-standard speaking and advocated the standardization of language through education while effecting cultural change through negative reinforcement. Keywords: Tudor drama; interludes; history of English language; dialect; university grammarians
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Dunleavy, Trisha. "Popular ‘Series’ Drama in Tv's Multichannel Age." Media International Australia 115, no. 1 (May 2005): 5–22. http://dx.doi.org/10.1177/1329878x0511500103.
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Devised to introduce the themed section of this MIA issue and the ‘popular’ area of TV drama that is its focus, this paper examines the contemporary drama series form and outlines some key institutional and cultural conditions for its production in non-American countries.1 Interested in the commercial pressures being brought to bear on drama by intensifying prime-time competition and increasing audience fragmentation, the paper looks at how the series, in particular, has adapted to these. It assesses the contribution of three pervasive approaches to this area of drama: ‘recombination’ (Gitlin, 1994), ‘flexi-narrative’ (Nelson, 1997) and ‘must see-TV’ (Jankovich and Lyons, 2003). To foreground some specific challenges for locally produced drama in the emerging era of television ‘plenty’, a case study of New Zealand TV drama follows. Although its domestic TV drama has a 40-year tradition, New Zealand's efforts to maintain profile and diversity in this meta-genre have been frustrated by its position as a small, English-speaking country for whom leading American and British imports have been popular, affordable and available. Risky and commercially fragile in comparison with these imports, the position of New Zealand TV drama has never been guaranteed to the extent that it is reliant on the support and supply of public funding. Since the mid-1990s, these problems have combined with the challenges of multi-channel competition in television. While the resulting pressures have left some forms of local TV drama as ‘endangered species’, it is the popular, long-form genres — the drama series, soaps and sitcoms — that have shown the greatest resilience.
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Stewart, Riley S. ""Then their heirs may prosper while mine bleeds": Legal Renege, Witnessing, and Child Corpses in Two Lamentable Tragedies and A Yorkshire Tragedy." Romard 59 (2022): 93–111. http://dx.doi.org/10.32773/nwbc5428.
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There has been a great deal of scholarly focus on the children of William Shakespeare’s plays, where violence to their bodies interrogate history, inheritance, and political ascension. Attending to the drama of Shakespeare’s contemporaries, however, reveals that the staging of children also emphasized the stakes of oath breaking, legal renege, and violence to children within non-royal families. This article examines the didactic legal possibilities of early modern English drama outside the Inns of Court tradition and Shakespearean canon. I examine two early seventeenth-century domestic tragedies that dramatize violent child murders: Robert Yarington’s Two Lamentable Tragedies (1601) and Thomas Middleton’s A Yorkshire Tragedy (1608). The domestic space occupied by both sets of caregivers and children illustrates the effects of crime on the community, the difficulties of law enforcement, and the early modern justice system broadly. I suggest the implied executions of the failed caregivers and their pre-death lamentations stage the legal repercussions of oath-breaking and child violence. Through a combination of rhetorical and performance strategies, these texts implicate playgoers as witnesses to child-murder, interrogating assumptions about the extent that the law can protect children.
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Vitrinel, Ece. "Making foreign ready-made content great again: VOD platforms and English-language series in Turkey." Journal of Popular Television 8, no. 3 (October 1, 2020): 313–19. http://dx.doi.org/10.1386/jptv_00031_1.
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Thanks to a growing television drama industry with notable success beyond its borders, domestic television series have, since the 2000s, become the dominant programme category on broadcast and cable television in Turkey. This article considers the presence of Anglo-Saxon TV series in an audio-visual landscape characterized by a widespread taste for local content. Briefly describing the differences between Turkish and foreign series in terms of format and appeal to audiences, it argues that English-language series may play a more decisive role than local content in the success of video on demand (VOD) platforms, which have been launched relatively late in the country.
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Ye, Huining. "Study on English Localization Translation of Domestic Games—Taking the Opera “The Divine Damsel of Devastation” in Genshin Impact as an Example." English Language Teaching and Linguistics Studies 6, no. 2 (April 25, 2024): p237. http://dx.doi.org/10.22158/eltls.v6n2p237.
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In recent years, the demand for game enterprises to explore overseas markets has been growing. Not only have more high-quality foreign games been imported into China, but Chinese games have also become an important part of Chinese culture “going out” and “telling good Chinese stories”. This paper takes the global high popularity game Genshin Impact as an example, and combines the Skopos theory to update the research on game localization from the perspective of Chinese-English translation, and analyzes the application of translation and creation in the process of localization translation of drama.
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Kharkovskaya, A. A., and К. А. Vykhlyaeva. "Ways and means of creating a comic effect in English drama discourse." Vestnik of Samara University. History, pedagogics, philology 28, no. 3 (October 14, 2022): 110–16. http://dx.doi.org/10.18287/2542-0445-2022-28-3-110-116.
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The article is devoted to the study of the nature of the authors remark and its functional ability to create a comic effect. At the first stage, an attempt was made to determine the role of the authors commentary in the text of the play. Within the framework of this question, we have highlighted the key characteristics of dramatic discourse, namely, fiction and stylization. Next, we focused on the phenomenon of paratext, presenting the positions of both domestic and foreign researchers regarding the role of paratext in a dramatic work, namely the need to take into account the features of paratext when performing discourse analysis. In addition, in the article we made an attempt to present a brief history of the origin of the term paratext. Thus, the processes of interaction within the pair text-paratext substantiated the need to study the dramatic text precisely through the prism of this correlation. As sources of factual material, we selected plays (The Comedy About a Bank Robbery, The Play that Goes Wrong), the authors of which were a galaxy of British playwrights working in tandem: Henry Lewis, Jonathan Sayer and Henry Shields. In the course of the study, a selection of text fragments was formed, which made it possible to identify a number of authorial techniques for creating a comic effect, the mechanisms of which are repeatedly duplicated from play to play, which makes it possible to suggest the presence of a characteristic comic style inherent in this trio of playwrights. As a basic technique for creating a comic effect, the authors use the interaction of replicas of the characters of the play and remarks that contradict each other, thereby realizing the principle of inconsistency, which in turn becomes one of the basic principles of comedy. Thus, the final part of the study is devoted to the implementation of the principles of absurdity, inconsistency and deceived expectations through the interaction of the authors remark and the dialogue part of the play.
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Linchenko, Andrei Aleksandrovich. "The Mythology of Time in Modern Foreign period dramas: between Retrotopia and Metamodern Sensuality." Философия и культура, no. 9 (September 2022): 10–27. http://dx.doi.org/10.7256/2454-0757.2022.9.38722.
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. The purpose of this article is to analyze the specifics of the mythologizing of time in the historical period dramas "Downton Abbey" and "The Crown" in the context of the transition from the postmodern paradigm to a new metamodern sensibility. The article summarizes the experience of domestic and foreign studies of the metamodern tendencies of the modern TV series and analyzes the theoretical issues of the mythological temporality of TV series production. On the basis of the theoretical concept of retrotopia by Z. Bauman, the concept of layers of cinematic temporality by N.E. Marievskaya and the critical discourse analysis of S. Jäger, the features of the mythologization of horizontal, vertical time, as well as the biographical time of characters in selected period dramas have been analyzed. The scientific novelty of the article lies in the problematization and analysis of the discursive environment of the deployment of the temporal mythology of the modern period drama. The modern historical period drama demonstrates the specifics of turning to retrotopia, as it seeks to represent the current problems of the present through an imaginary past. In the case of the “Downton Abbey”, this happens through the harmonization in the viewer's mind of nostalgia for an imaginary English aristocratic past and an unstable future. In the case of the “The Crown”, the presentation of the private life of the British royal family against the backdrop of historical events contributes to the formation of a more multidimensional image of the present and responds to the demands of the mass audience in the emotional representation of historical events. The result of this representation is a kind of mythology of time, which arises between the cultural demand for retrotopia and the development of modern technologies for the production of cinematographic products, which makes it possible to fully realize the intention of modern metamodernist discourse to achieve a “new sensibility”. This allows us to consider the modern historical period drama not only as a "commercial project", but also as a tool for the development of historical culture, an instrument of cultural orientation in social space and time.
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Young, Stuart. "The state of the British garden: Mike Bartlett’s Albion and its Chekhovian scions." Journal of Adaptation in Film & Performance 14, no. 2 (July 1, 2021): 209–32. http://dx.doi.org/10.1386/jafp_00054_1.
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Mike Bartlett’s Albion (2017) is a highly sophisticated and illuminating instance of the diversity and complexity of adaptation. Although declaring no explicit relationship to informing source texts, amongst myriad intertextual allusions Albion manifests an engagement with Chekhov’s drama that abundantly affords adaptation’s pleasures. As well as deploying the principal hallmarks and strategies of Chekhovian dramaturgy, Bartlett reconfigures in Brexit Britain scenarios, characters and relationships from The Seagull and The Cherry Orchard. Moreover, demonstrating the thoroughness with which the English have appropriated and naturalized Chekhov, Bartlett implicitly challenges cardinal assumptions of that domestic tradition, through his nuanced subversion of both the ‘country-house’ and ‘state-of-the-nation’ play. Consequently, he reveals adaptation as a richly dialogic process, in which source and adapted texts shed light on each other. The politics of dramatic form(s) and of cultural adaptation and appropriation, to which Bartlett’s revision of a preeminent part of English dramatic heritage points, deftly parallel, and function as an analogue for, the conservative heritage enterprise that Albion portrays. Highlighting the longstanding association of the countryside and landscape with English cultural identity, the protagonist’s project of restoring an historic country garden to its former grandeur is laden with especial significance at this contemporary moment of national crisis.
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Dr. Vineet Maxwell David. "The Accord of Discord: Reflections on Private Lives in Peter Shaffer’s Five Finger Exercise." Creative Launcher 7, no. 3 (June 30, 2022): 28–34. http://dx.doi.org/10.53032/tcl.2022.7.3.04.
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Peter Shaffer holds a place of pivotal importance in Modern British Drama. The variety and complexities of life that Shaffer presents through his works, give us a good idea that he is a playwright who intends to further the representative nature of theatre as an agency of influence. The acute fidelity with which he perceives and deliberates upon life narratives remains a preserve in which the playwright influences his proficient talent to good use. He works upon aspects of human situations with a deep sense of purpose and understanding which bespeak of his merit as a playwright. Five Finger Exercise is a play by Peter Shaffer that stands as an important work in the formative years of his career as a playwright and contributes a notable standing to his oeuvre as a writer in the making. Paralleled in the reputation of the drama of the fifties with Look Back in Anger as a profound dramatic work, it is Peter Shaffer’s Five Finger Exercise that holds its ground as a work of incredible consequence about complexities of human ordeals. The ‘family’ and its private frontier remains a compelling subject for drama and it also seeks our renewed enquiry, one that is exemplified in the action of the play, Five Finger Exercise. The paper instils a vital seeking through an academic deliberation, accentuating a vigorous argument as to why it needs to recognised as an important work in English theatre history. It is the domain of the Harringtons’ family and their trials and turmoils that puts into question a consequential deliberation on beneath the surface reality of the family/domestic space. The paper also serves to explore the psychological and emotional dimensions of human behaviour and its treatment as part of the narrative which seeks to highlight Peter Shaffer’s perspicuity and his acumen as a writer.
Dissertations / Theses on the topic "Domestic drama, English"
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Kenny, Amy. "Domestic relations in Shakespeare." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/42121/.
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This thesis investigates how the size, structure and function of the family presented in Shakespeare's plays relates to an early modern understanding of the importance and function of the family. By examining domestic manuals, pamphlets, treatises and diaries from the early modern period, I establish what was considered normative domestic behaviour at the time and analyse Shakespeare's plays through these contemporary attitudes, specifically their treatment of privacy, household structure and medical beliefs surrounding reproduction and gynaecology. This thesis seeks to focus on the way in which people's positions in the family change over time, from infancy to adulthood, and how these relationships are represented in Shakespeare's plays. Beginning with marriage, where the family is first formed; I examine Othello and Macbeth, and show how the marriages in these plays, while tragic, are cherished and valued. Succession was integral to the legacy and sustainability of a family, which is the topic of the next chapter, in which I explore the notions of how children are conceived and raised in Richard III and The Winter's Tale. The transition from childhood into adulthood was fraught with change in both housing and legal circumstances, and this struggle in adolescence is clearly depicted in Romeo and Juliet, which comprises the third chapter. Aside from the familial relationships of husband and wife and parent and child, the most influential relationships were those of siblings, which I investigate in a number of plays in the fourth chapter. Finally, I focus on the traditional and complicated nuclear families in The Merry Wives of Windsor, Hamlet and Coriolanus, and analyse how the family is highlighted and valued in each of these plays. The thesis concludes that throughout Shakespeare's work, the family is privileged over war, nobility and absolute patriarchal control, emphasising that it is vital to understanding and analysing Shakespeare's plays.
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Al-Muhammad, Hasan. "Domestics in the English comedy : 1660-1737." Thesis, Bangor University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267347.
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Orlin, Lena Cowen. "Man's house as his castle in Elizabethan domestic tragedy." 1985. http://books.google.com/books?id=EdhmAAAAMAAJ.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 1985.eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [235]-262).
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Ellerbeck, Erin Lee. "Domestic Dialogue: The Language and Politics of Adoption in the Age of Shakespeare." Thesis, 2010. http://hdl.handle.net/1807/32932.
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This dissertation examines the representation of adoption in early modern English drama in order to analyze the language of social and familial relations in early modern culture. I propose that although these plays often ultimately support the traditional idea of a birth family, adoption challenges conventional notions of the family by making artificial, non-consanguine relations appear natural, thereby exposing the family unit as a social construction. I suggest further that adopted characters complicate notions of biological inheritance through their negotiations of language, place, and power. My dissertation thus explores the connections between historical language use and social status in early modern England; it couples early modern rhetorical theories and treatises with modern linguistic theory, drawing upon recent sociolinguistic scholarship. The result is to show that understanding how language demarcates social position is essential to illuminating the cultural intricacies of the plays of the period.
In Chapters 1 and 2, I investigate the social and economic repercussions of adoption. Chapter 1 discusses the previously overlooked cultural importance of horticultural metaphors of adoption in Shakespeare’s The Winter’s Tale, Cymbeline, and All’s Well That Ends Well. In this chapter, I explore the ways in which early modern culture explained adoption by depicting it in a particular kind of figurative language. Chapter 2 focuses on the economic consequences of, and motivations for, adoption in Middleton’s A Chaste Maid in Cheapside. In my final two chapters, I scrutinize the relations between the early modern family and linguistic practice. Chapter 3 explores the connections between genetics, physical likeness, and language in Lyly’s Mother Bombie and Shakespeare’s The Comedy of Errors. Finally, in Chapter 4 I investigate familial relation as a source of linguistic and social power. Middleton’s Women Beware Women, I argue, suggests that kinship exists within language and grants particular speakers linguistic and social authority.
Books on the topic "Domestic drama, English"
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Keith, Sturgess, and Heywood Thomas d. 1641, eds. Three Elizabethan domestic tragedies. Harmondsworth, Middlesex, England: Penguin Books, 1985.
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Martin, Wiggins, ed. A woman killed with kindness and other domestic plays. New York: Oxford University Press, 2008.
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Comensoli, Viviana. Household business: Domestic plays of early modern England. Toronto: University of Toronto Press, 1996.
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1898-1936, García Lorca Federico, and National Theatre of Scotland, eds. The house of Bernarda Alba. London: Methuen Drama, 2009.
Find full textBook chapters on the topic "Domestic drama, English"
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Burnett, Mark Thornton. "Carnival, the Trickster and the Male Domestic Servant." In Masters and Servants in English Renaissance Drama and Culture, 79–117. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230380141_4.
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Fitzgerald, Christina M. "The Domestic Scene: Patriarchal Fantasies and Anxieties in the Family and Guild." In The Drama of Masculinity and Medieval English Guild Culture, 41–94. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604995_3.
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"Playing With Genre: City Comedy, Domestic Tragedy, Tragicomedy." In A Short History of English Renaissance Drama. I.B.Tauris, 2013. http://dx.doi.org/10.5040/9780755603848.ch-007.
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Hall, Edith. "Crises of Self and Succession." In Beyond Greece and Rome, 282–302. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198767114.003.0013.
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This chapter addresses the theatrical reception of the Persian king Cambyses II as portrayed in Herodotus book III. The Achaemenid madman, whose death without issue creates an acute succession crisis, plays a noteworthy part as the ‘star’ of two of the most successful theatre works between 1560 and 1667. The first is Thomas Preston’s The Lamentable Tragedy Mixed Full of Pleasant Mirth Containing the Life of Cambises King of Persia (1560 or 1561, the earliest surviving Elizabethan tragedy). The second is Elkanah Settle’s Restoration drama Cambyses (1667). It is argued that both plays project the conflicted early modern English self and its fractured religious and political psyche and that Settle’s play foreshadows the emergent eighteenth-century ‘She-Tragedy’ and ‘Sentimental Drama’, in which the fantasy of familial domestic harmony, and honourable love, were to become the theatre’s ideological counterpart of the British bourgeois settlement.
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Higson, Andrew. "American Commercial Interests in the Heritage Film." In English Heritage, English Cinema, 119–45. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198182931.003.0005.
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Abstract The American market was vital for quality ‘British’ costume dramas in the 1980s and 1990s. Box-office success in that market, and the links with American distributors that made such box-office results possible, have probably been as important as anything else in ensuring the relative longevity of this particular production trend. Two questions immediately arise. First, why has the American market been so important for the producers of quality ‘British’ costume dramas? And, secondly, why should American companies have been interested in investing in or buying the rights for what often seem small-scale, specialized films with a markedly indigenous flavour-films usually made in Britain with self consciously British subject-matter? The key to answering the first question, as we’ve seen, is the size of the American market and the potential box-office revenue that it offers-especially when compared to the far smaller UK market. In 1980, the American trade paper Hollywood Reporter declared that it was ‘virtually impossible for a film to make its money back at the UK box-office alone, unless it was made for less than million:On the one hand, that explains why so much British film-making falls into the low-budget category, since that is all that the domestic market can support. On the other hand, it indicates why anyone wanting to make a more ambitious film has to look to overseas markets, and especially the American market.