Relevant bibliographies by topics / Drama – 20th century – History and criticism

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  2. Dissertations / Theses
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Academic literature on the topic 'Drama – 20th century – History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Drama – 20th century – History and criticism"

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Brannigan, John, Marcela Santos Brigida, Thayane Verçosa, and Gabriela Ribeiro Nunes. "Thinking in Archipelagic Terms: An Interview with John Brannigan." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 35 (2021): 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.

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John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-c
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Kachorovskaya, A. E. "On the Reception of the Myth of Prometheus in Austrian Literature of 19th-20th Centuries." Nauchnyi dialog, no. 3 (March 30, 2020): 221–35. http://dx.doi.org/10.24224/2227-1295-2020-3-221-235.

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This article focuses its attention on the motive of resistance characteristic of Austrian literature of the 19th - 20th centuries, which is considered from the point of view of the historical and literary relationship with the myth of Prometheus. The history of the issue is reviewed. A selective analysis of the versions of the Promethean myth in the Austrian historical and literary context of the 19th-20th centuries, which is part of the pan-European literary and philosophical heritage, is given. The stylistic and genre originality of Austrian interpretations of the myth of Prometheus is prove
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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.

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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Mu
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Katona, Eszter. "La recepción de la obra de Federico García Lorca en Hungría." Acta Hispanica 13 (January 1, 2008): 49–55. http://dx.doi.org/10.14232/actahisp.2008.13.49-55.

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In her essay, the author provides a thorough overview of the history of the reception of Federico García Lorca's poetry in Hungary. The 110th anniversary of Lorca's birth, commemorated this year, makes such surveys very timely. The author's aim is to examine Lorca's Hungarian presence from various perspectives. In the first phase of her recent investigations, she concentrated on presenting all the Hungarian translations and editions of Lorca's oeuvre. In the following, the Hungarian reception of Lorca's oueuvre is examined, based on essays and other writings of literary criticism of the era. T
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Łubieniewska, Ewa. "Portret „teatrała”. Tadeusz Kudliński – krytyk..." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 18 (December 12, 2018): 104–12. http://dx.doi.org/10.24917/20811853.18.8.

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Tadeusz Kudliński remained in the memory of Cracovians, above all, as a theatre critic and the author of books dedicated to this topic, which have been republished many times. Serving the function of an educational mission, they combined a harmonious perspective of a historian, researcher, critic, polemicist and apologist, who was also a great story-teller. The role of a ‘theatre man’, which he assumed, also included contacts with amateur theatre, discussions with audience and cooperation with the Theatre Lovers Club. Views on art which had clashed in the preceding century, were clearly reflec
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Юрченкова, Оксана Николаевна. "ON DRAMA POETICS AND MORE… THE HISTORIOGRAPHIC REVIEW OF SCIENTIFIC ACTIVITY OF PROFESSOR VALENTINA YE. GOLOVCHINER." Tomsk state pedagogical university bulletin, no. 5(211) (September 7, 2020): 206–27. http://dx.doi.org/10.23951/1609-624x-2020-5-206-227.

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Введение. Статья приурочена к 75-летнему юбилею профессора В. Е. Головчинер и посвящена анализу ее научной деятельности. Цель статьи – определить этапы и направления научно-педагогической деятельности ученого. Материалы и методы. Материалом исследования послужили научные труды (статьи, доклады, монографии) В. Е. Головчинер и ее учеников. Систематизация и описание результатов научной работы ученого осуществлялись в сопоставлении с ведущими концепциями отечественной филологии. Результаты и обсуждение. Впервые научное наследие В. Е. Головчинер рассмотрено как целостное явление; выявлены принципы,
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Nagornaya, Yana V. "А. М. REMIZOV AND FOLKLORE: ON THE ISSUE OF RESEARCH METHODOLOGY". Philological Class 26, № 2 (2021): 155–66. http://dx.doi.org/10.51762/1fk-2021-26-02-13.

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The article presents a critical review of research works on the topic “Folklore-literary interaction in the creative activity of A.M. Remizov” published in Russian. The study of the topic has been conducted mainly within the framework of literary criticism. Meanwhile, for a writer known for his commitment to preservation and innovative approach to traditional literary genres, folklore is one of the dominant sources of creativity. Currently, Remizov studies cannot boast of generalizing works on folklorism in the writer’s creative activity and on the influence of oral folk art genres on his arti
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Maritz, P. J. "History reconstruction: Third century parallels to 20th century South African Church 'History Origen Adamantinus." Verbum et Ecclesia 18, no. 2 (1997): 291–304. http://dx.doi.org/10.4102/ve.v18i2.564.

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History reconstruction: Third century parallels to 20th century South African Church History - Origen Adamantinus. In this paper a possible third century contribution to Church History reconstruction is considered. This is employed as an example for South African church historians who are dedicated to history interpretation, whether it be from the perspective of: acceptance on face value; justification; verification; criticism or renunciation of twentieth century historical events and the WG)'S in which they have influenced the prophetic task of the church in South Africa. To this end, a paral
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Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life." Science and Technology Development Journal 18, no. 4 (2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.

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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whol
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Carpenter, Alexander. "Towards a History of Operatic Psychoanalysis." Psychoanalysis and History 12, no. 2 (2010): 173–94. http://dx.doi.org/10.3366/pah.2010.0004.

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This paper examines the history of the trope of psychoanalytic therapy in musical dramas, from Richard Wagner to Kurt Weill, concluding that psychoanalysis and the musical drama are, in some ways, companions and take cues from each other, beginning in the mid-19th century. In Wagner's music dramas, psychoanalytic themes and situations – specifically concerning the meaning and analysis of dreams – are presaged. In early modernist music dramas by Richard Strauss and Arnold Schoenberg (contemporaries of Freud), tacit representations of the drama of hysteria, its aetiology and ‘treatment’ comprise
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Dissertations / Theses on the topic "Drama – 20th century – History and criticism"

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Li, Jing. "Self in community: twentieth-century American drama by women." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.

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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie
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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 disin
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Wong, Chi-keung Frederick, and 黃志強. "Postmodernism, drama, language: Waiting for Godot and Inadmissible evidence revisited." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31951053.

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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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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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Vieira, de Andrade Ana Lúcia. "Margen y centro : dramaturgia femenina Brasileña contemporánea." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38429.

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The aim of this thesis is to give an account of the position taken by certain women dramatists in the context of both box-office success and theatre criticism in Brazil in the latter half of the twentieth century in order to provide a panoramic view of the way the Brazilian theater canon reacts to the work of women authors, by either incorporating it or not, according to political and social circumstances. It is hoped then that a more comprehensive vision of these dramatists will result than that of the traditional academic criticism which either elevates by acceptance or dismisses by ignoring
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Lauzière, Carole. "El monólogo en el teatro español desde los años setenta : un estudio sobre las funciones del lenguaje en un "nuevo" género dramático." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40379.

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The object of this thesis is to study the monologue, a dramatic genre that re-emerged on the Spanish literary scene in the 1970s. Despite the fact that a number of well-known Iberian playwrights have cultivated this genre assiduously over the past three decades, their work has received relatively little critical attention from either academic or theatre circles. What is sought here, therefore, is the means to demonstrate the importance and richness of the monologue as an autonomous dramatic creation. To do this it was necessary to establish a sufficiently large corpus--some eighty long and sho
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Wang, Hui, and 王卉. "Reconfigurations of gender: contemporary Chinese drama 1979-1989 : the politics of re-inscribing sexualdifferences." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31242364.

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Macbeth, Georgia School of Theatre Film &amp Dance UNSW. "A Plurality of Identities: Ulster Protestantism in Contemporary Northern Irish Drama." Awarded by:University of New South Wales. School of Theatre, Film and Dance, 1999. http://handle.unsw.edu.au/1959.4/33257.

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This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 196
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Percival, Gary William. "Developments towards a theatre of the absurd in England, 1956-1964." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14879.

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In 1961 Martin Esslin created the term 'Theatre of the Absurd' as a working hypothesis, a device with which to make fundamental traits present in the plays of a number of France-based dramatists accessible to discussion by tracing the features they had in common. Despite the popularity of Esslin's study, there has been no comparable discussion of England-based absurdism. An explanation for this lack of critical attention may be found in the dogged insistence amongst scholars that there are only two absurd playwrights in the English theatre before 1967. My first aim in this thesis is to redress
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Books on the topic "Drama – 20th century – History and criticism"

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Masterpieces of 20th-century American drama. Greenwood Press, 2005.

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Chattopadhyay, Rita. Modern Sanskrit dramas of Bengal, 20th century A.D. Sanskrit Pustak Bhandar, 1992.

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American drama of the twentieth century. Longman, 1992.

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Raymond, Williams. Drama from Ibsen to Brecht. Hogarth, 1987.

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Raymond, Williams. Drama from Ibsen to Brecht. Hogarth Press, 1993.

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Cottrell, Tony. Evolving stages: A layman's guide to 20th century theatre. Bristol Press, 1991.

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Evolving stages: A layman's guide to 20th century theatre. St. Martin's Press, 1991.

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McCallum, John. Belonging: Australian playwriting in the 20th century. Currency Press, 2009.

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Belonging: Australian playwriting in the 20th century. Currency Press, 2009.

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McCallum, John. Belonging: Australian playwriting in the 20th century. Currency Press, 2009.

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Book chapters on the topic "Drama – 20th century – History and criticism"

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Jin, Fu, and Zhang Qiang. "Modern drama and “feudalism, capitalism and revisionism”." In A History of Chinese Theatre in the 20th Century IV. Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-2.

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Jin, Fu. "Upholds of three theatrical categories (new historical drama, adapted traditional drama and modern drama)." In A History of Chinese Theatre in the 20th Century III. Routledge, 2021. http://dx.doi.org/10.4324/9781003171171-8.

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Jin, Fu. "National joint performance and review of spoken drama." In A History of Chinese Theatre in the 20th Century III. Routledge, 2021. http://dx.doi.org/10.4324/9781003171171-4.

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Sorba, Carlotta. "‘Comunicare con il popolo’: Novel, Drama, and Music in Mazzini’s Work." In Giuseppe Mazzini and the Globalization of Democratic Nationalism, 1830-1920. British Academy, 2008. http://dx.doi.org/10.5871/bacad/9780197264317.003.0005.

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This chapter observes and relocates the role of the arts in Mazzini's political reflections, seeing in it a kind of prelude to the aesthetic dimension of politics generally explored in the 20th century. Through a close analysis of his large output of literary and musical criticism (1826–44), it shows how the language of the arts, and especially drama as ‘the social art par excellence’, was considered by the Italian thinker to be the main means to communicate to the public – in a forceful and emotional way – political and national goals. Mazzini believed that, in the specific case of Italy, opera, with its active power to move, thrill, and provoke enthusiasm in Italian theatres, could play a crucial political role.
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Oldham, Joseph. "Introduction." In Paranoid Visions. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994150.003.0001.

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This Introduction begins by exploring how key production personnel on both Tinker Tailor Soldier Spy (BBC 2, 1979) and Spooks (BBC 1, 2002-11) drew inspiration from the BBC itself when developing a fictionalised version of an intelligence service for the screen,. This is used to frame a brief overview of the histories of British intelligence, broadcasting and spy fiction through the early and mid-20th century, noting numerous intersections and parallels. In particular, it describes the expansion in all three areas in the post-war years, resulting from a complex blend of Cold War paranoia and the growth of an affluent, consumer society. Surveying the book’s methodology, it discusses how this account blends case study analyses with broader examinations of television institutions and British cultural history, in particular considering problems of 'realism' in relation to both the spy genre and British television drama. An overview of the main chapters is provided.
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Malcolm, William K. "Legacy." In Lewis Grassic Gibbon. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620627.003.0008.

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The final chapter reviews the development of Mitchell’s literary legacy following his death up to the present. Translations of his best work to different genres, including radio, drama and film dramatisations, have had variable success while generically reflecting the growing popular esteem with which the Gibbon fiction is held. Critical appreciation has found a prominent place for A Scots Quair within the history of campaigning working-class writing and within the Scottish tradition in literature. Gibbon’s achievement with narrative focalisation and stream of consciousness combined with the epic grandeur of the trilogy working through Scottish subject matter to address vibrant universal themes has secured his place within the growing body of global criticism as one of the pre-eminent modernist novelists of the twentieth century. While his reputation within the British literary canon has been deemed to have suffered from his subliminal association with a marginalised culture, however, the author’s profound humanitarian principles manifested in his championing of the rights of the individual, irrespective of class, gender, religion and race, together with his prowess as a supreme proponent of ecofiction have a timeless appeal.
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