Academic literature on the topic 'Drama – History and criticism – 19th century'
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Journal articles on the topic "Drama – History and criticism – 19th century"
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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 proved on the basis of a study of a number of works. The artistic reception of the image of Prometheus in the poem by Z. Lipiner "Liberated Prometheus", little studied in Russian literary criticism is considered in the article. Attention is paid to the version of the Promethean myth in the literature of Austrian Art Nouveau (on the example of F. Kafka's little prose). The issue of conflicting trends in the development of Austrian literature of the 20th century, affecting the interaction of the motive of resistance with the Promethean myth, is investigated by the example of M. Gruber's essay. The correlation of the Austrian versions of the motive of resistance with the myth of Prometheus is proved. The results of the study confirm the significance of the Promethean myth in the Austrian reception of the 19th-20th centuries, which has more pronounced features of drama and theatricality in relation to the European context.
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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), Muzika (Music, 1928-1929), Glasnik Muzickog drustva ?Stankovic? (Stankovic Music Society Herald, 1928-1934, 1938-1941; from January 1931. known as Muzicki glasnik /Music Herald/), Zvuk ( Sound, 1932-1936), Vesnik Juznoslovesnkog pevackog saveza (The South Slav Singing Union Courier, 1935-1936, 1938), Slavenska muzika ( Slavonic Music, 1939-1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A significant contribution was made above all to the study of Serbian musicians? biographies and bibliographies of the 19th century. Vladimir R. Djordjevic published several short biographies in Muzicki glasnik (1922) in an article called Ogled biografskog recnika srpskih muzicara (An Introduction to Serbian Musicians? Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers? biographical data. Other magazines (such as Muzicki glasnik in 1928 and 1931, Zvuk, Vesnik Juznoslovenskog pevackog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers? biographical data and analysis of their compositions. Their narrative style reflects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fields of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January - June 1940) was totally oriented towards the popularization of music and the arts (such as drama and film). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the field of musicological analysis. However, in 1934, Branko M. Dragutinovic published a detailed analytic study of Josip Slavenski?s composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used ?indirect? sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fields of research, thus blazing a trail in postwar Serbian musicology.
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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI." Nasledje Kragujevac XX, no. 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.
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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.
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Гарбузюк, Майя. "Бунт Хмельницького Ало'п'за Гонзаги Жулковського перша драма про укра'п'нського гетьмана на польській сцені XIX CT." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 1, no. 1 (2015): 109–22. http://dx.doi.org/10.15804/pomi201507.
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Khmelnytsky's uprising written by Aloyizy Honzaha Zhulkovskyi is the first drama about Ukrainian hetman on the Polish stage of the 19th century. It was created in 1812 and had short stage run but was never printed. Text preserved in the National Museum Library of Warsaw is the earliest drama text of 19th century devoted to Bohdan Khmelnytskyi. The emerging of this text can be interpreted as the beginning of pre-romantic tendencies and rising interest in history of Ukrainian-Polish relations and Cossack epoch. At the same hme, the play was as relevant as ever because there exists a strong desire of playwrights to respond to im- portant social and polih'cal problems of that b'me.
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Carpenter, Alexander. "Towards a History of Operatic Psychoanalysis." Psychoanalysis and History 12, no. 2 (July 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 key elements of the plot and resonate with dissonant musical soundscapes. By the middle of the 20th century, Kurt Weill places the relationship between analyst and patient in the foreground of his musical Lady in the Dark, thereby making manifest what is latent in a century-spanning chain of musical works whose meaning centres, in part, around representations of psychoanalysis.
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Kuznetsova, Natalia I. "History of Science: Projects and Realities." Epistemology & Philosophy of Science 57, no. 3 (2020): 87–104. http://dx.doi.org/10.5840/eps202057344.
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The article analyzes the key methodological problems of the contemporary research in the field of the history of science. It is shown that in the 18th and 19th centuries works on the history of science demonstrated the difficult paths of scientists to the heights of scientific discoveries. The positivism of the 19th century has opened the field of the philosophy of science, emphasizing the crucial role of scientific knowledge for the development of civilization. The history of science is fundamental for the justification of this thesis. However, in the 20th century, the history of science has solved mainly applied problems. It was necessary as a cursory review of the main achievements of various scientific disciplines arranged in chronological order. In fact, the history of science was based on the cumulative concept of the development of science. The criticism of cumulatism and the fight against anti-historical stereotypes emerged thanks to T. Kuhn. Later, the criticism of presentism in the community of science historians has become the main methodology for reconstructing the development of cognition. It is shown in the paper that the history of science was closely connected with the philosophy of science. However, genuine cooperation between philosophers and historians of science had not yet occurred. The situation has changed with the advent of a new philosophical discipline – historical epistemology.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Todea-Sahlean, Diana. "The Evolution of Opera Performance from Scenographic Miracles to the Opera Productions of the Nineteenth Century." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 2021): 213–24. http://dx.doi.org/10.24193/subbmusica.2021.2.14.
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"The presentation of the book The Evolution of Opera Performance, from Scenographic Miracles to the Opera Productions of the 19th Century, offers a synthesis of our work as a musical theatre director. Our aim is to stimulate the public’s interest in the opera genre and opera staging, by revealing aspects in the history of opera performance(s), as they have been shaped, century after century, by following the gradual effort and the tireless passion of its creators. Our aims are also to illustrate the original charm and the infinite resources of this genre, which continues to delight the public at large and the knowledgeable even today. Keywords: opera performance, opera staging, liturgical drama, vernacular drama, secular drama, dramatic madrigal, intermedi, the Florentine Camerata, Claudio Monteverdi, comédies-ballets, tragédie en musique, semi-opera, opera seria, the comic opera, opera buffa, ópera comique, ballad opera, Singspiel, tonadilla, Wolfgang Amadeus Mozart "
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Mikhnovets, Nadezda G. "ARTICLE BY F.I. BUSLAEV “IMAGE OF THE LAST JUDGMENT ACCORDING TO THE RUSSIAN ORIGINAL OF THE 17TH CENTURY” IN THE CONTEXT OF TWO “THUNDERSTORMS” BY A.N. OSTROVSKY." Vestnik of Kostroma State University 29, S (November 15, 2023): 43–50. http://dx.doi.org/10.34216/1998-0817-2023-29-s-43-50.
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In the article, for the first time in the history of studying the drama “Thunderstormˮ and the libretto of the same name by A.N. Ostrovsky, a new source is introduced: the article by F.I. Buslaev “The image of the Last Judgment according to the Russian original of the 17th centuryˮ (1857). It is argued that Buslaev’s article played an important role in the process of creating the drama “Thunderstormˮ by Ostrovsky. It is proved that the original manuscript of the 17th century, published in Buslaev’s article, served as the basis for understanding and recreating in the drama the scale of the changes that took place in Russia in the middle of the 19th century. The special significance of the comparisons carried out by Buslaev between Byzantine, European and ancient Russian images of the Last Judgment is emphasized for the creator of the drama The Thunderstorm, who comprehends the phenomenon of transitional epochs in the centuries-old history of Russia. It is shown that in the problem-thematic structure of the libretto “Thunderstormˮ the event of the Last Judgment appears as a dominant. It is indicated that since the playwright’s acquaintance with Buslaev’s article and work on the drama “Thunderstormˮ, the seventeenth century has been in the center of Ostrovsky’s attention as a historiosophist.
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Fickers, Andreas. "Towards a New Digital Historicism?" Making Sense of Digital Sources 1, no. 1 (February 21, 2012): 19. http://dx.doi.org/10.18146/2213-0969.2012.jethc004.
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This article argues that the contemporary hype in digitization and dissemination of our cultural heritage – especially of audiovisual sources – is comparable to the boom of critical source editions in the late 19th century. But while the dramatic rise of accessibility to and availability of sources in the 19th century went hand in hand with the development of new scholarly skills of source interpretation and was paralleled by the institutionalization of history as an academic profession, a similar trend of an emerging digital historicism today seems absent. This essay aims at reflecting on the challenges and chances that the discipline of history – and the field of television history in particular – is actually facing. It offers some thoughts and ideas on how the digitization of sources and their online availability affects the established practices of source criticism.
Dissertations / Theses on the topic "Drama – History and criticism – 19th century"
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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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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.Department of English
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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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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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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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Wright, Elizabeth Helena. "Virginia Woolf and the dramatic imagination." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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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 Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.
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Magerski, Christine 1969. "The constitution of the literary field in Germany after 1871 : Berlin modernism, literary criticism and the beginnings of the sociology of literature." Monash University, German Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8724.
Full textBooks on the topic "Drama – History and criticism – 19th century"
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Trudeau, Lawrence J. Twentieth-century literary criticism. Detroit, Mich: Gale, 2011.
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N, Ashley Leonard R., ed. Nineteenth-century British drama: An anthology of representative plays. Lanham, MD: University Press of America, 1988.
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Paul, Turner. Victorian poetry, drama, and miscellaneous prose, 1832-1890. Oxford: Clarendon Press, 1990.
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Gillespie, Gerald Ernest Paul, 1933-, ed. Romantic drama. Amsterdam: J. Benjamins Pub. Co., 1994.
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Bentley, Eric. The playwright as thinker: A study of drama in modern times. 4th ed. Minneapolis: University of Minnesota Press, 2010.
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Puchner, Martin. Stage fright: Modernism, anti-theatricality, and drama. Baltimore: John Hopkins University Press, 2002.
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ʻAẓīm, Sayyid Vaqār. Cand qadīm ḍrāme: Taʻāruf aur tajziyah. Lāhaur: Shuʻbah-yi Urdū, Gavarnmanṭ Kālij, 1992.
Find full textBook chapters on the topic "Drama – History and criticism – 19th century"
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Paul, Herman. "Habits of Thought and Judgement: E. A. Freeman on Historical Methods." In Making History. British Academy, 2015. http://dx.doi.org/10.5871/bacad/9780197265871.003.0015.
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Why did E. A. Freeman’s The Methods of Historical Study (1886) meet with mostly negative responses from late 19th-century American and Continental European historians? This essay argues that while Freeman adopted the language of ‘historical methods’ that was becoming customary in the 1880s, he did not understand the term to refer to techniques of source criticism, as many of his contemporaries did, but to a comparative method firmly rooted in Thomas Arnold’s unity of history doctrine. Confusingly, then, Freeman’s method promoted a philosophy of history of the kind that, by the 1880s, was increasingly rejected in the name of historical method. It is not without irony, therefore, that The Methods of Historical Study was sometimes mistaken for a methodology manual like Ernst Bernheim’s Lehrbuch der historischen Methode (1889) and as such found wanting by historians interested in the newest techniques of source criticism.
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Bruyère, Elisabeth. "BALZAC AND THE CRITICISM OF THE FRENCH CIVIL CODE IN THE FIRST HALF OF THE 19th CENTURY." In History of Law and Other Humanities, 329–36. Dykinson, 2019. http://dx.doi.org/10.2307/j.ctvr7f8t1.24.
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Vinogradov, Igor A. "“Taras Bulba” and Russian History of the 19th–20th Centuries." In Literary Process in Russia of the 18th–19th Centuries. Secular and Spiritual Literature. Issue 3, 97–168. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/lit.pr.2022-3-97-168.
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The article is devoted to the study of readers’ receptions of N.V. Gogol “Taras Bulba” in Russia. This work, imbued with a deep religious and patriotic intention, occupies such a significant place in Russian culture that the reviews of readers and critics, the assessments and interpretations of its researchers, dramatizations in the theater, opera and ballet, etc. allows to analyze not only history of the story’s existence, but also to trace the key moments of Russian life in the second half of the 19th–20th centuries. The interaction of the patriotic story’s spiritual lyricism with the contradictory socio-political processes of the era identifies the most significant features of the poetics of Gogol’s work. Enthusiastically received by contemporaries, including A.S. Pushkin, “Taras Bulba” was subsequently met with hostility from domestic liberalradical and Polish nationalist criticism. Continuing to be one of the favorite works of the domestic and foreign readers, the story after 1917 was removed from the Soviet school curriculum and again restored in rights only during the Great Patriotic War. The article presents a detailed analysis of the assessments and interpretations of “Taras Bulba” for more than a century and a half.
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Gosai, Manisha. "RAMNARAYAN V PATHAK: A PATRON CRITIC OF GUJARATI LITERARY CRITICISM." In Research Trends in Language, Literature & Linguistics Volume 3 Book 4, 16–20. Iterative International Publishers, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3balt4p1ch3.
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Ramnarayan V. Pathak, a notable reflective critical mind of the 19th century, bear historical and critical significance in the contexts of Gujarati as well as pan Indian language literatures. His work pertains to varied domains such as creative writing, literary criticism, literary history, translation, prosody, epistemology, and aesthetics among others. Pathak’s creative and critical orientation cause strategic deviation in his register, tenor, content and execution in sync with nature of his discourse (historical, formalistic study, philosophical, social, political, aesthetic etc.), form of discourse (critical essay, review, radio talk, key-note address to seminars, etc), audience (informed audience, general readers, students, academics, etc.), subject matter (study of poetic meters, Indian Darshana theories of knowledge, practical criticism of writers like Narmad, Tagore among others). This paper intends to study translatorial perspectives on critical writings of RV Pathak in terms of theory and practice.
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Abbott, Scott. "Andrew Cusack, The Wanderer in 19th-Century German Literature: Intellectual History and Cultural Criticism. Rochester, New York: Camden House, 2008. 257 pp." In Goethe Yearbook 17, 406–8. Boydell and Brewer, 2010. http://dx.doi.org/10.1515/9781571138132-043.
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Winner, Ellen. "Making Art Education Academic." In An Uneasy Guest in the Schoolhouse, 77–90. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190061289.003.0006.
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This chapter discusses the revolt against progressive art education spearheaded by Elliot Eisner in the form of Discipline-Based Art Education (DBAE). Whereas progressive art education was a reaction against the mind-numbing method inflicted on children in the 19th century, DBAE was a reaction against an extreme form of progressive art education that resulted in a hands-off, laissez-faire approach. DBAE called for art education to include not only studio art but also art history, art criticism, and aesthetics. It called for the development of a sequential curriculum by experts and rigorous assessment of learning. The strengths of DBAE included the insistence that art be a necessary part of general education with funding equivalent to that given to other school subjects, as well as a refusal to justify arts education in terms of something else—whether manual dexterity and skills for industry (as in the 19th century) or personal and emotional development (as in the first half of the 20th century). However, DBAE stoked controversy as art educators rebelled against the idea that there was one right way to teach art which they believed was being pushed on them.
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Ollion, Étienne. "Down with Career Politicians!" In The Candidates, edited by Katharine Throssell, 23–51. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197665954.003.0002.
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Abstract The book opens with a brief history of the term “career politicians.” The chapter shows that worries over “political professionalization” are consubstantial with the rise of democracy from its inception, in Europe as well as in the United States. In the 19th century, as hereditary claims to political office gave way to popular suffrage, more and more candidates could not afford to perform their duties without pay. Disputes over the legitimacy of financial remuneration for political service continued into the next century. The controversy would eventually quiet, but it bequeathed a nagging suspicion that politicians are motivated by monetary gain. This chapter traces the arc of the history of opposition to career politicians, from the right-wing criticism against workers entering politics to the stylized opposition between the people and the elites that took hold in the latter half of the 20th century. But why did this rhetoric acquire such resonance at that particular moment? And how did such a pure product of the French establishment as Macron manage to pass as an “outsider”? Drawing on an original, extensive data set, it identifies the central transformations of the political field since the 1970s, and in particular the closure of the French political field.
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Sizova, Irina I. "To the Problem of Editions of Folk Literature by L.N. Tolstoy in the 1880s." In Questions of Source and Text Studies of Russian Literature of the 19th Century. Collection of articles based on the materials of the International Scientific Conference, 127–40. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0687-1-127-140.
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The article discusses the distinction between the concepts of «edition» and «version» in the history of the text of L.N. Tolstoy’s stories and plays of the 1880 s, addressed to the people’s audience. The author revises the traditional approach to the textual criticism of the writer’s works, according to which the indicators of a new edition appearance are taken from the graphic features of manuscripts, such as quantitative indicators of changes in the text and the abundance of its discrepancies. The author of the article concludes that the problem of editions and versions of Tolstoy’s folk stories and plays should be solved by combining the tasks of textual and literary studies: to trace the formation of such categories as content and form of works from manuscript to manuscript, to take into account the dynamics of the artist’s worldview, his creative and aesthetic search. To create an objective picture in the research, it is necessary to cover the entire manuscript corpus of writer’s works, but not selectively published fragments in the Anniversary edition and or the volumes of the academic series «Literary Heritage».
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Kaznina, Olga A. "The Book by I.A. Bunin “Liberation of Leo Tolstoy” in the Context of Russian Emigre Literary and Philosophical Criticism." In Russian Émigré Literature, 1920–1940. Writer in Literary Process (to the 150th Anniversary of I.A. Bunin’s Birth), 95–206. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0685-7-97-208.
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The present article is devoted to the multidimensional analysis of the book by I.A. Bunin “Liberation of Leo Tolstoy” (1937). Attention is devoted to the history of its creation and to its unique structure, combining the genres of memoirs, journalistic sketch, diary, epistles and literary portrait with philosophical contemplation. Special consideration is paid to the properties of style of the text as well as to the development of the artistic image of Leo Tolstoy. The center of the research is occupied by the problem of the spiritual and religious quest of Tolstoy in the latest decades of his life, to his multifaceted concept of liberation and also to the enigma of his last flight from Yasnaya Poliana. Bunin’s interpretations are investigated on the complex background of literary, philosophical and theological evaluations of Tolstoy’s worldview, as it took shape after the spiritual crisis of his later years. Different reactions to his final escape are also taken into account. The article reflects the positions of G. Adamovitch, V. Hodasevitch, V. Maklakov, I. Shahovskoy, S. Bulgakov, as well as many other literary critics, philosophers and theologians. Bunin’s book is investigated as a source for the studies of spiritual and intellectual quest on the verge of the centuries, i.e. the end of the 19th and the beginning of the 20th century. Bunin’s book is presented also in the context of Russian émigré literary and philosophical criticism.
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Bosco, Ronald A. "We Find What We Seek." In A Historical Guide to Ralph Waldo Emerson, 269–90. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195120936.003.0008.
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Abstract Justifying his selective appropriation of historical fact to suit his artistic purposes while writing The Crucible, the American playwright Athur Miller remarked, “One finds I suppose what one seeks.”1 Miller’s comment recognizes the influence that the intellectual and imaginative predispositions of writers and readers exert on historical materials, and it is as instructive for biographical and critical writing as it is for works of fiction or drama that have their source in history. It is especially instructive in accounting for the variety of ways in which biographers and critics have treated Ralph Waldo Emerson’s life and thought since the nineteenth century, for Emerson’s biographers have never been casual commentators on their subject. Typically, they have approached Emerson with a clearly defined view of his ideas, inner life, social significance, and influence on American culture. Similarly, although scholarly criticism on Emerson has not always concentrated on his biography, critics have invariably selected biographical elements to help make the case for their particular reading of his thought and its relation to his times.
Conference papers on the topic "Drama – History and criticism – 19th century"
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Макарьев, И. В. "Friedrich Schlegel's understanding of history in the context of the philosophy of history of the XX – early XXI centuries." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.83.19.061.
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в философии истории ХХ в. можно выделить двоякую тенденцию. С одной стороны, классическая философия истории подвергается радикальной критике (в немецкой философской герменевтике, французском структурализме и постструктурализме, англоязычной аналитической философии), а с другой стороны, она продолжается и развивается в различных концепциях и теориях («столкновение цивилизаций» С. Хантингтона, «конец истории» Ф. Фукуямы). Такая двойственность (критика философии истории и ее развитие) не является характеристикой только нашей современности. Выдающийся немецкий филолог и философ Фридрих Шлегель (1772–1829) в ситуации философской революции рубежа XVIII–XIX вв. постарался соединить эти две позиции в одну, что и стало предметом анализа автора статьи. in the philosophy of the history of the twentieth century, a twofold tendency can be distinguished. On the one hand, the classical philosophy of history is subjected to radical criticism (in German philosophical hermeneutics, French structuralism and poststructuralism, English-speaking analytical philosophy), and on the other hand, it continues and develops in various concepts and theories (S. Huntington's "clash of civilizations", "end of history" F. Fukuyama). Such duality (criticism of the philosophy of history and its development) is not a characteristic only of our modernity. The outstanding German philologist and philosopher Friedrich Schlegel (1772–1829), in the situation of the philosophical revolution at the turn of the 18th–19th centuries, tried to combine these two positions into one, , which became the subject of the analysis of the author of the article.
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Golubchikov, YUriy. "Methodological potential of the teleological principle of purpose." In International Conference "Computing for Physics and Technology - CPT2020". Bryansk State Technical University, 2020. http://dx.doi.org/10.30987/conferencearticle_5fce27705d8750.02429694.
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The cognitive capabilities of the teleological paradigm of purpose are discussed. An inquiring mind everywhere sees that inanimate matter serves for living, and that, in turn, serves for a man. However, such a concept as “purpose” turned out from the contemporary science, although for a long time it went along the path of becoming the doctrine of purpose determination, or nomogenesis. The history of the substitution of the main paradigm of science from purpose to chance is traced. The overcoming of the catastrophic representations of Cuvier by the provisions of actualism and evolutionism is considered. From the middle of the 19th century, public opinion began to strengthen that every new scientific achievement casts doubt on religious beliefs. Criticism of biblical history began with the events of the Great Flood, as the key one in the Bible. The negative attitude to catastrophism in the Soviet scientific literature and the importance of ideology in the methodology of science are considered. The anthropic principle predetermines a radical restructuring of the general scientific methodology. It finally comes closer to religious knowledge. The anthropic principle is teleological and contains that goal (“eidos-entelechia”) in the structure of matter that impels it. In this light, the power of science is again seen not in confrontation with religion, but in harmonization with it.
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Vasconcelos, Clara, and Tiago Ribeiro. "WHAT ABOUT “THE” SCIENTIFIC METHOD? A SURVEY APPLIED TO MIDDLE AND SECONDARY GEOSCIENCE TEACHERS." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end106.
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"The debate over whether there is a single unifying scientific method or a variety of methods, each of which is applied to a different discipline of science, is still a difficult one. Popper idea of refutation was a criticism to the inductive method and claimed the need to submit theories to falsification. His thesis ended up being a demarcation of science and pseudoscience. But the question remains: do all sciences follow the same scientific method? Namely because discoveries in geology have to overcome time and space enormous scales, geologist have been called by Lord Kelvin as “stamp collectors”. Having started as a field science, and even having been denied by Hutton as an experimental science, modelling in geology only took place at the end of the 19th century by the hand of Sir James Hall. The need to mirror scientists’ methods is a demand of inquiry-based teaching, but few geology teachers have correct knowledge about the method used by geologists. In the present study, a survey was undertaken online with the main objective of investigating what is teachers’ knowledge about the (geo)scientific method. Participants were 108 geology middle and secondary teachers in Portugal. The majority of respondents were women (n=79; 73.1%) and the average age was 46 years old. All participants were graduated, but 51 (47.2%) had a master and 5 (4.6%) had a Ph.D. The results showed erroneous conceptions that are commonly reflected in inquiry-based teaching classrooms, namely regarding the scientific method but also about investigative competencies and geology as an experimental science. The majority of the teachers’ said that there only exists one scientific method for all sciences (n=49; 45.4%) and that it has a fundamentally linear nature from observation to conclusion (n=54; 50.0%). The scientific method was claimed as needed to allow the confirmation of hypothesis by many teachers (n=44; 40.7%). Some participants referred Uniformitarianism as a principle that justifies the historical and interpretive reasoning of geologist (n=48; 44.4%), but not so many referred the analogic reasoning (n=28; 25.9%). Teachers also referred to critical and systemic thinking as scientific competencies (n=72; 66.7%) and gave less importance to others like observation and argumentation (n=27; 25.0%). Results analysis corroborate that an inquiry-base teaching methodology requires history of geology and an epistemological reflection to be integrated in teachers’ initial training and professional development. The epistemology behind geology classes has to be taught to eradicate alternative conception about the scientific method."