Academic literature on the topic 'Dramatic genre in 16c'
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Journal articles on the topic "Dramatic genre in 16c"
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Perelshtein, Roman. "Eldar Ryazanov’s Film Watch Out For the Automobile Through the Prism of Joseph Campbell’s “Hero-Adventure”." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (2019): 169–81. http://dx.doi.org/10.36340/2071-6818-2019-15-3-169-181.
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We propose a universal methodology for analyzing scripted films based on the “hero’s journey” structure defined by Joseph Campbell. This methodology helps in identifying new meanings in a dramatic work, regardless of the genre of the film. Eldar Ryazanov’s tragicomedy Watch Out For the Automobile (also known as Uncommon Thief in the United States) is a classic example of Campbell’s monomyph. According to Campbell, the hero’s journey consists of three acts: “departure,” “initiation,” and “return.” Each act consists of six stages, if we amend the “departure” act to include the “ordinary world” stage, described by Christopher Vogler in The Writer’s Journey: Mythic Structure For Writers. There exists a correspondence between the stages of the hero’s journey and the compositional structure of drama, which has been pointed out by a number of researchers (mainly American authors like Syd Field, Linda Seger, Christopher Vogler, etc.) We, however, will attempt to prove that comedy films can also be analyzed from the standpoint of Campbell’s “hero-adventure”. Eldar Ryazanov’s film Watch Out For the Automobile (1966) is centered around the character of Yuri Detochkin. The climax of every episode of the film is focused on Detochkin, just as the climax of every stage of the hero’s journey is associated with the hero of the myth. However, this is not the primary similarity. The character of Detochkin, portrayed by Innokenty Smoktunovsky, having passed through a series of trials, acquires integrity and becomes transformed. As in a monomyth, we are dealing with the character arc of a hero who has completed his journey, and has thus fulfilled his mission. In the spirit of “hero-adventure”, Campbell’s allegories help interpret a variety of dramatic situations. This is because, in essence, all of these situations are archetypes. It is very important, however, to define their placement in the structure of the story. Most often this happens spontaneously, by way of the artist’s intuition, but the structure proposed by Campbell helps approach the creative process more deliberately. The goal of this research was to demonstrate the congeniality of the two methods: the intuitive method used by the authors of the film Watch Out For the Automobile, and the rational method used by the author of the book The Hero with a Thousand Faces based on a vast collection of legends and myths. Our hypothesis was entirely confirmed: Eldar Ryazanov and Emil Braginsky were using the same artistic logic for guidance as their predecessor Joseph Campbell.
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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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Namazova, F. "CHARACTERISTICS OF DRAMA GENRE AND DRAMA LANGUAGE." BULLETIN Series of Philological Sciences 75, no. 1 (2021): 77–82. http://dx.doi.org/10.51889/2021-1.1728-7804.13.
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Addressing the specific problems of dramatic creativity, we must first determine the basic meaning of the term "drama". As we know, the word "drama" has different meanings. We also call a certain range of real events, for example, the drama of life, one of the genres of the dramatic type of literature (the noble drama of the eighteenth century) and the dramatic theater, which is the leading type of performing arts. Dramatic works are fundamentally different from other genres. As early as the 19th century, the great thinker MFAkhundov distinguished the genre of drama he brought to our literature from other genres in terms of language and style. Both in his article "Fihristi-kitab" and in his "critique" of Mirza Malkum khan's plays, he clearly showed the "conditions of dramatic art".
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deBoer, Fredrik E. "Balinese Sendratari, a Modern Dramatic Dance Genre." Asian Theatre Journal 6, no. 2 (1989): 179. http://dx.doi.org/10.2307/1124459.
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Kostryukova, Elena A. "Genre Specification of Literary-Dramatic Audio Content." Vestnik NSU. Series: History and Philology 19, no. 6 (2020): 141–58. http://dx.doi.org/10.25205/1818-7919-2020-19-6-141-158.
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This article sets out to systemize and modernize the study of theoretical knowledge in regards to the analysis of Russian literary and drama shows. The author is examining the conceptual basis picked out of a segment of broadcasting. The conceptual basis is formed from a number of proposed theories dating from the origin of radio broadcasting to contemporary time, while taking in consideration the reality of a modern media market. The foundation of the study is an analysis of 49 literary and drama cycles broadcasted on “Detskoe radio” (“Children’s radio”), as it relates to their genre orientation. This radio station is the only broadcaster in Russia that’s sole content is literary and drama shows. Despite the regularity of such shows not only on the air, but also on the Internet, questions regarding the genre stratification remain open. The author concludes that most prominent researches in the field only rarely touch on concepts that have become in wide use during the development of literary and drama broadcasting, such as “radio drama”. The author thus, sets out to show a more finite and explicit, genre system of literary theatrical shows, at least as it relates to previous attempts.
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Chaemsaithong, Krisda. "Dramatic monologues." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 24, no. 4 (2014): 757–83. http://dx.doi.org/10.1075/prag.24.4.04cha.
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This investigation examines different speaking roles that lawyers may shift into, and depart from, in the monologic genre of the opening statement in three American trials, incorporating Goffman’s concept of Footing (1981) into an analysis of three high-profile trials. The findings reveal that lawyers take on three distinct discursive roles: The storyteller, the interlocutor, and the animator. In addition, indexical resources commonly associated with each role are explored which serve to contextualize such role shifts. In effect, the lawyers can subtly make the discourse argumentative and suggestive of inferences. Such discursive practices appear to stand in direct contradiction to the purpose of the opening statement.
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Abou-Bakr, Randa. "Robert Browning's "Dramatic Lyrics": Contribution to a Genre." Alif: Journal of Comparative Poetics, no. 21 (2001): 113. http://dx.doi.org/10.2307/1350025.
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Goatley, Cynthia. "Dramatic structure and genre: The discomfort‐relief quotient." Central States Speech Journal 36, no. 4 (1985): 246–55. http://dx.doi.org/10.1080/10510978509363222.
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Street, Anna. "Dramatic Measures: Comedy as Philosophical Paradigm." Anglia 136, no. 1 (2018): 75–99. http://dx.doi.org/10.1515/ang-2018-0010.
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AbstractTragedy’s overwhelming presence, presaged by the conspicuous absence of Aristotle’s treatise on comedy, has dominated the debate between philosophy and poetry ever since Plato, making tragedy the dominant paradigm for philosophical and performance practices. Over the last century, the gradual blurring of genre distinctions has led to George Steiner’s declaration of the ‘death of tragedy’ and to J. L. Styan’s recognition of the emergence of ‘dark comedy’, giving rise to a growing body of research on comedy. Nevertheless, despite the unprecedented attention, the prejudices against comedy run wide and deep, from philosophical neglect to high-brow conceptions of art all the way to underlying economies of power and social regulation. In consequence, comedy has been side-stepped as an inferior genre or mode, or rehabilitated as a truer or newer form of the tragic. The present study attempts to frame this prejudice as the result of theories of aesthetics and ethics which systematically exclude the comic vision, claiming that it is possible to trace a distinct corollary between the development of theories of genre and the development of philosophical aesthetic categories. The emphasis on the beautiful and the sublime, and its corresponding brand of ethics, can be linked to the flourishing of theories of tragedy, while the systematized rejection of the ugly, the ridiculous, and the ethically ambiguous can be shown to correspond to the floundering of theories of comedy, which remained largely neglected for over two thousand years. Much more than mere literary genres, the terms comedy and tragedy, when applied to the history of Western civilization, reveal the extent of our penchant for the speculative to the detriment of the actual.
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Pistotnik, Vesna. "Towards a Redefinition of Dramatic Genre and Stage History." Modern Drama 28, no. 4 (1985): 677–87. http://dx.doi.org/10.3138/md.28.4.677.
Full textDissertations / Theses on the topic "Dramatic genre in 16c"
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Handley, D. R. "The Pastor Fido, 'tragicomedia pastorale' : The evolution of a new dramatic form." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384478.
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Graham, R. H. S. "The sequels of Celestina 1534-1554 : A reconsideration of form, means and effect in relation to questions of imitiation and genre." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384703.
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Baek, Koun. "Oral représenté et pragmaticalisation : étude des marqueurs d’oralité dans les textes dramatiques français (XIIIe-XVIIe siècle)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA067.
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Cette thèse a pour but d’examiner des marqueurs d’oralité dans les textes dramatiques français entre le XIIIe et le XVIIe siècle et de décrire, du point de vue diachronique, leurs parcours d’évolution en termes de « pragmaticalisation ». Comme objet d’étude, nous avons choisi, d’une part, au niveau lexical les interjections primaires et les marqueurs discursifs étant résultant de la pragmaticalisation, et d’autre part, au niveau syntaxique la répétition et la dislocation qui sont considérées comme des constructions « disfluentes », caractéristiques de l’oral. Quant aux marqueurs discursifs (l’un « par ma foi » formé sur le substantif foi, et l’autre décatégorisé à partir de deux adverbes « sus » et « çà »), nous nous concentrons sur leurs pragmaticalisations par des analyses syntaxiques et sémantiques, et pour ce qui est des interjections primaires, nous essayerons de révéler le mode de formation d’une nouvelle expression interjective que nous appellerons « productivité interjective ». En dernier lieu, les deux structures susdites nous permettront de rendre compte de leurs valeurs pragmatiques. Étant donné que les textes dramatiques font une large place à la représentation de l’oral à l’écrit, ce que nous appellons l’« oral représenté », nous tenterons de montrer comment ces marques de l’oral traduisent, à l’écrit, les émotions, les pensées, les attitudes, etc., du locuteur et comment elles acquièrent de nouvelles valeurs pragmatiques dans l’usage qui imite l’usage réel du moyen français<br>This thesis deals with the different markers of orality in the french dramatic texts and, particulary, with their process of evolution in the aspect of the “pragmaticalizations”. First, we focus on the use of the discourse marker which is derived from the propositional syntagme “par ma foi” but also from two adverbes “sus” and “çà”. It focuses on two main points: the process of the pragmaticalization of theses discourse markers and their relations with the orality through analysis of syntactic and semantic properties. Secondly, we examine also the medieval primary interjections and the production of its new combinations. Lastly, in the case of syntactic analysis, we treat two structures which mark the disfluency of sentences ie. dislocation and repetition. In this Thesis, we will reveal how these lexical units and syntactic constructions are used in the medieval play to transfer the locutor’s emotion and thought and how these oral markers receive new pragmatic values in their usages in Middle French
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Fretz, Claude. "Remaking genre : dreams and sleep in Shakespeare's comedies and tragedies (c.1591-1606)." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6489/.
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My thesis investigates the functions of dreams and sleep within Shakespeare’s wider design of comedy and tragedy. Methodologically, it combines its focus on genre with a strong historicist component in order to reconstruct the early modern understanding of dreams and sleep that influenced Shakespeare’s approach to this material. Comparing Shakespeare’s representations of dreams and sleep with those in classical culture, from which dramatic genre, dream theory, sleep theory, and the deployment of dreams within comic and tragic structures originally derive, I argue that Shakespeare uses devices of dreams and sleep to support his deviation from those classical conventions of comedy and tragedy that he found incompatible with his aspiration towards a fuller, darker, and more complex representation of human nature, behaviour, and character. To that effect, I discuss how dreams and sleep in Shakespeare’s comedies introduce tensions that are neither resolved nor absorbed by the respective endings; and I show how dreams and sleep in the tragedies and tragic histories help emphasise human agency and responsibility at the expense of the ideas of fortune and supernatural determinism found in classical tragedy.
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Anderson, Kathryn Elizabeth. "“These Were the Things That Bounded Me”: A New Examination of Millay’s Dramatic Works." Case Western Reserve University School of Graduate Studies / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=case1207239609.
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Garnier, Sylvain. "Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040148.
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L'expression poétique semble inhérente au théâtre classique. Pourtant, les pièces de la seconde moitié du XVIIe siècle, en particulier les tragédies, sont le fruit de principes « réguliers » qui ont cherché à dépoétiser le théâtre et ont largement réussi dans cette entreprise. Pour rendre compte de ce processus, il est nécessaire de retracer l'histoire de la poésie au théâtre depuis la naissance de la tragédie humaniste, au milieu du XVIe siècle, jusqu'à l'instauration de ce que la postérité appellera le classicisme. Il apparaît ainsi que l'élocution lyrique s'est progressivement déplacée au fil du temps du genre tragique vers le genre comique en suivant l'évolution de la poésie lyrique depuis le style sublime de la Pléiade jusqu'à l'expression burlesque de Scarron en passant par la simplicité malherbienne, l'ingéniosité mariniste ou l'enjouement galant. L'expression lyrique glisse ainsi progressivement des chœurs et des discours pathétiques de la tragédie humaniste vers les soupirs, les chansons et les pointes des amants de la tragi-comédie et de la pastorale avant d'être parodiée dans la parlure ridicule des personnages de la comédie burlesque. Parallèlement à ce mouvement, les penseurs réguliers théorisent l'opposition fondamentale du langage poétique et du langage dramatique, rendant ainsi presque impossible le développement d'une tragédie régulière poétique<br>Poetical expression seems to be an inherent aspect of classical theatre. However, plays written in the second half of the seventeenth century, particularly the tragedies, were conceived to adhere to regular standards of form which tended towards the removal of poetic expression from theatre and which largely succeeded in doing so. To summarise this process, it is necessary to recount the history of poetic expression in plays from the advent of humanist tragedy in the mid-sixteenth century to the establishment of what would be later called « classicism ». It can then be demonstrated that lyrical elocution shifted over time from tragedy to comedy, following the same evolution as lyrical poetry which evolved from the noble style of the Pleiade all the way to Scarron’s burlesque expression, through the simplicity of Malherbe’s expression, the ingenuity of marinism, or the preciosity of the gallant style. Poetical expression thus progressively shifted from the choirs and pathetic discourses of the humanist tragedy, towards the sighs, songs, and conceits of the lovers of tragi-comedy and pastorales, before being parodied in the ridiculous manner of speech of the characters in burlesque comedy. Simultaneously, theorists of regularity theorised the fundamental opposition between poetic and dramatic language, thus making the development of a regular poetical tragedy nearly impossible
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Beer, Cécile. "La rivalité amoureuse entre père et fils sur la scène française du XVIIe siècle : un schème transgénérique (1631-1685)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040086.
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Cette thèse interroge la transgénéricité inédite du schème de la rivalité amoureuse père-fils sur la scène française du XVIIe siècle. La réflexion se fonde sur un corpus représentatif des trois grands genres dramatiques de l’époque – comédie, tragi-comédie et tragédie – et riche d’une quarantaine de pièces. L’objectif de ce travail est de montrer que cette structure dramatique est doublement subversive dans le contexte du Grand Siècle. Sur le plan esthétique, ce conflit envahit tout l’espace scénique alors même que les discours des doctes de l’époque visent à hiérarchiser et à séparer les genres entre eux. La thèse interroge ainsi les stratégies développées par les dramaturges pour adapter ce schème aux contraintes esthétiques propres à chacun des genres. Sur le plan idéologique, ce type de crise met en rivalité les deux représentants mâles de la lignée. Or, dans le cadre particulier de ce Grand Siècle que les historiens qualifient d’ « âge d’or des pères », cela conduit à questionner le fonctionnement sociopolitique et religieux de l’Ancien Régime. S’agit-il en faisant triompher le fils-rival de remettre en cause l’autorité du patriarche au sein de la famille et, partant, du roi au sein de l’État ? Ou bien, à l’inverse, est-il question en favorisant la victoire du père-rival, de réaffirmer le bien-fondé du système établi ? La rivalité père-fils, sous ses apparences galantes serait-elle porteuse d’un discours plus grave, et révélatrice d’une évolution de la société ? Comment la galanterie en transcendant la question générique, questionne-t-elle le politique ? C'est autour de ces deux grands axes de questionnement – esthétique et idéologique – que s'organise la réflexion<br>This thesis questions the scheme of the amorous rivalry between father and son which was used for the first time in all genres in seventeenth century French theatre. The research is based on a representative corpus of three dramatic genres of the period – comedy, tragi-comedy and tragedy – and includes about forty plays. The objective of this study is to demonstrate that this dramatic structure is doubly subversive in the period of the seventeenth century. On the aesthetic level, this conflict overcomes the stage even though the theoretic discourses of the period aimed to separate and classify dramatic genres according to a hierarchical system. The thesis studies the strategies developed by dramatists to adapt this dramatic scheme to aesthetic rules specific to each dramatic genre. On the ideological level, this type of conflict brings out the rivalry between the two representative males of the lineage. In the particular context of the seventeenth century, defined by historians as “l’âge d’or des pères”, this leads to reconsideration of the sociopolitical and religious functioning of the so-called “Ancien Regime”. Through the triumph of the rival son, is the authority of the patriarch challenged, and consequently, the one of the king in the state? Or, on the contrary, does the highlighting of the victory of the rival father reassert the legitimacy of the well-founded system? Would the rivalry between father and son, under its gallant appearances, bring a more serious speech and reveal an evolution in society? How does the gallantry, by transcending the limits of the dramatic genres, question politics? This study is based on these two aesthetic and ideological questions
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Bingle, Johannes Petrus. "Die dramatiese, epiese en liriese stramien van die liturgiese lied / Johannes Petrus Bingle." Thesis, North-West University, 2011. http://hdl.handle.net/10394/7324.
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In this study it is assumed from a central theoretical argument that the Bible based, scripturally true liturgical song, possesses an exceptional bonding structure. The set literary archetypes of the dramatic, epic and lyric - or the dramatical, epical and lyrical - are woven together to form the canvas for the hymnical praise of the worshipping community. The aim of the study is to dissect the relationship in which the archetypes stand to one another and to establish which trans–generical phenomena and movements can be detected in order to determine what their meaning is for liturgical songwriting. This is done on the basis of an analysis of the Book of Revelation, specifically pertaining to the hymnographical corpus in the book. To do this the most obvious meta–theory of this study is the literary theory, while the basis, principles and guidelines of the hymnographical basistheory are determined by theological biblical science. In the first main chapter (meta–theory) of the study the questions of what literature is and whether the Bible is literature, are explored and answered. The conclusion to this is that the Bible is true literature and that this religious script plays a central, unique and prominent role in the progression of the christian–western cultural world. In the process of determining the different approaches to the study of literature, note was taken of the various theoretical assumptions and theories and of the influence that each has and can have on theological biblical scientifical research. In the second main part (inter–disciplinary theoretical aspects) the investigation proceeds from the study of meta–theoretical literary terrain identification to the determining of the connection, link, sym–biosis and synergy between the literary meta–theory and the theological basistheory of this study. Shared and partly overlapping study terrains of the literary sciences and the bibilical sciences are explored. This leads to the demarcation of both an inter–disciplinary and multisubdisciplinary field of study, for which an approach and a method to further explore had to be developed. In the third main part (basistheory) the perspectives gained in the first two parts are unlocked to the advantage of the biblical scientifical study of Revelation. The last book of the Bible is analysed macro–structurally by means of a narratological reading and accompanied by a cursory–exegetic explanation, after which the meaning of the corpus of hymnical microtexts in their context within the macro–structure are further unlocked by means of detailed exegesis. In this way basis–theoretical hymnographical priniciples in Revelation can be identified. These are integrated in the fourth and last main part and are then concretised, using a song as example, in guidelines for hymnography. In this final main part (the outcome of the study) the investigation reaches its set aims as well as the overall goal in that it could be verified that the canvas of the liturgical song should be integrated successfully not only wordperfect, but also Wordperfect in all its facets through literary quality and biblical–principled motivation. This should allow the flame (= liturgical song) of the sacrifice of thanksgiving (= worship) to burn brightly in a time of diverse positions on church song.<br>Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2012.
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Ngo, Bilong Ate Elise. "Etude de l'action dans la dramaturgie de Montherlant." Thesis, Paris Est, 2010. http://www.theses.fr/2010PEST0019/document.
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Henry de Montherlant a développé tout au long de sa vie une œuvre théâtrale importante et variée. La problématique de l'action fournit une piste pour pénétrer dans son univers dramaturgique. Selon les critiques contemporains, les pièces de Montherlant manquent d'action. Le dramaturge a renoncé aux coups de théâtre et rebondissements extérieurs pour créer une action dont la seule machinerie consiste à décrire les mouvements intérieurs de l'âme humaine. Cet idéal est inspiré d'une conception classique du théâtre où la simplicité de l'action conduit à l'analyse psychologique. Le but de ce travail est d'identifier l'action et d'analyser son fonctionnement. La première partie, s'appuyant sur la théorisation antique de la dramaturgie, aborde l'action comme intrigue. La partie suivante montre comment l'action extérieure, superposée au mouvement, est supplantée par la parole : l'action est alors considérée comme acte. Cette partie complète l'étude de l'action avec trois approches : l'approche pragmatique et l'approche communicationnelle d'une part, qui permettent d'analyser le phénomène de la parole comme acte, et l'analyse actantielle d'autre part qui appréhende la psychologie du personnage que la dramaturgie classique et néo-classique appelle le caractère, et montre comment l'auteur construit l'intrigue. La dernière partie est consacrée au temps et à l 'espace comme éléments constitutifs de l'action dramatique<br>According to Montherlant, the dramatic turn of events and the external twists are a disturbance to the simplicity of the action which lone guiding force may aim at the exploration of the movements of the human soul. The main critics which are made to these plays are that they lack substance and dramatic intensity. This work which objective is to identify and analyse the action in Montherlant's dramatic art, originates from the antic theory of the dramatic art, in order to tackle the action as the plot. The next part shows how the external action stacked to the movement, is supplanted by the speech. This part completes the study of the action by three approacheas: the pragmatic approach and the communicative approach in the one hand, and the actancial analysis in the other hand. The last part deals with time and space as constituent of the dramatic action
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Zanesco, Liane Mroginiski. "Tramas, teias e jogos dramáticos em Edward Albee, Patrick Marber e Mike Nichols." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/27945.
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O presente trabalho explora a questão da interdisciplinaridade e da transposição de obras literárias para o cinema. Focalizando a adaptação de textos dramáticos ao cinema, o estudo propõe em um primeiro momento uma investigação teórica sobre gênero ficcional mimético; drama, a partir da perspectiva do jogo dramático como elemento construtor do metadrama implícito e explícito; transtextualidade e cinema. Num segundo momento, a investigação analisa dois textos dramáticos, Who’s afraid of Virginia Woolf? , de Edward Albee, e Closer , de Patrick Marber, e suas respectivas transposições para o cinema pelo diretor Mike Nichols, examinando os elementos e recursos que os autores utilizam para construir o jogo dramático. Posteriormente, realizase uma análise comparativa entre os textos dramáticos e entre suas adaptações cinematográficas, buscando pontos de contato e de afastamento entre as obras, priorizando elementos denotadores do jogo dramático, além de características transtextuais que possibilitam a manutenção ou a alteração de significados entre os textos dramáticos e seus respectivos filmes.<br>This paper explores interdisciplinary aspects related to the transposition of dramatic texts into films. First, a theoretical investigation is conducted on mimetic genre, transtextuality; on drama, from the point of view of the game as a dramatic element to build implicit and explicit metadrama, and film adaptation. Secondly, this dissertation analyzes two plays, Who's afraid of Virginia Woolf? , by Edward Albee, and Closer , by Patrick Marber, as well as their film adaptations by director Mike Nichols, and examines the elements and features that the authors use to create the dramatic games. Later, the plays and their film adaptations are contrasted in order to investigate elements of dramatic games, and transtextual characteristics that allow the maintenance or the alteration of meaning between the plays and their correspondent films.
Books on the topic "Dramatic genre in 16c"
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Hospitable performances: Dramatic genre and cultural practices in early modern England. Purdue University Press, 1992.
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Dramatic difference: Gender, class, and genre in the early modern closet drama. University of Delaware Press, 2001.
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Spencer, Jenny S. Dramatic strategies in the plays of Edward Bond. Cambridge University Press, 1992.
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1504-1573, Giraldi Giambattista Cinzio, ed. G.B. Giraldi's Altile: The birth of a new dramatic genre in Renaissance Ferrara. E. Mellen Press, 1992.
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A concept of dramatic genre and the comedy of a new type: Chess, literature, and film. Southern Illinois University Press, 2002.
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Identity and ideology: Diderot, Sade, and the serious genre. J. Benjamins Pub. Co., 1991.
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1945-, Ryngaert Jean-Pierre, ed. Introduction aux grandes théories du théâtre. Dunod, 1998.
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Roubine, Jean Jacques. Introduction aux grandes théories du théâtre. Bordas, 1990.
Find full textBook chapters on the topic "Dramatic genre in 16c"
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Adler, Thomas P., and Nicolas Tredell. "Dramatic Form, Style, and Genre." In Tennessee Williams. Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29283-4_6.
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Aylward, Michael. "Early Recordings of Jewish Music in Poland." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0004.
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This chapter examines a discography of commercial recordings of Jewish music made in Europe on cylinders and shellac records. The range of musical genres covered by the discography is wide, but may be broadly defined as applying to traditional Jewish music. For example, it excludes works by Jewish composers working in the European classical tradition; art music, even if specifically Jewish in tone and content; and non-Jewish music performed by Jewish artists. It does, however, extend to non-musical recordings such as comic monologues and dramatic recitals. In addition, there are separate appendices dealing with categories such as ‘Jewish’ music performed by non-Jewish artists and Jewish parodies performed by non-Jewish artists, the latter a fairly common genre among pre-revolutionary Russian recordings, but rare in Polish ones of the same era. The chapter then looks at those aspects of the discography that apply especially to Poland.
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Kelly, Gillian. "The dramatic performer." In Tyrone Power. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474452946.003.0002.
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The first genre chapter concerns Power’s many roles in dramatic films. His first and final films were both dramas, as was his star making role Lloyds of London (Henry King, 1936), and it is with an analysis of this film that the chapter begins. Applying a chronological approach to Power’s roles in dramatic productions, the chapter explores each of his films within this genre in turn, some in more detail than others, in order to suggest what changed and what remained the same about his performance style, image and physical appearance across his career from becoming a star in 1936 to his last completed film before his untimely death, the court-room drama Witness for the Prosecution (Billy Wilder, 1957). Other films which receive more attention are his first anti-hero role in Johnny Apollo (Henry Hathaway, 1940) and one of his darkest and best-known films, Nightmare Alley (Edmund Goulding, 1947), made after his return to Hollywood after three years of active duty during World War II.
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Brooks, Harold. "Troilus and Cressida: its dramatic unity and genre." In “Fanned and Winnowed Opinions”. Routledge, 2021. http://dx.doi.org/10.4324/9781003134787-1.
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"Dramatic Genre and the Court of Henry VIII." In Henry VIII and the Court. Routledge, 2016. http://dx.doi.org/10.4324/9781315253374-30.
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"Undress, Cross-dress, Redress: Aphra Behn and the Manipulation of Genre." In Women and Dramatic Production 1550 - 1700. Routledge, 2014. http://dx.doi.org/10.4324/9781315840253-13.
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Norðfjörð, Björn Ægir. "Crime Up North: The Case of Norway, Finland and Iceland." In Nordic Genre Film. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.003.0005.
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In this chapter I hope to account for the international (literary and filmic) origin of recent Norwegian, Finnish and Icelandic crime films and television series as well as their particular local specificity. I will thus not only be assessing them in relation to their Swedish and Danish counterparts, but also to what I will be simply referring to as the international crime film. It is a norm mostly associated with Hollywood (albeit not limited to it) that is, as regards style, form and narrative structure, for the most part devoid of regional or national specificities. My use of the word ‘generic’ is intended to emphasise this dual nature by referring both to the essentials of a particular genre (crime) and a broad universality. Of particular concern is whether one can pinpoint any particular trajectory in the development of contemporary Norwegian, Finnish and Icelandic crime films made with international aspirations during this dramatic rise of Nordic noir – that still shows no sign of abating.
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Helford, Elyce Rae. "Tone, Genre, and the Actor’s Director." In What Price Hollywood? University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813179292.003.0004.
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Tone and genre significantly affect gender presentation within the course of a highly productive decade in Cukor’s career. The Women (1939), Susan and God (1940), and Edward, My Son (1949) are all films based on plays originally written as satire or parody. They become more complicated productions when adapted for film by “actor’s director” Cukor. By emphasizing earnest and dramatic portrayals of heavily gender-normative portrayals, the director shifts both the tone and the impact of the satirical films. In The Women, the serious, sympathetic central character detracts from the social critique of wealthy, catty wives. Susan and God shifts from romantic comedy to melodrama and holds the wife character to account for the confines of conventional marriage, excising potential social critique. Finally, Edward, My Son, one of Cukor’s major and more interesting failures, yields its satirical bite to the questionable casting and directing of its hypermasculine lead.
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"Genre, politics and place: the social body in the dramatic career of John Tatham." In Drama and Politics in the English Civil War. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9780511518980.011.
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Poole, Benjamin. "Critical Reception." In SAW. Liverpool University Press, 2011. http://dx.doi.org/10.3828/liverpool/9781906733568.003.0010.
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This chapter explores the critical reception of SAW (2004). Critical acclaim for the SAW films is rare. The New York Times regarded the series as 'distasteful', while the LA Times went as far as to say the films were 'vile filth'. Although there are notable critics who support the horror genre, horror is usually dealt short shrift by critical institutions. Certainly, reviews of horror films within the mainstream press would seem inclined to evaluate the film's morality, rather than any artistic or dramatic achievement. An interesting aspect of horror reception, however, is that the genre would seem to be critic proof. Horror audiences are mistrusting of, and even actively contradict, mainstream disparagement of their beloved genre. Despite initial maulings from mainstream reviewers, SAW went on to considerable success.
Conference papers on the topic "Dramatic genre in 16c"
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TRUKHACHEV, Vladimir, Sergey OLEYNIK, Nikolay ZLYDNEV, and Vitaliy MOROZOV. "SCREENING OF COMPLEX VERTEBRAL MALFORMATION (CVM) AND BOVINE LEUKOCYTE ADHESION DEFICIENCY (BLAD) IN THE AYRSHIRE CATTLE BREED IN THE NORTH CAUCASUS." In RURAL DEVELOPMENT. Aleksandras Stulginskis University, 2018. http://dx.doi.org/10.15544/rd.2017.142.
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The Ayrshire dairy breed is renowned for producing large quantities of high quality milk and, therefore, is frequently used for crossbreeding. However, various hereditary anomalies caused by gene mutations have been recently recorded in calves produced by some Ayrshire sires. Most of these anomalies were shown to have a recessive inheritance pattern, thus imposing a threat of unpredictable dramatic changes in cattle genotypes under such factors as genetic drift, selection and inbreeding. The purpose of this study was to examine the susceptibility of the Ayrshire cattle bred in the North Caucasus to such hereditary abnormalities as complex vertebral malformation (CVM) and bovine leukocyte adhesion deficiency (BLAD). The investigation was carried out on 16 cows with various phenotype and reproduction disorders that were selected based on a three-year veterinary observation of 440 livestock animals. The target group cows were generally the descendants of Hannulan Yaskiyri, Riihiviidan Urho Errant and O.R. Lihting. The results demonstrated that no animals under study were the carriers of these genetic disorders, which proved the mutant alleles of BLAD and CVM to be absent from the Ayrshire cattle livestock bred in the North Caucasus. Therefore, the sires of these cattle can be successfully used for breeding.