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Dissertations / Theses on the topic 'Drama Time in literature'

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Published: 4 June 2021

Last updated: 8 February 2022

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1

Polyakov, Maxim. "The power of time : old age and old men in ancient Greek drama." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:2d238e6d-e040-479a-ae8f-dcf5ecd7e838.

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The study of old age in the humanities has developed significantly in the last few decades, but there is still much scope for progress. This thesis, therefore, seeks to contribute to the growing academic discourse in this area by considering ageing as it is represented in ancient Greek theatre. At the same time, it seeks to take its place within Classical Studies by developing new readings of the plays. To develop a context for its analysis, this study begins with consideration of the contemporary demographics, social position, and stage portrayal of old age, and following this dedicates a chapter to each of the four surviving fifth century dramatists. In Aiskhylos’ Agamemnon, old age emerges as a crucial element in choral self-identity, and an important component of the authority that they display. Following this, the thesis considers the chorus of Euripides’ Herakles, in particular its use of metadramatic language, and the impact this has on plot-development and the representation of their age. The next chapter, on Oidipous Koloneus, shifts to consideration of the protagonist. The old age of Oidipous emerges as a powerful driver of his mental and spiritual power, and forms a striking background to the exploration of his character. The final chapter of the thesis examines how mechanisms of renewal that old men undergo in Aristophanes’ comedies (Knights, Akharnians, Peace, Wasps, Birds) differ across the dramas, and the impact this difference has on their interpretations. Such reassessments of ancient dramatic texts through the lens of old age can provide significant insight into the complexity of old men’s characterisations and of their involvement in the dramas. At the same time (from a gerontological perspective), this thesis’ analysis contributes to the developing discussion of the history of ageing, and highlights the differences between the ancient and modern worlds in this respect.

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2

Couch, James Russell. "ARE THESE QUEER TIMES? GAY MALE REPRESENTATION ON THE AMERICAN STAGE IN THE 1920'S AND 1990'S." Connect to this title online, 2003. http://lib.uky.edu/ETD/ukythea2003t00090/JRCtheTA.pdf.

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3

Barbato, Guido. "Mannerism in Elizabethan literature and drama." Thesis, University of Ulster, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274107.

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4

Harvie, Jennifer B. "Liz Lochhead's drama." Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/5026/.

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This thesis is an examination of Liz Lochhead's three published plays: Blood and Ice (1982), Dracula (1989), and Mary Queen of Scots Got Her Head Chopped Off (1989). Each of these three plays deals centrally with a literary or historical pre-text: the life of Mary Shelley and the ideology of English Romanticism in Blood and Ice; Bram Stoker's novel Dracula and late-Victorian British ruling-class culture in Dracula; and sixteenth-century Scottish and English history in Mary Queen of Scots Got Her Head Chopped Off. Given these dramatic emphases, the critical emphasis of this thesis is the plays' reassessment of their pre-texts, and particularly of those pre-texts' power to exercise and selectively to confer cultural authority. The thesis argues that the plays critically re-cast their pre-texts, re-interpreting those texts and compelling audiences to do the same. Altering diegetic emphases, the plays emphasize and interrogate the perhaps dubious function of their pre-texts to narrate and legitimate certain cultural groups' dominance and others' subordination. And using narrative forms which contrast in significant ways with those of the pre-texts, the plays demonstrate alternative, less prescriptive narrative forms. The effect of these textual re-interpretations and alternative narrative forms to intervene in hegemonic operations of power is important not least because each of the pre-texts, in different ways, thematically and/or formally, is ostensibly committed to the "fair" distributed of power. Romanticism claims commitment to the liberation of humanity. The protagonists of Stoker's Dracula fight avowedly to protect the superiority of their "good" Western humanity over Dracula's "bad" Eastern monstrosity. And orthodox histories, including those of Mary Queen of Scots and Elizabeth I of England, frequently function to absolve present communities' responsibility for their "closed" histories, but also for their histories' legacies, and, thus, for responsibility for the present.

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5

Giannachi, Gabriella. "Silence in modern European drama." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388413.

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6

Herd, Ruth Anne. "The influence of Japanese 'shimpa' drama on the birth and development of Chinese early modern drama." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365483.

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7

Harraway, Clare Patricia. "Re-citing Marlowe : approaches to drama." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307304.

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8

Matheson, Mark H. "Politics and subjectivity in Shakespearian drama." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314425.

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9

Shell, Alison. "English Catholicism and drama, 1578-1688." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334998.

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10

Salkeld, Duncan. "Madness in Shakespearean and Renaissance drama." Thesis, Cardiff University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293065.

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11

Ebong, Inih Akpan. "Drama and theatre among the Ibibio of southeastern Nigeria : a case study of Utuekpe or Ekoon drama." Thesis, University of Birmingham, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365341.

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12

McCarthy, Andrew D. "Mourning men in early English drama." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Dissertations/Spring2010/a_mccarthy_020910.pdf.

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13

Pomeranzev, Ilia. "Time in A. S. Pushkin's drama "Boris Godunov"." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9655.

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14

Storey, A. "Representations of class in modern British drama." Thesis, University of Nottingham, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370532.

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15

Marshall, Alan. "Drama and value : between Wordsworth and Moderism." Thesis, University of York, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306421.

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16

Khorll, Angela E. "Creating Dramatic Scene Work for Literature in a Secondary Language Arts Classroom." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/KhorllAE2008.pdf.

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17

Grossman, Joanna Rebecah. "Shakespeare Grounded: Ecocritical Approaches to Shakespearean Drama." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064927.

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Using the "Great Chain of Being" -- which was integral to the Elizabethan understanding of the world -- as a starting point, this dissertation examines the sometimes startling ways in which Shakespeare's plays invert this all-encompassing hierarchy. At times, plants come to the forefront as the essential life form that others should emulate to achieve a kind of utopian ideal. Still other times, the soil and rocks themselves become the logical extension of a desire to remove man from the pinnacle of earthly creation. Over the course of this project, I explore plays that emphasize a) alternative, non-mammalian modes of propagation, b) the desire to sink the human body into the earth (or, at a minimum, man's closeness to the ground), and c) the imagined lives of flora and fauna, while underscoring man's kinship with myriad organisms. In many of the works explored, a modern vision of materiality comes to the forefront, presenting a stark contrast to the deeply held religious views of the day. In flipping the ladder upside down, Shakespeare entices his reader to confront inherent weaknesses in human and animal biology, and ultimately to question why man cannot seek a better model from the lowly ground upon which he treads.

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18

Zhu, Minqi 1953. "Literary motifs in traditional Chinese drama." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290589.

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The purpose of this dissertation is to examine some of the distinctive qualities of traditional Chinese drama in light of comparative studies in literature and drama, especially of Richard Wagner's theory of motifs. Opposed to realism, Wagner argued that music is necessary to the finest drama, for it should be "distanced" from actual life. Wagner intended to fuse all artistic arts into his "music drama." However such drama has existed in China for at least seven hundred years. Moreover, it still keeps vigorously springing up, and greatly manifesting its vitality. The hypothesis of this dissertation is that traditional Chinese theatre has been able to survive through the historical sediment primarily due to the influence of literary motifs that have sustained the vitality of the old dramatic form. This dissertation is based on the research of three theatrical aspects: drama-in-itself, dramatic creation, and dramatic appreciation. For the area that is called "dramatic-in-itself" it deals with the general function of dramatic presentation, either for the sake of art or for moral education; for dramatic creation, it emphasizes on playwrights and their worldview of dramatic creation; and for dramatic appreciation, it examines the viewpoint of the audience. Traditional Chinese drama is a high synthesis of arts. The chief factors that promoted the formation of this art are the literary motifs resulting from the Chinese cultural tradition. Literary motifs can be traced in almost every aspect of Chinese drama: in dramatic purpose, in language, in music, in acting, in dress-up, and in stage scenery. Every aspect of Chinese drama is marked with Chinese national traits. And all these dramatic elements constitute a complexity that incorporated both representational and presentational qualities. This complexity has turned Chinese drama into a uniquely mixed art, long-lasting and durable. This dissertation will explore how literary motifs work in traditional Chinese drama. It will primarily focus conventions of music composition, poetry tradition, dramatic structure, thematic construction and theatrical movements.

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19

Al-Kasim, Faisal Moayad. "Iconoclasm in modern British drama." Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:8285.

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Iconoclasm has proved to be a major feature in modern British drama, where in a short period of time, the theatre has witnessed a host of iconoclastic dramatists, where demythologization has been widespread and fierce and where the icons of the present and the past have been subjected to a wholesale desecration in large numbers at the hands of the Ardens, Brenton, Bond, Churchill and others, who, as their dramatization of history and its idols has shown, have much in common. Although the above playwrights and others were most active towards the end of the sixties and throughout the seventies, their assault, however, has not completely died away in the eighties. As I have shown, Berkoff in 1987 launched in Sink the Belgrano! a fierce onslaught on political sacred cows, including the present Prime Minister, Mrs Thatcher who was mercilessly pilloried. On the 19th of February, 1988, Radio Three began broadcasting a nine part iconoclastic cycle by the Ardens, Whose Is The Kingdom? in which iconized personages from Roman history are revealed in a new light. In the above cycle, the playwrights set out to "demolish" "established notions" about Christ, Christianity, and rewrite the history of the Roman Empire, exposing its heroes and icons such as Constantine as manipulators and hypocrites. In other words, the Ardens' iconoclasm does not seem to have subsided; indeed it is on the rise! However, as mentioned earlier, iconoclasm is not merely the result of petty spite; it is a major aspect of political drama. It works towards changing the received images that the audience hold of history, the present and their icons the latter of which represent both the former. However, like the political theatre of which it is part, iconoclasm has failed to achieve its objectives for a number of reasons, foremost of which is the fact that the denigration of a historic idolatrized figure amounts to attacking the audience itself in whose mind, the images of those assaulted are deeply ingrained as holy and untouchable. The audience sees in such figures its own reflection. Lindenberger, in his book Historical Drama rightly argues that historical playwrights could "present a historical character or action within a broad framework of accepted notions". In other words, a playwright dramatizing a historical figure should try to adhere as much as he can to what is handed down to him and to his audience about the figure by history. Lindenberger goes on to say that "Historical material had the same status as myth, both belonged to what Horace called 'publicly known matters' ... and both depended - indeed, still do depend on - an audience's willingness to assimilate the portrayal of a familiar story or personage". Any portrayal of Achilles as not "restless, irascible, unyielding, and hard" would appear to the audience as unacceptable. The above theory can be rightly applied to the iconoclastic modern British playwrights' treatment of venerated persons. The audience would certainly stick to the “accepted notions" about Lord Nelson, Queen Victoria, Sir Winston Churchill and others. Plays such as The Hero Rises Up, Early Morning, and The Churchill Play can only arouse indignation in the audience and not a renunciation of received images. As I have shown, many spectators and critics were offended by, say, Arden's treatment of Nelson or Bond's degradation of Queen Victoria and William Shakespeare. The audience would rather adhere to what it already knows than revise its views, which brings to mind Marx's statement about the spell that the past casts upon the people, "The old has a strong grip on the people and, progress proceeds slowly." "Tradition is a great retarding force, is the vis inertiae of history". "The tradition of all past generations weighs like an Alp upon the brains of the living”. However, although they may be considered to have failed politically to dislodge right-wing iconography, the modern British demythologizers have established iconoclasm as a major trend in modern British drama and have revived an old tradition and consolidated it . Bond, a playwright who has constantly since 1968 called for the renunciation of the past .and its icons is, however, only too aware of the difficulties that his iconoclasm faces, yet as we Mire seen, he has not stopped producing iconoclastic plays. In his play, The Bundle, his revolutionary hero, Wang works hard with his fellow rebels to rid themselves of the past. He eggs them on to think of the future. For that purpose, he narrates to them the story of a man who carried the king on his back all his life, who even "did not know the king had died long ago", and who "carried him always and wasted his life", He goes on to say that the worst thing is "to carry the dead on your back", What the iconoclasts have tried to do during the past two decades is to remove that dead man from their nation's shoulders.

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20

Ryner, Bradley David. "Staging economics drama and mercantile writing, 1600-1642 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.50 Mb., 192 p, 2006. http://proquest.umi.com/pqdlink?did=1176547011&Fmt=7&clientId=8331&RQT=309&VName=PQD.

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21

Wiggins, Martin. "The assassin in English Renaissance drama, 1558-1642." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315828.

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22

Jacobs, Jason. "Early British television drama : aesthetics, style and technology." Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296562.

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23

Meza, Carmen M. Meza. "Renaissance Borderlands: Geographies of Race in Early Modern Drama." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1534523344820988.

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24

Stear, Ezekiel Glenn. "Dual-language drama as a door to classic literature." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3270.

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The author believes that the mediation of classic literature through drama would increase student's opportunity for academic success on the secondary and post-secondary levels of education. This project develops curriculum and materials using dramatic adaptations of ancient literature created by the author.

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25

McIntosh, Shona. "Courtly mirrors : the politics of Chapman's drama." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/726/.

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This thesis argues that the drama of George Chapman (1559-1634) can be read in light of his deep ambivalence towards the political elite of the Jacobean court. It suggests that Chapman’s lack of success in securing courtly patronage, and his constant battle with indebtedness (which resulted in several court appearances and two imprisonments) left him divided in attitude towards the system of courtly reward – he resented his lack of success but continued to struggle to fit in and gain the approval of the powerful figures of the era. I argue that this gave him a critical perspective on many of the important issues of the time. My work examines the configuration of English national identity in his plays, positing an idea of Englishness which is separate from, and often critical of, the monarchy, and which relies on a structural parallel with the French court in order to imagine English identity. It then considers the ways in which money and debt are dealt with in several plays, arguing that Chapman felt deeply concerned by the perennial indebtedness of Jacobean culture but was also aware of the necessity of maintaining his own credibility and supply of credit. It further examines the representation of patronage, suggesting that Chapman saw the soliciting of aristocratic patronage in distinctly sexual terms, almost as a form of artistic prostitution. It then considers the many situations in the plays where royal patronage towards a favourite breaks down, and argues that this often results in allegations of treason which Chapman shows to originate in the paranoia or suspicions of the monarch. Finally, it looks at the concept of virtue in the plays, arguing that Chapman viewed virtue as fundamentally unsustainable in a corrupt court setting, but that he saw some form of engagement in public life as being a moral obligation on the virtuous man. Throughout I argue that Chapman was deeply radical in his social outlook, critical of inherited privilege and government by personal or absolutist rule. The social tensions and political struggles presented in his plays were to find their full expression in the violence of the Civil War and in the trial and execution of Charles I.

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26

Pruitt, John. "British drama museums : history, heritage, and nation in collections of dramatic literature, 1647-1814 /." View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3203336.

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27

Josefsson, Sonja. "Romeo och Juliet som drama och film." Thesis, Karlstads universitet, Centrum för språk- och litteraturdidaktik, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-5310.

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We read different kind of texts every day. We can for example choose to read a book or to watch a film. While we read we can receive and interpret texts. That’s means, for example, that we can have different envisionments about the drama and the film based on it. Based on Langer’s reception theory about “envisionments”, I’ve wanted to examine and clarify the differences and similarities of envisionments between two texts. I have mainly examined and focused on Romeo and Juliet as drama and film. My study is comparative and qualitative. The background for my examination is found in “a broader concept of text” as described in School Curriculum – Swedish for upper secondary school, and the research of Olin – Scheller and Johansson. According to the conclusions in my study we can have varying conceptions of different texts as readers. The result of my study has shown that the interpretation and our envisionments could be different and depends on how the text is narrated. Envisionments in a drama text depend on the images we create without ourselves while reading the text. The drama can also be seen on a theatre and then can our envisionments depend on how it is presented by the theatre actors. In the film text our envisionments depends on the visualisation, sound and sound effects, colours and perspective of camera etc

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28

Wright, Myra. "Whores and their metaphors in early modern English drama." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86819.

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Several clusters of metaphors were routinely used to represent the sex trade onstage in early modern England. Close philological study of these figures reveals that even the most conventional metaphors for whores and their work were capable of meaning many things at once, especially in the discursive context of the drama. This project follows a practice of reading that admits multiple significations for the words used by characters on the early modern stage. I argue that metaphors are social phenomena with consequences as varied and complex as the human interactions they're meant to describe. Each chapter treats a different set of images: commodities and commercial transactions, buildings and thoroughfares, food and drink, and rhetorical and theatrical ingenuity. Using methods based on the study of conceptual metaphor in the field of cognitive linguistics, I trace the deployment of conventional figures for prostitution in plays by William Shakespeare, Thomas Middleton, Thomas Dekker, Ben Jonson, and John Marston. I also introduce occurrences of these metaphors in other genres (news pamphlets, prose narratives, homilies, medical manuals, and so on) to show that they were part of pervasive cultural patterns. The readings below dwell on the figurative associations that were most available to early modern writers as they fashioned prostitute characters for the stage—metaphors commonly taken for granted as literal descriptions of sex work. An understanding of the social force of metaphor begins with the realization that words convey more than any writer, printer, or actor intends. The language of prostitution in the early modern theatre is therefore both common and complex, much like the characters it conjures.
Pendant la Renaissance, divers grappes de métaphores étaient utilisées couramment dans les représentations théâtrale de la prostitution en Angleterre. Des études minutieuses philologiques des métaphores pour les putains et leur travail révéler que même les plus conventionnelles pouvaient signifier plusieurs choses à la fois, particulièrement dans le contexte discursif du théâtre. Le projet suit un procédé de lecture qui admet plusieurs significations pour les mots utilisés par des personnages de la Renaissance. Je soutiens que les métaphores sont des phénomènes sociaux qui ont des conséquences aussi variées et complexes que les interactions humaines qu'elles sont censées décrire. Chaque chapitre met en évidence une différente série d'images: les marchandises et transactions commerciales, les bâtiments et les voies urbaines, la nourriture et les boissons, l'ingénuité rhétorique et théâtrale. En utilisant des méthodes basées sur l'étude des métaphores conceptuelles dans le domaine de la linguistique cognitive, je retrace le cortège des figures conventionnelles de prostitution dans les pièces de théâtre de William Shakespeare, Thomas Middleton, Thomas Dekker, Ben Jonson, et John Marston. Je signale aussi l'existence de ces métaphores dans d'autres genres littéraires (pamphlets de nouvelles, narratives en prose, homélies, manuels médicaux, etc.) pour démontrer qu'elles faisaient partie des tendances culturelles omniprésentes. Les explications ci-dessous s'entendent sur les associations figurées qui étaiaent les plus à la disposition des écrivains de la Renaissance en façonnant les personnages des prostituées—les métaphores qui étaient souvent considerées comme constituant les descriptions littérales du travail sexuel. Pour bien comprendre la force sociale de la métaphore, il faut realiser d'abord que les mots communiquent beaucoup plus qu'un écrivain, un imprimeur, ou un acteur les destine. La la

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29

Walsh, Maeve. "Re:vision : the interpretation of history in contemporary Irish drama." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286613.

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Amkpa, Awam David. "Politics, aestheticism and alternativeness in contemporary drama and theatre." Thesis, University of Liverpool, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284593.

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Howlett, Sophia. "The platonic academy of Florence and English Renaissance drama." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317934.

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32

Minnis-Lemley, Ashley M. "The Scholar Magician in English Renaissance Drama." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/838.

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In this paper, I will explore the rise and fall of the scholar magician or sorcerer, both as a popular dramatic subject and as an arc for individual characters, and the ways in which these figures tied into contemporary fears about the intersection of religion and developing scientific knowledge.

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33

Gibbons, Zoe Hope. "A dedicated follower of fashion : the ahistoric rake in Restoration literature /." Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/373.pdf.

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Albano, Caterina. "Representations of food and starvation in early modern English drama." Thesis, Birkbeck (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314188.

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35

McMullan, A. E. "Between spaces : the dynamic principle in Samuel Beckett's later drama." Thesis, University of Reading, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233112.

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36

Oduko, Olusegun A. "Television drama in a developing society : the case of Nigeria." Thesis, University of Leicester, 1985. http://hdl.handle.net/2381/34604.

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37

Winters, Kari-Lynn. "Authorship as assemblage : multimodal literacies of play, literature, and drama." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/21723.

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This thesis draws on Social Symbolic Mediation Theory, Social Semiotics, and Discursive Positioning Theories to explore a theoretical model I call “Authorship as Assemblage.” This model considers authorship broadly; it posits that authors are “declared, hidden, or withdrawn” contributors of multimodal meanings who orchestrate an array of semiotic resources, social (inter)actions, and discursive positions within and across a variety of social contexts (Barthes, 1970, p. 110). A literature review and three case studies suggest some of the ways multimodal authorship can be theorized and explored within and across social contexts, including a child’s out-of-school environments, during professional picturebook-making collaboration, and in a summer camp where youth explore playbuilding. By considering authorship broadly, its significance in the multiple fields of study can be seen. Findings of the thesis include that authorship can not be thought of as a isolated or stable phenomenon, for it is bound up with semiotic, social, and critical meanings that interrelate with and interanimate each other.

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Grimmett, Roxanne. "Staging silence : the adulteress in Jacobean drama and morality literature." Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445445.

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39

Weiss, Katherine. "Exploding Bombs: Masculinity and War Trauma in Sam Shepard’s Drama." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2298.

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This paper examines violence and masculinity in Sam Shepard's work as a symptom of war trauma, apparent in his characterization of several of his male characters as war veterans and the violent language accompanying his other characters. War becomes a cultural disease infesting and destroying the family on Shepard's stage.

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40

Spaulding, Gerald R. "Sophocles' Antigone an exploration of modern and contemporary versions /." Diss., Connect to online resource - MSU authorized users, 2007.

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Singh, Meghna. "Visualising Human Migrations in Cape Town The story of three ships through ‘time’, ‘space’ and ‘memory’." Doctoral thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/31265.

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This practice-led PhD contributes to an understanding of contemporary art practice as a tool to render visible and unravel capitalist imaginaries within the field of migration studies. Focusing on the theme of contemporary and historical migrations at Cape Town through research conducted on three ships between 2013 and 2017, it uses the themes of ‘time’, ‘space’ and ‘memory’ to visualise migrations. The PhD interrogates the hidden process of globalisation; the invisibility of the workings of the port; the invisibility of the workers; their stories and their connection to the movement of capital, and renders them visible through the research. The study is situated at the intersection of migration studies, visual art practices and artistic research methods. Using the methodology of observational filmmaking and the creation of immersive multimedia installations incorporating virtual reality, it borrows from the work of anthropologists like David MacDougall (1998); Michael Taussig (1993); James Clifford (1988); Alyssa Grossman (2013); and Anna Grimshaw and Amanda Ravetz (2005) who make a case for the technique of ‘visualising anthropology’ in the field of ethnographic enquiry. Furthering the case of observational filming as a sensory form of investigation, I draw on the work of film scholar Laura Marks who advocates the phenomenon of “tactile epistemologies” (2000) and Doug Aitkens whose creations of split narrative videos illustrate the immersive experience I seek to achieve in my creative outputs. The central argument of this study is that an experience of research, conducted through the medium of observational filmmaking and presented via immersive video installations, creates visibility, empathy and an understanding of situations through corporeal embodiment, adding to the field of visual art and migration research.

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Hill-Vásquez, Heather. "The possibilities of performance : mediatory styles in Middle English religious drama /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9355.

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Blake, Thomas W. Silverstein Marc. "Staging and upstaging revolt the maternal function in twentieth century drama /." Auburn, Ala, 2009. http://hdl.handle.net/10415/1811.

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Silver, Jeremy. "Language, power and identity in the drama of Ben Jonson." Thesis, Royal Holloway, University of London, 1986. http://repository.royalholloway.ac.uk/items/afe5e26d-221e-437c-bffd-ead6585af447/1/.

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The thesis explores the relationships between language, power and identity in the drama of Ben Jonson. The approach is primarily through linguistic analyses of the plays, but frequent reference is made to other texts which illuminate the social, and cultural conditions out of which the drama emerges. The first three chapters deal, respectively, with Jonson's Humour plays, Poetaster, and both tragedies. Four subsequent chapters deal individually with Volpone, Epicoene, The Alchemist, and Bartholomew Fair. Two final chapters deal with Jonson's late plays. The thesis analyses the way in which characters reflect on each other's' uses of language and make artificial use of language themselves in order to acquire power over others, raise their social status, and confirm, deny or alter their identities. This involves the analysis of the numerous discourses which are contained in the plays (e.g. those characterized by origins in the Classics, in English Morality plays, or in contemporary sources such as the literature of duelling, or the idiom of the Court). The playwright's self-conscious use of language games, plays-within-plays, disguises, and deceptions is studied with close attention to the self-reflexive effects of these dramatic techniques. Jonson's plays, by using mixed modes of drama, set off dramatic conventions against one another in ways which often undermine the artifice. The moral views in the plays, inconsequence, fail to find any single basis and are also set in conflict with one another. Thus, it is argued, the plays, contrary to certain orthodox views, do not offer simple moral positions for the audience, but demand of the spectators a re-examination of their own frames of moral reference. It is suggested that the view of the world implicit in the earlier plays is one where language seems to offer the possibility of access to an ultimate truth, whereas in the later plays, language increasingly constructs its own truths.

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Sherlow, Lois Juanita. "Towards interculturalism: A critical history of contemporary drama in Canada." Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/10363.

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In the late sixties in Canada, the emerging alternative theatre adapted dramaturgical models, many of them from the international countercultural movement of the period, which served as means of challenging the primacy of the playwright and of creating a new decentralized iconography of the Canadian people. In the process of doing so, however, this theatre left many colonialist practices unexamined, and effectively succeeded in disseminating nationalist or centralizing mythologies of utopian populism. Thus, the suppressive effects of colonialism were ironically prolonged as the new nationalist theatre continued to produce marginalizing effects. This study reframes critical perspectives on contemporary theatrical values and practices in Canada by revisiting the ways in which colonialist representation inscribed subordination and marginality in the first place. Since 1980, there has been a significant subversion and effacement of nationalist ideology by the very groups which had been suppressed by the universalizations of populism. In addition, the adoption by many practitioners of decentred, postmodern textuality combined with experimentation in interdisciplinary techniques has created performance modes more adaptable to cultural reality. In Canadian theatre of the nineties, it has become common practice to historicize unitary narratives of culture and self-identity and to construct, instead, intercultural texts which acknowledge the co-presence of universality and difference, and which assist in drawing spectators with diverse cultural expectations into communal experience.

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Cavanagh, Dermot Paul. "Covert enmity : history and the dramatic imagination in the Tudor drama." Thesis, University of Sunderland, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333928.

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Asagba, O. A. "Festival drama : Aspects of continuity and change in contemporary Nigerian theatre." Thesis, University of Leeds, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372955.

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Thiam, Djibril S. "Soyinka's drama in relation to the traditional Yoruba culture of Nigeria." Thesis, University of Sheffield, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301263.

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Salvi, Marcella. "Escenas en conflicto : un estudio de los márgenes del teatro barroco en España e Italia /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3045093.

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Thesis (Ph. D.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 206-227). Also available for download via the World Wide Web; free to University of Oregon users.

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Hill, Alexandra Nicole. ""Bloudy tygrisses" murderous women in early modern English drama and popular literature /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002727.

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