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Relevant bibliographies by topics / Dramatic criticism Dramatic criticism

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Academic literature on the topic 'Dramatic criticism Dramatic criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Dramatic criticism Dramatic criticism"

1

EVANS, PETER W. "GOLDEN-AGE DRAMATIC CRITICISM NOW." Seventeenth Century 2, no. 1 (1987): 49–53. http://dx.doi.org/10.1080/0268117x.1987.10555260.

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Halporn, James W. "Genre, Expectation, and Dramatic Criticism." American Journal of Philology 110, no. 4 (1989): 628. http://dx.doi.org/10.2307/295284.

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Steadman, Susan M. Flierl. "Feminist dramatic criticism: Where we are now." Women & Performance: a journal of feminist theory 4, no. 2 (1989): 118–48. http://dx.doi.org/10.1080/07407708908571133.

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Bloom, Davida. "Feminist Dramatic Criticism for Theatre for Young Audiences." Youth Theatre Journal 12, no. 1 (1998): 25–35. http://dx.doi.org/10.1080/08929092.1998.10012492.

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Patrick McDonagh. "The Mute's Voice: The Dramatic Transformations of the Mute and Deaf-Mute in Early-Nineteenth-Century France." Criticism 55, no. 4 (2013): 655. http://dx.doi.org/10.13110/criticism.55.4.0655.

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Poole, John Russell. "Book Revew: The Dawning of American Drama: American Dramatic Criticism, 1746- 1915." Theatre Journal 49, no. 2 (1997): 252–53. http://dx.doi.org/10.1353/tj.1997.0036.

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Goldhill, Simon. "Reading Performance Criticism." Greece and Rome 36, no. 2 (1989): 172–82. http://dx.doi.org/10.1017/s0017383500029740.

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Fred Astaire once remarked of performing in London that he knew when the end of a play's run was approaching when he saw the first black tie in the audience. Perhaps this is an American's ironic representation of the snobbishness of pre-War London (though he was the American who sang the top-hat, white tie and tails into a part of his personal image). Perhaps it is merely an accurate (or nostalgic) picture of the dress code of the audiences of the period. The very appeal to such a dress code, however – in whatever way we choose to read the anecdote – inevitably relies on a whole network of cultural ideas and norms to make its point. It implies tacitly what is easily recoverable from other sources about the theatre of the period: the expected class of the audience; the sense of ‘an evening's entertainment’ – attending the fashionable play of the season, with all the implications of the theatre as a place not merely for seeing but also for being seen; the range of subjects and characters portrayed on the London stage of the period; the role of London as a European capital of a world empire (with a particular self-awareness of itself as a capital); the expected types of narrative, events, and language, that for many modern readers could be evoked with the phrase ‘a Fred Astaire story’. If we want to understand the impact of the plays of Ibsen or Brecht or Osborne or Beckett, it cannot be merely through ‘dramatic techniques’, but must also take into account the social performance that is theatre. Ibsen's commitment to a realist aesthetic is no doubt instrumental to the impact of his plays, but it is because his (socially committed) dramas challenged the proprieties of the social event of theatre that his first reviewers were so hostile.

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Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic." Synopsis: Text Context Media 26, no. 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.

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The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture.

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Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (2018): 196–204. http://dx.doi.org/10.3167/ej.2017.510226.

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Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.

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Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (2018): 196–204. http://dx.doi.org/10.3167/ej.2018.510226.

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Abstract Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.

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Dissertations / Theses on the topic "Dramatic criticism Dramatic criticism"

1

Huismans, Anja. ""A just and lively image" - performance in Neo-classic theatre criticism and theory." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019/1756.

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Westfall, Joseph. "The Kierkegaardian author authorship and performance in Kierkegaard's literary and dramatic criticism." Berlin New York de Gruyter, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2909222&prov=M&dok_var=1&dok_ext=htm.

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Westfall, Joseph. "The Kierkegaardian author : authorship and performance in Kierkegaard's literary and dramatic criticism /." Berlin [u.a.] : de Gruyter, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2909222&prov=M&dokv̲ar=1&doke̲xt=htm.

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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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Cooper, Craig Richard. "Gnomes of the Oresteia : lyrical reflection and its dramatic relevance." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25367.

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One of the most distinctive features of Aeschylus' poetic style is the choral odes. The odes can generally be divided into two parts: lyrical narrative and lyrical reflection. The narrative sections motivate the main action of the drama, often relating past events and causes. The lyrical reflection is distinguished from the narrative parts by its overt moralizing that lift the dramatic action from the particular to the universal. Within these sections of the ode, are clusters of moral generalizations or gnomes, dealing with a variety of topics but always of a distinctively moral nature. These gnomes far from being unrelated, in fact, give logic to the dramatic events, explaining the reason for a particular event and presenting that event in universal terms, in terms, let us say, of the justice of Zeus or the working of Fate. In fact, the gnomes move along two directions of the drama. They reflect upon and anticipate its events. The conflicts in, and resolutions to the drama are often worked out at the lyrical level. It is the purpose of this thesis, then, to study the gnomes of the Oresteia and their surrounding gnomic passages, to examine their meaning within their immediate context, and to see how and to what extent the gnomes relate to the dramatic actions.<br>Arts, Faculty of<br>Classical, Near Eastern and Religious Studies, Department of<br>Graduate

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Painter, Megan G. "The dramatic monologue aesthetic and the reader experience /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901268.

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Ziskin, Gregory. "The main principles of Chekhov's dramatic technique /." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61256.

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The purpose of the present study is to analyze the structural techniques and genre of Chekhov's plays.<br>The many books and articles published on Chekhov's plays far exceeds his own works. Although there have been numerous studies analyzing the structural techniques of his play, considerable controversy still exists among literary and theatre scholars regarding the genre of his plays. Most of the studies simply avoid this complex and intricate problem.<br>In this study particular emphasis is also placed on the dramatic techniques used by Chekhov: the sequence of events, the nature of the roles and the so-called "unfinished" endings.

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Morris, J. "Doubtful designs : A study of the works of Tom Stoppard." Thesis, University of Exeter, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380690.

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Orand, Amber Werley Darden Bob. "A quantitative analysis of theater criticism in four American newspapers." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5169.

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Weiss, Katherine. "“Response 2” of Carol Fischer’s “Dramatic Time: Phenomena and Dilemmas”." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/2287.

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Books on the topic "Dramatic criticism Dramatic criticism"

1

Dramatic criticism: A history. McFarland, 1985.

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Austin, Gayle. Feminist theories for dramatic criticism. University of Michigan Press, 1990.

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Wardle, Irving. Theatre criticism. Routledge, 1992.

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Cannan, Paul D. The Emergence of Dramatic Criticism in England. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-03717-6.

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Cardullo, Bert. Dramatic considerations: Essays in criticism, 1977-1987. P. Lang, 1991.

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Dramatic monologue. Routledge, 2003.

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Shakespeare's dramatic structures. Routledge, 1988.

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Brennan, Anthony. Shakespeare's dramatic structures. Routledge & Kegan Paul, 1986.

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Christopher Hampton: Dramatic ironist. Amber Lane Press, 1996.

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Margaret, Bullough, ed. Milton's dramatic poems. Athlone, 1985.

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Book chapters on the topic "Dramatic criticism Dramatic criticism"

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Cannan, Paul D. "Restoration Dramatic Theory and Criticism." In A Companion to Restoration Drama. Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118663400.ch2.

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Cannan, Paul D. "The “Laughing Critick”: Thomas Rymer and Burlesque Criticism." In The Emergence of Dramatic Criticism in England. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-03717-6_3.

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Cannan, Paul D. "Introduction: On Writing the History of Early English Criticism." In The Emergence of Dramatic Criticism in England. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-03717-6_1.

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Cannan, Paul D. "The Author as Critic: Prefatory Criticism from Jonson to Dryden." In The Emergence of Dramatic Criticism in England. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-03717-6_2.

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Cannan, Paul D. "The Parson Turn’d Critick: Jeremy Collier and his Antagonists." In The Emergence of Dramatic Criticism in England. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-03717-6_4.

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Cannan, Paul D. "“Criticks by Profession”: John Dennis and Charles Gildon." In The Emergence of Dramatic Criticism in England. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-03717-6_5.

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Cannan, Paul D. "The Journalistic Critic from the Gentleman’s Journal to the Spectator." In The Emergence of Dramatic Criticism in England. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-03717-6_6.

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Cannan, Paul D. "Epilogue: Pope and the Discipline of Criticism in the Early Eighteenth Century." In The Emergence of Dramatic Criticism in England. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-03717-6_7.

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"Dramatic Character." In Criticism, Performance, and the Passions in the Eighteenth Century. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108890847.006.

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"Dramatic Transition." In Criticism, Performance, and the Passions in the Eighteenth Century. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108890847.002.

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Conference papers on the topic "Dramatic criticism Dramatic criticism"

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Zlotnikova, Tatyana. "Power in Russia: Modus Vivendi and Artis Imago." In Russian Man and Power in the Context of Dramatic Changes in Today’s World, the 21st Russian scientific-practical conference (with international participation) (Yekaterinburg, April 12–13, 2019). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-rmp-2019-pc02.

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Contemporary Russian socio-cultural, cultural and philosophical, socio psychological, artistic and aesthetic practices actualize the Russian tradition of rejection, criticism, undisguised hatred and fear of power. Today, however, power has ceased to be a subject of one-dimensional denial or condemnation, becoming the subject of an interdisciplinary scientific discourse that integrates cultural studies, philosophy, social psychology, semiotics, art criticism and history (history of culture). The article provides theoretical substantiation and empirical support for the two facets of notions of power. The first facet is the unique, not only political, but also mental determinant of the problem of power in Russia, a kind of reflection of modus vivendi. The second facet is the artistic and image-based determinant of problem of power in Russia designated as artis imago. Theoretical grounds for solving these problems are found in F. Nietzsche’s perceptions of the binary “potentate-mass” opposition, G. Le Bon’s of the “leader”, K.-G. Jung’s of mechanisms of human motivation for power. The paper dwells on the “semiosis of power” in the focus of thoughts by A. F. Losev, P. A. Sorokin, R. Barthes. Based on S. Freud’s views of the unconscious and G. V. Plekhanov’s and J. Maritain’s views of the totalitarian power, we substantiate the concept of “the imperial unconscious”. The paper focuses on the importance of the freedom motif in art (D. Diderot and V. G. Belinsky as theorists, S. Y. Yursky as an art practitioner). Power as a subject of influence and object of analysis by Russian creators is studied on the material of perceptions and creative experience of A. S. Pushkin (in the context of works devoted to Russian “impostors” by numerous authors). Special attention is paid to the early twenty-first century television series on Soviet rulers (Stalin, Khrushchev, Brezhnev, Furtseva). The conclusion is made on the relevance of Pushkin’s remark about “living power” “hated by the rabble” for contemporary Russia.

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Boarin, Sara, Giorgio Locatelli, Mauro Mancini, and Marco E. Ricotti. "Italy Re-Opening the Nuclear Option: Are SMR a Suitable Choice? An Application of the INCAS Model." In ASME 2011 Small Modular Reactors Symposium. ASMEDC, 2011. http://dx.doi.org/10.1115/smr2011-6596.

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The Italian strategic plan for the energy policy targets 25% of the national generation mix covered by nuclear technology by 2030. Considering a demand for electric power of 340 TWh in 2010 and assuming an annual rate of increase between 2,5% and 1,0%, the national plan would require to build some 8–10 large nuclear power plants, at least. The new generation capacity may be covered by EPR or AP1000 technology or, alternatively, by multiple SMR (i.e. 300–150 MWe), or even a mix of LR and SMR. The original intent, prior to the stop imposed by the dramatic earthquake and tsunami in Japan, was to have the first plant deployed by 2020. Today the Italian strategy to re-open the nuclear option is undergoing hard criticism and its fate is currently uncertain. In this context, this paper might contribute to the debate, by exploring the economics of the nuclear option with a focus on the opportunity to invest in large NPP category rather than in multiple, modular SMR. The latter have features that may compensate the dis-economy of scale and improve their cost-effectiveness, while granting investors with a lower up-front investment and a higher capability of project self-financing. The analysis is run through the Polimi’s proprietary “INtegrated model for the Competitiveness Analysis of Small modular reactors” (INCAS).Even if some specific inputs are related to the Italian scenario (e.g. the Electricity price) the results can be generalized to countries or utilities that are planning to install more than 10 GWe of nuclear capacity.

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