Relevant bibliographies by topics / Dramatists in fiction

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Dramatists in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Dramatists in fiction"

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Dr.Tahseen Bibi, Raj Muhammad. "Role of Younas Qayasi in Evolution of Drama on Peshawar Television." DARYAFT 14, no. 2 (December 30, 2022): 105–14. http://dx.doi.org/10.52015/daryaft.v14i2.279.

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Drama is a literary genre of fiction .It has dated back as the human history itself. It passed through various cultural boundaries. In Hindustan, various dramatists exhibited their skills and potential in it. When partition of Pakistan took place, the dramatists of KPK, especially showed great contributions. One of among them, Younas Qayasi is well known dramatist, who presented and staged not only Urdu but Pashto and Hindko dramas too. He earned great fame and name at national and International level.
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Huseynova, Sevda. "NIZAMI GANJAVI- THE MOST REINCARNATED LITERARY FIGURE IN AZERBAIJANI LITERATURE." InterConf, no. 15(117) (July 20, 2022): 124–28. http://dx.doi.org/10.51582/interconf.19-20.07.2022.012.

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The personality and creativity of Nizami Ganjavi, who began to be regularly studied and glorified since his time, has always been the center of attention of philosophers, poets, writers, and dramatists in all periods of literary history. In the article, the poems, stories, novels and plays written in Azerbaijani fiction from the Middle Ages to the present day about the genius thinker have been studied and analyzed.
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Monah, Dana. "Tattered Theatres: Fleeting Performances in Concentrationary Theatre." Thélème. Revista Complutense de Estudios Franceses 35, no. 1 (May 5, 2020): 63–70. http://dx.doi.org/10.5209/thel.66203.

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This paper explores the presence of dramatic fiction in plays dealing with imprisonment within the Nazi and Communist concentrationary systems. Whether we talk about performances belonging to the pre-concentrationary past, which ghost the prison or camp world, about plays that the prisoners tell in secret to their fellow inmates, or about embedded performances, all these spectacular forms are structured by the idea of absence (of the text, of the actor), and are to be seen as instrumental in getting away from the concentrationary experience and at the same time bearing witness to it. We will consider these embedded theatrical forms (which are based on repertoire plays or attempt to dramatize (pre)concentrationary realities) as devices meant to articulate trauma. We will analyse the dramatic strategies enabling dramatists to foreground an oblique approach to the concentrationary experience.
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Friedman, Sharon. "Revisioning the Woman's Part: Paula Vogel's ‘Desdemona’." New Theatre Quarterly 15, no. 2 (May 1999): 131–41. http://dx.doi.org/10.1017/s0266464x00012823.

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In Desdemona, Paula Vogel's revision of Shakespeare's Othello, we have a Desdemona who is Othello's worst nightmare, the transformation of lago's fiction into reality. Why has Paula Vogel created a Desdemona who, though ostensibly inside out, still appears to be Othello's projection? Sharon Friedman argues that although Paula Vogel's raucous Desdemona draws on many of the conventions of feminist revisioning, it marks an important shift in the feminist critical perspective in drama – as characterized by Lynda Hart, ‘from discovering and creating positive images of women … to analyzing and disrupting the ideological codes embedded in the inherited structures of dramatic representation’. In a deconstructive parody, Vogel dislodges the convention of the intimate scene between women in Shakespeare's theatre and expands it into an entire play. Decentering the tragic hero, she foregrounds and enacts the threat of female desire that incites the tragic action, and disrupts the familiar categories of virgin, whore, and faithful handmaiden by forging links with gender ideology and class status. The author, Sharon Friedman, is an Associate Professor in the Gallatin School of New York University, and the author of several articles on American women dramatists, including Susan Glaspell and Lorraine Hansberry.
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Balaji, K., and M. Narmadhaa. "Recrimination of Shikandi in Devdutt Pattanaik’s Shikhandi and Other Tales They Don't Tell You." Shanlax International Journal of English 11, no. 3 (June 1, 2023): 22–25. http://dx.doi.org/10.34293/english.v11i3.6211.

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Indian Writing has turned out to be a new form of Indian culture and voice in which idea converses regularly. Indian writers-poets, novelists, essayists, and dramatists have been making momentous and considerable contribution to world Literature since pre-Independence era, the past few years have witnessed a gigantic prospecting and thinking of Indian English writing in the global market. Sri Aurobindo stands like a huge oak spreading its branches over these two centuries. He is the first poet in Indian writing English who was given the re-interpretation of Myths. Tagore is the most eminent writer he translated many of his poems and plays into English who wrote probably the largest number of lyrics even attempted by any poet. The word “myth” is divided from the Greek word mythos, which simply means “story”. Mythology can refer either to the study of myths or to a body or a collection of myths. A myth by definition is “true” in that it. The same myth appears in various versions, varies with diverse traditions, modified by various Hindu traditions, regional beliefs and philosophical schools, over time. Devdutt Pattanaik is an Indian Mythologist who distinguishes between mythological fiction is very popular as it is fantasy rooted in familiar tradition tales. His books include Myth =Mithya: A Handbook of Hindu Mythology, Jaya: An illustrated Retelling of Mahabharata; Business Sutra: An Indian Approach to Management; Shikandi: And other Tales they Don’t Tell you; and so on.
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Kumar, Dr Santosh. "Tendulkar’s Kanyadaan: A Critical Representation of Caste, Class and Gender." International Journal for Research in Applied Science and Engineering Technology 11, no. 12 (December 31, 2023): 2294–96. http://dx.doi.org/10.22214/ijraset.2023.57833.

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Abstract: One can see the primary difference between man and woman on the basis of their gender. This biasness depicts the biased mentality of men and their dominating society. It is seen in Indian English Drama that Gender consciousness is one of the most burning and dominating issue that Indian dramatists aim to reflect in their plays. After six decades of post - colonial account of Indian English fiction, we get that a wide-ranging range of playwrights have emerged concentrating consciousness on a huge figure of marvelous concerns whether economic, political, spiritual, and social. These playwrights confronted three corresponding periods of human experience. As we know that there is a large number of playwrights who emerged and focused on the burning issues of India. Among those Vijay Dhondopant Tendulkar is such a playwrights who not only see the social evils but also depicted on literary canvas as it should be. Tendulkar (1928 - 2008) is a foremost and televisio’s prominent Indian playwright. He wrote for movie and television. Besides these, he is a legendary essayist, radical columnist, and social interpreter too, chiefly in Marathi language. As we have me ntioned earlie r t hat Tendulakar has experie nced the problem, need and necessities of Indian societ y. In thi s way it can’t be argued that the most of Tendulkar’s plays derived motivation from real - life happenings orsocial disorders which helped him to provide a clear estimate of the punitive genuineness
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Moorjani, Angela. "Beckett's Racinian Fictions: “Racine and the Modern Novel” Revisited." Samuel Beckett Today / Aujourd'hui 24, no. 1 (December 1, 2012): 41–56. http://dx.doi.org/10.1163/18757405-024001003.

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Reading Beckett's fictions through Racine's tragedies is facilitated by Beckett's own reading of the seventeenth-century dramatist through the lens of the modern novel. Using the notes of three students in Beckett's 1931 course at Trinity College Dublin and Jorge Luis Borges's view on the 'creation' of literary precursors, this essay examines the effect of Beckett's Racines on his own fiction.
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Zabotin, Daniil V. "In Search of Lost Realities: Alan Bennett’s “The Uncommon Reader’’ through Russian Reader’s Eyes." Literary Fact, no. 4 (30) (2023): 279–302. http://dx.doi.org/10.22455/2541-8297-2023-30-279-302.

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The article is dedicated to the critical reflection of the original and translated version of Alan Bennett’s “The Uncommon Reader,” whose main character is unnamed, but easily recognizable Queen Elizabeth II. Consequently, the entire different cultural context of this pseudo-biographical narrative creates certain difficulties for the translator, because she has to understand and reproduce with maximum accuracy what English speakers read without any hindrance. So, the main approach of the translation of “The Uncommon Reader” into Russian is considered to be a domesticating strategy, which means the need to adapt the story by simplifying or replacing (renaming) historical and everyday realities, when they are transplanted from one worldview to another: for example, “Alsatian — German Shepherd” or “Dame Commander — Court Lady.” It should be emphasized that the nomination problem plays an important role in Bennett’s work: while his characters dive into the depths of fiction, they seem to start to get know to themselves anew with the help of found “second names” that are foreign words of Greek (“opsimath”) and Latin (“amanuensis”) origin. The study of the author’s reading philosophy leads us to the conclusion about the uniqueness of the original title of the story, reflecting the idea of the ambivalent nature of the image of Her Royal Majesty. After a long journey from a novice reader to a writing reader, she still decided to enter the circle of the independent Republic of Letters, which blossoms with tens of names of novelists, poets, and dramatists of the present and the past on the pages of “The Uncommon Reader.” Such a literary union demanded from the translator to create a separate and well-thought commentary, which can be interpreted as a secondary attempt at “reverse translation” (A.V. Mikhailov).
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Closel, Régis Augustus Bar. "Fictional Remembrances of Sir Thomas More: Part I - The Sixteenth Century." Moreana 53 (Number 203-, no. 1-2 (June 2016): 171–204. http://dx.doi.org/10.3366/more.2016.53.1-2.8.

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This article focuses on how literary works such as plays in 16th–17th century England dealt with the fictional presence of Sir Thomas More. Among Tudor statesmen, Thomas More had a special appeal as a topic of thought during the Elizabethan–Jacobean period, quite apart from his opposition to the marriage which led to the reign of Queen Elizabeth. The Marian, Elizabethan and Jacobean periods cover the range of the selected works. They compose a heterogeneous and intriguing group in which every piece has its own particular way of remembering Thomas More. Six works are presented here: the dialogue Il Moro (1556), by Ellis Heywood; a late morality play, The Longer Thou Livest the More Fool Thou Art (1569), by William Wager; a novel, The Unfortunate Traveller (1594), by Thomas Nashe; and three plays, Cromwell (1602), by an unknown dramatist, Sir Thomas More (1600–1603/4), by five different dramatists, and Henry VIII (1613), by William Shakespeare and John Fletcher. Due to the scope of this research, the article is written in two parts. This part explores the first three sixteenth century fictional works by Wager, Heywood and Nashe.
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Bars Closel, Régis Augustus. "Fictional Remembrances of Sir Thomas More: Part II/II– Early Seventeenth Century." Moreana 53 (Number 205-, no. 3-4 (December 2016): 143–78. http://dx.doi.org/10.3366/more.2016.53.3-4.10.

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This article focuses on how artistic works such as plays and literature in 16th and 17th-century England dealt with the fictional presence of Sir Thomas More. Among Tudor statesmen, Thomas More had a special appeal as a topic of thought during the Elizabethan–Jacobean period, quite apart from his opposition to the marriage which led to the reign of Queen Elizabeth. The range of works considered covers the Marian, Elizabethan and Jacobean periods. These works compose a heterogeneous and intriguing group in which every piece has its own particular way of remembering Thomas More. Six works are presented here: the dialogue Il Moro (1556) by Ellis Heywood; a late morality play, The Longer Thou Livest the More Fool Thou Art (1569), by William Wager; a novel, The Unfortunate Traveller (1594), by Thomas Nashe; and three plays, Cromwell (1602), by an unknown dramatist, Sir Thomas More (1600–1603/4), by five different dramatists, and Henry VIII (1613), by William Shakespeare and John Fletcher. Due to the scope of this research, the article is written in two parts. This part explores the last three seventeenth-century fictional works by John Fletcher and Shakespeare, an anonymous play and the collaborative play by Anthony Munday, Henry Chettle, with additions by Thomas Heywood, Thomas Dekker and William Shakespeare.
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Dissertations / Theses on the topic "Dramatists in fiction"

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Olsson, Simon. "Äventyrsgenrens funktioner från fiktionsprosa till interaktiv fiktion : En intermedial jämförelse mellan fyra verk." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-39172.

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The purpose of this thesis is to apply the adventure formulas laid out by John G. Cawelti and the dramatis personae written by Vladimir Propp to the traditional adventure books Le Tour du monde en quatre-vingts jour (1874) and Treasure Island (1883) and the interactive fictions The Secret of Monkey Island (1990) and 80 Days (2014), both in the adventure genre. After they have been applied, I will compare Le Tour du monde en quatre-vingts jour with 80 Days and Treasure Island with The Secret of Monkey Island by how the formulas and dramatis personae work and evolve in the fictions. To start things off, I will present the four works and then go through the relevant parts of Cawelti’s formula and Propp’s dramatis personae. Thereafter, I will explain what interactive fiction might be by using Espen J. Aarseth’s Cybertext. Important concepts will be clarified as well.    The analysis in this thesis starts afterwards. Le Tour du monde en quatre-vingts jour and 80 Days will be the first two works to be analysed after Cawelti and thereafter Propp. When that is done, I will conclude what I have found. The same process will be done with Treasure Island and The Secret of Monkey Island. After that, I will make a concluding comparison between 80 Days and The Secret of Monkey Island and finally conclude whether Cawelti and Propp can be applied to interactive fiction.
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Books on the topic "Dramatists in fiction"

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Etherton, Michael. Contemporary Irish dramatists. New York: St. Martin's Press, 1989.

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Unt, Mati. Brecht ilmub öösel =: Brecht bricht ein in der Nacht. [Tallinn]: Kupar, 1997.

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Para, Robert. Shakespeare's confession. Greenwood Village, CO: StarsEnd Creations, 1996.

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Horrocks, Heather. How to stuff a wild zucchini. Salt Lake City, Utah: Deseret Book, 2009.

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Darras, Jean-Pierre. Molière. Paris: Plon, 1987.

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Wichelns, Lee. The shadow of the earth: An historical novel based on The life of Christopher Marlowe. New York: Elysian Press, 1987.

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Kim, Su-yŏn. Yŏrŭm i mullŏ kago: Kim Su-yŏn changp'yŏn sosŏl. Kyŏnggi-do P'aju-si: Munhak Tongne, 2020.

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Robert, Richardson. The Lazarus tree. Thorndike, Me: G.K. Hall, 1996.

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Robert, Richardson. Y goeden Lasarus. Llanrwst: Gwasg Carreg Gwalch, 1994.

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Cook, Judith. The slicing edge of death: [who killed Christopher Marlowe?]. London: Simon & Schuster, 1993.

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Book chapters on the topic "Dramatists in fiction"

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Kojecky, Roger. "Post-war Drama and Fiction." In Coward the Dramatist, 133–51. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-52284-0_8.

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Carregal-Romero, José. "“He’s Been Wanting to Say That for a Long Time”: Varieties of Silence in Colm Tóibín’s Fiction." In New Directions in Irish and Irish American Literature, 65–86. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-30455-2_4.

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AbstractThis chapter explores the multivalent significance of silence in Colm Tóibín’s fiction, from his debut novel The South (1990) to his collection of stories The Empty Family (2010). The chapter considers Colm Tóibín’s use of silence as an aesthetic practice and key narrative element that foregrounds the tensions between revelation and concealment, emotional release and reticence, as well as the ambiguities between knowing and unknowing, which underlie most of his protagonists’ dilemmas. The analysis pays attention to how Tóibín dramatises sexual taboos and traumas—i.e. familial homophobia and AIDS stigma—through narratives that develop within the domain of personal silences. The chapter thus identifies and assesses a discourse of silence running through Tóibín’s oeuvre, which constructs his characters’ psychology as they navigate personal and social pressures, and attempt to come to terms with their emotional truths.
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"of Postmodernism: History, Theory, Fiction (New." In Modern Dramatists, 119–20. Routledge, 2013. http://dx.doi.org/10.4324/9780203054819-41.

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"Introduction." In The Dixie Limited, edited by M. Thomas Inge. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496803382.003.0001.

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This book examines what William Faulkner has meant to his fellow writers both in the United States and abroad. Few modern authors, except perhaps James Joyce, have had so profound an influence throughout the world as has Faulkner. He has been called a “writer's writer,” one who is held up as a preceptor and model for other writers to emulate. Novelists, playwrights, and poets have expressed their varying opinions on the value of Faulkner's example as a creative writer. This book contains essays, articles, reviews, letters, and interviews published over the last eight decades by novelists, poets, and dramatists about Faulkner, his fiction, and the power of his accomplishment. These include Donald Davidson, Stephen Vincent Benét, Richard Wright, Eudora Welty, and Gabriel García Márquez.
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Fargnoli, Nicholas, and Michael Patrick Gillespie. "Y." In James Joyce A To Z, 235–36. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195110296.003.0024.

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Abstract Yeats, William Butler (1865-1939) Nobel prizewinning Irish writer, cofounder of the Irish Literary Theatre, senator and one of the most influential dramatists and poets of the twentieth century, whose work dominated the Irish literary scene at the turn of the century. While Joyce admired Yeats’s artistic achievements, their approaches to creating literature were very different. Yeats’s involvement in the “Celtic Twilight”-that period of the IRISH LITERARY REVIVAL extending from the turn of the century to the beginning of World War I-his didactic and nationalist poetry and his commitment to political activity all reflected personal and artistic positions to which Joyce was opposed. Some critics have speculated that Yeats’s success as a poet influenced Joyce’s decision to concentrate his energies on creating fiction. Yet despite occasional friction (like his attack on Yeats in “The HOLY OFFICE”), any rivalry that Joyce may have felt was ultimately neutralized by a deep admiration for Yeats’s work.
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Blackwood, Sarah. "Mind/Brain." In The Portrait's Subject, 107–36. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469652597.003.0005.

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This chapter explores Henry James’s career-long fascination with portraiture as foundational to his fiction’s ability to imagine new forms of inner life. His portrait fiction dramatizes shifting ideas about human psychology at the turn of the century, especially as those ideas found expression in the debates surrounding materialism, physiological psychology, and the “stream” of consciousness. James’s fiction is more attuned to the body as a cognitive system than most critics acknowledge. James’s portrait fiction plays a central part in the larger reimagination of human subjectivity, psychology, and inner life taking place at the turn of the century, as the physiological psychologies of the nineteenth century gave way to a return of the metaphysical in the form of psychoanalysis.
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Preedy, Chloe Kathleen. "Manipulating the Atmosphere." In Aerial Environments on the Early Modern Stage, 197–251. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192843326.003.0005.

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Abstract The early modern dramatic representation of aerial technologies was complemented by effects that suggested a more sustained and transformative mode of atmospheric encounter. From the sprinkling of herbs to the simulated firing of towns, the professional English theatre depicted episodes that imagined—and might actually achieve—a material alteration in the aerial environment. Discursive olfactory prompts were often accompanied by visual signifiers, and some dramatists crafted plays that made sustained use of scented properties and effects. Dispersing from the stage into the space of the audience, the fumes of incense, tobacco, and sulphur-infused gunpowder would have exerted a powerful imaginative and perhaps material influence over the fictive and actual aerial environment(s) of the Elizabethan and Jacobean playhouses. Thus, by manipulating the atmospheric conditions of playgoing, early modern dramatists and companies further interrogated the aerial impact and prospective influence of their performed fictions.
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LeMenager, Stephanie. "The Anthropocene Novel." In The Oxford History of the Novel in English, 611–29. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192844729.003.0053.

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Abstract This chapter investigates US fiction that engages with the implications of the idea of the Anthropocene, the conception of the current geological age as the first during which human civilization has been the predominant force shaping the earth’s environment. The chapter glosses the genre of “cli fi,” which focuses on climate change as its primary subject and develops the concept of “Anthropocene social fiction,” in which the drama of consciousness becomes entangled in the historical contexts and ecological losses of the period that begins with the Great Acceleration of the 1950s. Examining the ways in which the Anthropocene novel dramatizes the phenomenon of living with a global-scale phenomenon that exceeds individual imagination, the chapter argues that Anthropocene social fictions mark the loss of global capitalist hegemonies which were naturalized by the temperate Holocene climate and attempt to improvise alternative social modes.
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Gilby, Emma. "The Paris Context." In Descartes's Fictions, 47–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198831891.003.0002.

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This chapter considers Descartes’s connections with Guez de Balzac and his circle, and looks more closely at the language of contemporary poetic practice and theory. In his 1623 preface to Marino’s Adone, Jean Chapelain develops a critical vocabulary of novelty, generic hybridity, and verisimilitude. Meanwhile, Alexandre Hardy accuses modern dramatists of neglecting dispositio, or the coherent ordering of dramatic subject matter. The state of tragicomedy in France is exemplified in the 1628 tragicomic reworking of Schélandre’s 1608 tragedy Tyr et Sidon, prefaced by Balzac’s apologist François Ogier. At the crux of these debates, we find the question of how to balance the need for variety to dispel boredom with the need for structure to dispel distraction.
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Preedy, Chloe Kathleen. "Accumulating Airy Matter." In Aerial Environments on the Early Modern Stage, 36–78. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192843326.003.0002.

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Abstract As those writing for the playhouses and playing companies of Elizabethan and Jacobean England sought to theorize the compositional and performative practices of a nascent commercial drama, they engaged with what might be described as an aerial technology. Contemporary understandings of cognitive and affective processes were underpinned by inherited models in which sights, sounds, and other sensory stimuli were understood to be transmitted and processed via the medium of air. Yet such associations were prospectively threatening for the early modern theatre, as antitheatricalists denounced fiction’s airy insubstantiality and contagious threat. This chapter explores how various Elizabethan and Jacobean dramatists, including Ben Jonson and William Shakespeare, responded to these tensions in writing dramatic fictions that were formed from and realized through the air.
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