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Journal articles on the topic 'Dramatc works'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Rawson, C. J., John Gay, and John Fuller. "Dramatic Works." Modern Language Review 81, no. 3 (1986): 720. http://dx.doi.org/10.2307/3729212.

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2

Braun, Kazimierz. "Dramatic Works." Polish Review 70, no. 2 (2025): 137–42. https://doi.org/10.5406/23300841.70.2.14.

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Khamdamovna, Mavlanova Ugiloy, Ruzieva Dilfuza Salimboevna, and Babaeva Vasila Toshpulatovna. "Irony in dramatic works." International Journal of Psychosocial Rehabilitation 24, no. 03 (2020): 311–17. http://dx.doi.org/10.37200/ijpr/v24i3/pr200784.

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4

Górska, Irena. "Dramat jako filozofia dramatu. Na przykładzie twórczości Tadeusza Różewicza." Przestrzenie Teorii, no. 1 (February 15, 2007): 193–204. http://dx.doi.org/10.14746/pt.2002.1.13.

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Tadeusz Różewicz's drama becomes philosophy in two ways. It poses the same questions as philosophy does (about the sense and the aim of human life) and it uses the same methods of expressing itself (it converses with other works, the world, the reader and the writer). Różewicz destroys the old drama rules to re-use them in order to construct some new ones and he rebuilds the world using these rules. However, the newly-built forms don't resemble the classical drama. The boundary between life and art disappears. Paradoxically, it turns out that destruction can be a tool to unite the world. In Ró

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5

Lizakhan, URAZMBETOVA, and BEKNIYAZOVA Gulbahor. "WORK ON DRAMATIC WORKS." Crossroads of culture 4, no. 3 (2022): 3. https://doi.org/10.5281/zenodo.7482991.

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The article describes the essence of dramatic works, work on dramatic works, and also gives an analysis and structure of a dramatic work. The principles of the selection of repertoire in theatrical art, the principles of working with students on selected works are presented.

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6

Taubayevich, Koblanov Zholaman, Baltogaeva Zhaili Elepovna, Zhetkizgenova Aliya Tugelbayevna, Karymsakova Baktygul Abdimukhanovna, Daribaev Samalbay Daribaevich, and Dalmukhanova Feruza Kozibayevna. "Epic Stories in Dramatic Works." Journal of Ecohumanism 3, no. 7 (2024): 1132–40. http://dx.doi.org/10.62754/joe.v3i7.4282.

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Karakalpak drama on the way of its historical development absorbed the most advanced and exemplary traditions of the great wealth of this people and uses them to this day. The article discusses the features of some Karakalpak dramatic works. At the same time, the article pays great attention to the influence of the literature of the Kazakh people with a close historical fate on the Karakalpak dramaturgy. For example, the dramatic works of Beyimbet Mailin, Zhumat Shanin, Mukhtar Auezov, the search for the disclosure of the secrets of man and time in them, artistic techniques that had a positive

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7

Oshukov, Mikhail. "Ezra Pound’s Dramatic Works: Vorticist Noh Theater." Literature of the Americas, no. 7 (November 2019): 339–59. http://dx.doi.org/10.22455/2541-7894-2019-7-339-359.

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8

Corneilson, Paul. "Johann Christian Bach: Operas and Dramatic Works." Eighteenth Century Music 21, no. 2 (2024): 229–31. http://dx.doi.org/10.1017/s1478570624000083.

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9

Aikin, Judith P. "The Musical-Dramatic Works of David Schirmer." Daphnis 26, no. 2-3 (1997): 401–35. http://dx.doi.org/10.1163/18796583-0260203005.

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10

BEYER, BETHANY. "RECEPTION AND CIRCULATION OF MACHADO'S DRAMATIC WORKS." Machado de Assis em Linha 12, no. 27 (2019): 48–66. http://dx.doi.org/10.1590/1983-6821201912273.

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Abstract This article examines how Machado's consecration as a national literary hero, and more recently as a world literature figure, has included or excluded his dramatic works. In doing so, the piece considers the role of collections, critical evaluations, book reviews, and performances. The effort to trace the presence and reception of his plays in various publications and languages demonstrates that in Brazil, the dramatic works initially were preserved out of obligation, but now they are undergoing a limited re-evaluation. Outside of Brazil, appreciation for Machado is genre specific; hi

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11

High, Jeffrey L. "Two Reception Histories of Schiller's Dramatic Works." Eighteenth-Century Studies 37, no. 3 (2004): 487–91. http://dx.doi.org/10.1353/ecs.2004.0023.

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12

Shapauov, A. K., A. A. Shapauova, E. I. Turovskaya, and M. A. Kabyken. "Artistic features of the characters' speech in dramatic works." Issues of National Literature, no. 3 (October 11, 2024): 28–34. http://dx.doi.org/10.25587/2782-6635-2024-3-28-34.

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The article is devoted to such previously little-studied objects in world science as drama, genre and style features and speech of characters in Kazakh dramatic works. The scholarly novelty of the article lies in the fact that on the basis of specific facts, genre features, dramatic situations, stylistic mastery of playwrights, the language of characters in plays in comparison with the works of other nations were revealed. The characters of the main characters, as well as dramatic dialogue and monologue were considered. Masters of artistic words, not content with the treasures of the literary

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13

Maroof, Ghufranullah, Nazir Ahmad Rishtinay, and Mirwais Khaliqyar. "Abdullah Bakhtani’s Contributions to Pashto Drama: A Study of Sidhu Malang." Sprin Journal of Arts, Humanities and Social Sciences 3, no. 6 (2024): 15–18. http://dx.doi.org/10.55559/sjahss.v3i6.338.

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In Pashto literature, Abdullah Bakhtani's narrative works have a notable and distinctive place. The author's narrative works, especially his tragedies (Sidhu Malang), give sharp criticism of immoral acts and behavior as well as important subjects relevant to modern society at large. His pieces provide vivid descriptions of the political struggle for social reforms that was going on at the time. Bakhtani draws inspiration from the Pashtun environment and only uses Pashtun characters in his story compositions. While faithfully portraying every aspect of Chersi's life, the drama "Sidhu Malang" sh

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14

Anishchenko, Valentina Vladimirovna. "ASOMNIA PROBLEMATICS OF M. YU. LERMONTOV’S DRAMATIC WORKS." Philological Sciences. Issues of Theory and Practice, no. 6 (June 2019): 7–11. http://dx.doi.org/10.30853/filnauki.2019.6.1.

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15

Wiltrout, Ann E., Louis C. Perez, and Feliciana Enriquez de Guzman. "The Dramatic Works of Feliciana Enriquez de Guzman." Hispania 73, no. 1 (1990): 90. http://dx.doi.org/10.2307/342965.

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16

Roditi, Edouard, Federico García Lorca, William Bryant Logan, and Angel Gil Orrios. "Once Five Years Pass and Other Dramatic Works." World Literature Today 64, no. 4 (1990): 617. http://dx.doi.org/10.2307/40146909.

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17

McKendrick, Melveena, Louis C. Perez, and Feliciana Enriquez de Guzman. "The Dramatic Works of Feliciana Enriquez de Guzman." Hispanic Review 59, no. 3 (1991): 343. http://dx.doi.org/10.2307/474060.

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18

Nurmanova, Barno Ahmadjon qizi. "INTERPRETATION OF ROLE BY ACTORS IN DRAMATIC WORKS." European Journal of Arts, no. 2 (2022): 36–40. http://dx.doi.org/10.29013/eja-22-2-36-40.

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19

Musinova, G., and K. Tulebayeva. "REFLECTION OF THE SEMIPALATINSK TRAGEDY IN DRAMATIC WORKS." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 3 (September 15, 2022): 175–87. http://dx.doi.org/10.55808/1999-4214.2022-3.17.

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The purpose of the research work is to identify, through the scientific study of genre and poetic trends, the artistic identity, the ideological and thematic atmosphere of modern Kazakh drama, to show the features of poetics and the problems of stylistic affiliation, to differentiate the novelty and continuity of traditions, to identify the author's point of view, signs of his individual stylistic differences and common thematic features in dramatic works reflecting Semipalatinsk tragedy. The genre of drama in Kazakh literature in the period after the country's entry into the mainstream of ind

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20

Karimova, Nasiba Ilxomjonovna. "THE ROLE OF DRAMATIC WORKS IN LITERATURE TEACHING." ACADEMIC RESEARCH IN MODERN SCIENCE 2, no. 3 (2023): 32–33. https://doi.org/10.5281/zenodo.7571445.

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21

Rhee, Beau La. "예이츠와 셰익스피어 희곡작품의 여성 캐릭터". Yeats Journal of Korea 62 (31 серпня 2020): 51–66. http://dx.doi.org/10.14354/yjk.2020.62.51.

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22

Zhilichev, Pavel E. "Metadrama in V. Mirzoev’s Works." Critique and Semiotics 40, no. 1 (2022): 380–99. http://dx.doi.org/10.25205/2307-1737-2022-1-380-399.

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This paper deals with the specifics of metadrama in Vladimir Mirzoev's works. The metatextual aspect of the communicative structure of Mirzoev’s plays is based on uti-lizing traditional actants of the dramatic intrigue, including kings, jesters, army officers, magicians, Hamlet, Don Juan, etc. Mixing references to classic and contemporary literature, Mirzoev’s texts take palimpsest (G. Genette), pastiche (R. Dyer) as a basis for developing dramatic action and tension. For example, The Tower decon-structs the archetype of Don Juan by combining the elements of the traditional plot with the icono

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23

Rohatoy, Mashrapov. "SOCIAL FACTORS ENSURING THE SOCIAL CHARACTERIZATION OF SPEECH IN DRAMATIC WORKS." International Journal of Advance Scientific Research 4, no. 6 (2024): 122–31. http://dx.doi.org/10.37547/ijasr-04-06-19.

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In the article dramatic in the works of speech social characteristic provider social factors statement done, then independence during created works, especially dramas unscientific tools using expressed meanings analysis done.

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24

Aspinall, Dana E., Francis Beaumont, John Fletcher, and Fredson Bowers. "The Dramatic Works in the Beaumont and Fletcher Canon." Sixteenth Century Journal 27, no. 3 (1996): 823. http://dx.doi.org/10.2307/2544038.

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25

Lytovskaya, Alexandra. "Aristophanes’ Dramatic Works and Crisis of Polis World-View." Pitannâ lìteraturoznavstva 87 (September 3, 2013): 97–105. http://dx.doi.org/10.31861/pytlit2013.87.097.

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26

Cherkasova, V. V. "CHARACTERISTICS OF THE UNFINISHED DRAMATIC WORKS OF I.S. TURGENEV." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 79(1) (2021): 160–63. http://dx.doi.org/10.37313/2413-9645-2021-23-79(1)-160-163.

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Тhis article gives a general description of the unfinished dramatic works of I. S. Turgenev, and defines their problems. The author comes to the conclusion that among the unfinished scenes and comedies there were three ideas: "The Bridegroom", "Companion-ka" and "No. 17"; three beginnings of the work - "The Temptations of St. Anthony", "Two Sisters" and "Party". The pies "The Groom", "The Companion" and "No. 17" were started in the same period, in the spring of 1850. They are deliberately unfinished by the author. "The Companion" will soon be absorbed by the concept of "Own Master's Office" an

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27

Dunnhaupt, Gerhard, Judith P. Aikin, and Caspar Stieler. "Scaramutza in Germany. The Dramatic Works of Caspar Stieler." German Quarterly 64, no. 2 (1991): 241. http://dx.doi.org/10.2307/407089.

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28

Reinhart, Max, Judith P. Aikin, and Caspar Stieler. "Scaramutza in Germany: The Dramatic Works of Caspar Stieler." German Studies Review 15, no. 3 (1992): 575. http://dx.doi.org/10.2307/1430375.

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29

Stelleman, Jenny. "Traditional and Innovative Compositional Methods in Lermontov's Dramatic Works." Russian Literature 64, no. 1 (2008): 109–56. http://dx.doi.org/10.1016/j.ruslit.2008.07.006.

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30

Shapoval, Mariana. "Faction biodrama in Peter Shaffer’s dramatic works of literature." Ukraïnsʹka bìografìstika, no. 23 (May 4, 2022): 78–99. http://dx.doi.org/10.15407/ub.23.078.

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31

Agaverdiyev, Alislam. "Teaching middle school students the content of dramatic works." Filologiya məsələləri Journal of Philological Issues, no. 3 (2024): 495. http://dx.doi.org/10.62837/2024.3.495.

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32

Prysiazhniuk, Olga M. "CONCEPT “ANTIQUITY” IN THE DRAMATIC WORKS OF LESIA UKRAINKA." Literary Studies, no. 61 (2021): 134–42. http://dx.doi.org/10.17721/2520-6346.2(61).134-142.

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The article is devoted to the study of the conceptualization of their own and general nominations with the value of antiquity in Lesia Ukrainka drama “Iphigenium in Tavrid” and “Orgy”. Scientific results complement the linguistic categories of linguosophical categories “Concept”, “Conceptual Picture of the World” and “Language Picture of the World”. The linguistic picture of the world is seen as a formal means of expression of a specific ethnos. The concept is understood as a system of concepts, united by a general integrated seven, which is a complex of semi-seven and books and their relation

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33

Schilz, Robert, and Stuart Rich. "Calcium Channel Blocker Therapy: When a Drug Works, it Works. When it Doesn't, it Doesn't." Advances in Pulmonary Hypertension 15, no. 4 (2017): 184–89. http://dx.doi.org/10.21693/1933-088x-15.4.184.

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Calcium channel blocker (CCB) therapy continues to be an element of modern pulmonary arterial hypertension treatment guidelines. However, the true number of patients that can be effectively treated with CCBs is very small. It is important to remember that those who truly retain a long-term benefit are those that tend to have a dramatic initial response to vasodilators and will attain normal or near normal hemodynamics and functional class after starting CCBs. Should a patient do so, they may well enjoy dramatic long-term survival on this regimen. In this article we discuss details and experien

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34

Abramson, Glenda. "Israeli Drama and the Bible: Kings on the Stage." AJS Review 28, no. 1 (2004): 63–82. http://dx.doi.org/10.1017/s0364009404000054.

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Drama is the most neglected genre within Hebrew cultural development. In fact, until shortly before the foundation of the State of Israel, few plays in Hebrew had been staged. Although a large number of works in dramatic form had been written, particularly in the nineteenth century, few of them were viable theatrical dramas. They fell into the categories of rhetoric and allegory, devoid of believable dramatis personae. There were some milestones along the way, such as Somi's Zahut Bedihuta de-Kiddushin (An Eloquent Marriage Farce, c. 1600), Luzzatto's Leyesharim tehilla (Praise for the Righteo

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35

Juchniewicz, Agnieszka. "Komiczno-humorystyczny charakter wypowiedzi w dramatach Olega Bogajewa." Studia Rossica Posnaniensia 47, no. 1 (2022): 43–58. http://dx.doi.org/10.14746/strp.2022.47.1.4.

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The aim of this paper is, first of all, to discuss the linguistic sphere in Oleg Bogayev’s comedy works. We would like to pay special attention to the way the characters express themselves. The way Bogayev’s characters create reality is deeply rooted in the spirit of postmodernism, which is reflected primarily in the playwright’s bold experimentation with words, especially in the area of constructed replicas. Language saturated with humour and comical elements can be found in the plays Maria’s field (2004) and Notes of a prosecutor in love (2019). In each of these works, the mode of expression

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36

Elam, Viola. "Sporting events as dramatic works in the UK copyright system." Entertainment and Sports Law Journal 13 (July 1, 2015): 1. http://dx.doi.org/10.16997/eslj.1.

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37

Toegel, Edith. "THE ‘LEIDENSJAHRE’ OF MARIE VON EBNER-ESCHENBACH: HER DRAMATIC WORKS." German Life and Letters 46, no. 2 (1993): 107–19. http://dx.doi.org/10.1111/j.1468-0483.1993.tb00978.x.

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38

ERNE, LUKAS. "W. E. BURTON'S DRAMATIC WORKS OF THOMAS KYD OF 1848." Notes and Queries 44, no. 4 (1997): 485–87. http://dx.doi.org/10.1093/nq/44.4.485.

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39

Erne, L. "W. E. Burton's Dramatic Works of Thomas Kyd of 1848." Notes and Queries 44, no. 4 (1997): 485–87. http://dx.doi.org/10.1093/notesj/44.4.485.

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40

dixon, Victor. "Music in the Later Dramatic Works of Antonio Buero Vallejo." Bulletin of Spanish Studies 82, no. 3-4 (2005): 567–88. http://dx.doi.org/10.1080/1475382052000342824.

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41

Dr., Ilham EL MAJDOUBI. "Exploring the Playwright's Self-Representation in Tom Stoppard's Dramatic Works." International Journal of Social Science and Human Research 07, no. 08 (2024): 6077–81. https://doi.org/10.5281/zenodo.13368664.

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This article examines two masterpieces by the British playwright and screenwriter Tom Stoppard: the two-act play The Real Thing and the screenplay Shakespeare in Love. These works employ the author-as-character technique in disparate ways. This study will endeavor to demonstrate how the playwright interweaves artistic and realist elements, as well as the ways in which his intricate techniques of synthesis impact the written page and the theatrical stage.

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42

Priydarshi, Ashok Kumar. "Jane Austen’s Comic Vision in her Art of Characterization with Special Reference to ‘Pride and Prejudice’." Journal of Advanced Research in English and Education 05, no. 02 (2021): 5–7. http://dx.doi.org/10.24321/2456.4370.202005.

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Characterization is a literary device that is used step-by-step in literature to highlight and explain the details about a character in a story. In other words, characterization is the representation of persons in narrative and dramatic works. The term character development is sometmes used as a synonym. This representation may include direct methods like the attribution of qualities in description or commentary and indirect [dramatic] method invitie readers to infer qualities from characters’ action, dialogue, or acceptance. Such a personage is called a character. The range of Jane Austen’s c

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43

Mooney, T. Brian. "The Dialectical Interchange between Agathon and Socrates: Symposium 198b–201d." Antichthon 28 (1994): 16–24. http://dx.doi.org/10.1017/s0066477400000836.

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In recent years philosophers working within the field of Platonic studies have begun to stress the relationship between form and content in Plato’s works. This ‘revelation’ in its turn has led to a richer understanding of Platonic texts; no longer (or at least not so often) do we find a Socratic argument excised from its dramatic context and syllogistically and analytically examined. Analysis, of course, can never be divorced from philosophy but with respect to the corpus Platonicum philosophical analysis has been supplemented by a sensitivity to the denouement of an argument, in other words,

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44

Vanzelli, José Carvalho. "Shinjū Ten no Amijima, de Chikamatsu Monzaemon." Aletria: Revista de Estudos de Literatura 33, no. 3 (2023): 208–28. https://doi.org/10.35699/2317-2096.2023.46136.

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Abstract: Japan's puppet theater, bunraku, also known as ningyō jōruri, is one of the four traditional forms of Japanese dramatic art. Although the structure of bunraku has already been adequately studied in Portuguese language, its plays still lack, in Brazilian literary studies, a more in-depth analytical look. It was for bunraku that some of the main texts of Japanese dramatic literature were written, with special emphasis on the works of Chikamatsu Monzaemon (1653-1725), the most important playwright of pre-modern Japan (1600-1868). This article aims to make considerations about the play S

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45

Zabit qızı İsgəndərli, Çinarə. "Ways of studyıng the ıdea-content propertıes of epıcworks." ANCIENT LAND 10, no. 4 (2022): 23–26. http://dx.doi.org/10.36719/2706-6185/10/23-26.

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Ədəbiyyatın tədrisində fəal təlim texnologiyaları əlverişli təlim vasitəsi olaraq həqiqətən özünü doğruldur, yürüdülən müasir təhsil siyasətinin müəyyən etdiyi tələblərə cavab verir. Təlim prosesində fəal/interaktiv təlim metodlarından istifadə müəllimin vəzifəsinin kökündən dəyişməsinə və daha mühüm əhəmiyyət kəsb etməsinə səbəb olur. Müəllim bilikləri hazır şəkildə çatdıran deyil, araşdırma, təhlil və müzakirələrdə şagirdlərlə tərəf müqabillik edən tərəfə çevrilir. O, şagirdlərlə əməkdaşlıq edir və onların lazım olan məlumatları müstəqil əldə etmələrinə nail olur. VIII sinif ədəbiyyat dərsli

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46

Ziołowicz, Agnieszka. "Norwidowski dramat „transfiguracji społecznych”." Studia Norwidiana 39 Specjalny (2021): 71–91. http://dx.doi.org/10.18290/sn2139s.3.

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The article discusses Norwid’s concept of drama and theatre; notably, he assumes their close relationship with social life and its historical changes. Basing on analyses of meta-dramatic and meta-theatrical statements made by the poet, contained primarily in the essays “Widowiska w ogóle uważane” and “Białe kwiaty” [Performances considered in general; White flowers], in passages from lectures on Słowacki (O Juliuszu Słowackim), and in the introduction to Pierścień Wielkiej-Damy [The Ring of a Great Lady], it is possible to formulate the thesis that Norwid intentionally developed a vision of dr

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47

Simon, Fransoise. "La Théâtralité Dans Samuel Beckett: Essai de dramatisation de à partir des signes graphiques, phoniques et corporels." Samuel Beckett Today / Aujourd'hui 17, no. 1 (2007): 391–404. http://dx.doi.org/10.1163/18757405-017001027.

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Turning our attention to we had as a goal to search its theatrality and the signs in the text that show the dramatic potentialities of it. To understand what these signs can bear in them one has to experience them as an actor. The presence, the body and the voice of the actor should mould the words in the way a painter or a sculptur works on his material.

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48

Ganczar, Maciej. "Franz Grillparzer’s dramatic works as a result of the search for pure Viennese courtly drama." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Studia Neofilologiczne 12 (2016): 19–32. http://dx.doi.org/10.16926/sn.2016.12.02.

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49

Monsman, Gerald. "The Complete Dramatic Works of H. Rider Haggard: A Review Essay." English Literature in Transition, 1880-1920 52, no. 1 (2009): 70–76. http://dx.doi.org/10.2487/elt.52.1(2009)0032.

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50

Lessing, Doris, and James Arnett. "Lesser Lessing, Onstage and Off: The Dramatic Works of Doris Lessing." PMLA/Publications of the Modern Language Association of America 137, no. 5 (2022): 857–60. http://dx.doi.org/10.1632/s0030812922000876.

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