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Journal articles on the topic 'Female dramatic character'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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1

Gorinova, Natalia Vasilievna. "KOMI FEMALE DRAMA: SOME ASPECTS OF STUDYING THE QUESTION." Yearbook of Finno-Ugric Studies 13, no. 4 (2019): 643–52. http://dx.doi.org/10.35634/2224-9443-2019-13-4-643-652.

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The beginning of the 21st century opened a new page in the development of Komi literature connected with the activity of female authors earlier unprecedented on a dramatic field. In the 2000s Nina Kuratova, Elena Kozlova and Nina Obrezkova addressed dramaturgic genres. By this time they had already been popular writers. Having addressed a dramaturgic genre, new to itself, each writer introduced organic features in a palette of dramaturgic poetics, enriching and updating national culture. We devoted this work to research the specifics of Komi female dramatic art. Gender approach and method of t
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Brown, Steven, Peter Cockett, and Ye Yuan. "The neuroscience of Romeo and Juliet : an fMRI study of acting." Royal Society Open Science 6, no. 3 (2019): 181908. http://dx.doi.org/10.1098/rsos.181908.

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The current study represents a first attempt at examining the neural basis of dramatic acting. While all people play multiple roles in daily life—for example, ‘spouse' or ‘employee'—these roles are all facets of the ‘self' and thus of the first-person (1P) perspective. Compared to such everyday role playing, actors are required to portray other people and to adopt their gestures, emotions and behaviours. Consequently, actors must think and behave not as themselves but as the characters they are pretending to be. In other words, they have to assume a ‘fictional first-person' (Fic1P) perspective
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Radu-Țaga, Consuela. "The Operas of Pascal Bentoiu: Themes, Collective Character, Ars Choralis." Review of Artistic Education 17, no. 1 (2019): 126–33. http://dx.doi.org/10.2478/rae-2019-0014.

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Abstract Pascal Bentoiu dedicated to the lyrical stage three opuses: the comedy The Love Doctor, the radio opera The Sacrifice of Iphigenia and the tragedy Hamlet. The female choir from The Sacrifice of Iphigenia and the choir from Hamlet use different ways of vocal expression, adapted to vibrations of the word: from recitative chanting or spoken chorus, to melodic articulations. The hegemony of the vocal parameter and the lyrical expression are counterpoised by the feverishness of the dramatic moments. Pascal Bentoiu proposes new elements in the structure of the opera genre, because in Hamlet
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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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Severn, John R. "Salieri’s Falstaff, ossia Le tre burle and The Merry Wives of Windsor: Operatic Adaptation and/as Shakespeare Criticism." Cambridge Opera Journal 26, no. 1 (2014): 83–112. http://dx.doi.org/10.1017/s0954586713000323.

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AbstractShakespeare’s The Merry Wives of Windsor contains several features that make it unusual within his dramatic output and that thus render problematic the idea of a unified ‘Shakespearean’ canon. Until very recently, literary criticism has either largely ignored or denigrated the play, with a sustained interest in its portrayal of female agency, family life and the natural world only consolidating in the early twenty-first century. However, earlier operatic adaptations, such as Salieri and Defranceschi’s Falstaff, ossia Le tre burle, demonstrate an engagement with those issues which liter
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Coello Hernández, Alejandro. "El monólogo como práctica dramatúrgica feminista en los años ochenta: el ejemplo de Maribel Lázaro (La fosa y La defensa)." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 19 (2020): 43–61. http://dx.doi.org/10.25145/j.clepsydra.2020.19.03.

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The visibility and recognition of Women playwrights in Spanish theater did not occur until the eighties after the conquests of feminist movements. For that reason, women playwrights explore in their works new ways of thinking about subjectivity. The monologue provides them with a way of exploring themselves and with a form of engaged theater. This textual corpus is studied in this article in a global way in order to contextualize feminist dramaturgies and in particular the dramatic proposals of Maribel Lázaro, who in 1986 wrote two monologues La fosa [The pit] and La defensa [The defense]. The
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Head, Matthew. "Beethoven Heroine: A Female Allegory of Music and Authorship in Egmont." 19th-Century Music 30, no. 2 (2006): 097–132. http://dx.doi.org/10.1525/ncm.2006.30.2.097.

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Almost a decade ago, Sanna Pederson observed that the heroic in the posthumous reception of Beet-hoven's life and music functions as a sign of the composer's unassailable masculinity. What Pederson did not explore, however, is how the construction of the heroic in Beethoven's works courts androgyny and so exhibits flexibility in precisely the realm of sex/gender that ossified after his death. In Beethoven's dramatic music, cross-dressed heroines move center stage, and their music courts a mixture of masculine and feminine signs that is not simply descriptive of their transvestism. Admittedly,
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Havas, Julia, and Maria Sulimma. "Through the Gaps of My Fingers: Genre, Femininity, and Cringe Aesthetics in Dramedy Television." Television & New Media 21, no. 1 (2018): 75–94. http://dx.doi.org/10.1177/1527476418777838.

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Concentrating on the series “Girls” (2012–2017), “Fleabag” (2016), and “Insecure” (2016–), this article examines the female-centered dramedy as a current genre of U.S.-American television culture with specific investments in gendered value hierarchies. The article explores the format’s dominant narrative and aesthetic practices with specific focus on prestige dramedy’s “cringe” aesthetics. Cringe is increasingly mobilized as a mode of political expression following the format’s privileging of female subjectivities. As such, cringe is tasked with negotiating the tensions between drama and comed
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Maley, Willy. "‘She done Coriolanus at the Convent’: Empowerment and Entrapment in Teresa Deevy's In Search of Valour." Irish University Review 49, no. 2 (2019): 356–69. http://dx.doi.org/10.3366/iur.2019.0411.

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This article explores the gender politics of a neglected one-act play by Teresa Deevy, first staged at the Abbey in 1931, that revolves around the young female protagonist's recollection of a convent production of Shakespeare's Coriolanus in which the title role was taken by a young woman. This role model offers inspiration for a character confined as a domestic servant and defiantly seeking an alternative to the stultifying circumstances of life in rural Free State Ireland. While Ellie Irwin resembles other spirited Deevy heroines, the doubling of the young servant with her memory of Charlott
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Gadberry, Glen W. "The Black Medeas of Weimar and Nazi Berlin: Jahnn-Straub and Straub-Grillparzer." Theatre Survey 33, no. 2 (1992): 154–66. http://dx.doi.org/10.1017/s0040557400002386.

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While earlier dramatists treated Medea as a dramatic character, it was Euripides who gave her enduring theatrical prominence. Beyond crafting a timely attack upon a treacherous Corinth to appeal to Athens at the start of the Peloponnesian War, Euripides developed Medea to question the social role of women within a proudly patriarchal society. And he may have been the first to make Medea a non-Greek, a Colchian, a “barbarian”—a term that had become more derisive in the fifth century. In the Golden Age, a female foreigner was marginalized by gender and by heritage/race/ethnicity; a justified or
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Kireyeva, Natalia Yurievna, and Angelina Leonidovna Kuts. "J. Offenbach’s opera “The Tales of Hoffmann”: on the question of interpretation. Part 2." PHILHARMONICA. International Music Journal, no. 2 (February 2021): 41–58. http://dx.doi.org/10.7256/2453-613x.2021.2.34930.

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J. Offenbach’s opera “The Tales of Hoffmann” stands out from other compositions of this genre. Because of a complicated story behind, this piece of music has several versions and, consequently, various interpretations of the plot. The opera has also other features which are described in the article. Pride of place goes to the study of sopranos. The authors detect the linkage between the main female characters (Olympia, Antonia and Giulietta). The common thread, uniting Hoffmann’s ladies, is an incidental character Stella. The three stories of the poet&am
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Budrewicz, Tadeusz. "Historiograficzne próby Lucjana Rydla." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 19 (December 25, 2019): 3–20. http://dx.doi.org/10.24917/20811853.19.1.

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Lucjan Rydel authored a dramatic trilogy about King Sigismund II Augustus. He described the 16th century with great erudition as regards the material and political history of the period. He had studied numerous historical records as well as scholarly works. He also wrote an academic essay on Charles de Nassau. The main areas of his interest in history were texts of didactic and popular character. He wrote a monograph entitled Queen Hedwig, where he collected the themes of female rule in literature and art. He published brochures on buildings of historical interest in Krakow, Warsaw and Vilnius
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Hirshfield, Claire. "The Actresses' Franchise League and the Campaign for Women's Suffrage 1908–1914." Theatre Research International 10, no. 2 (1985): 129–53. http://dx.doi.org/10.1017/s030788330001066x.

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In the great suffrage campaign waged in the decade preceding the First World War, women established a multitude of organizations in order to exert collective pressure upon a reluctant House of Commons. Some, such as the Women's Social and Political Union (WSPU), which was founded by Emmeline Pankhurst, favored confrontational tactics and resorted to occasional violence against property, as a means of attracting notice to the cause. Others, most notably the National Union of Women's Suffrage Societies (NUWSS) over which Mrs Millicent Fawcett presided, defined themselves as ‘constitutional’ and
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Ranald, Margaret Loftus. "The Performance of Feminism in The Taming of the Shrew." Theatre Research International 19, no. 3 (1994): 214–25. http://dx.doi.org/10.1017/s0307883300006623.

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Performance is ideology! This is particularly true of Shakespeare's The Taming of the Shrew, one of his two comedies concerning the behaviour of husband and wife after the marriage ceremony—the other being The Comedy of Errors. Here he makes use of what may well be the longest-running English female stock character, the recalcitrant wife, who goes back to Mrs Noah, the disobedient woman of the mediaeval religious cycle plays. But at the same time he adapts the technique of classical farce to observation of human behaviour, by taking an impossible premise (that a wife can be tamed) and extendin
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Varvagiannis, K., S. Hanquinet, M. Billieux, et al. "Congenital Neuronal Ceroid Lipofuscinosis with a Novel CTSD Gene Mutation: A Rare Cause of Neonatal-Onset Neurodegenerative Disorder." Neuropediatrics 49, no. 02 (2017): 150–53. http://dx.doi.org/10.1055/s-0037-1613681.

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AbstractNeuronal ceroid lipofuscinoses represent a heterogeneous group of early onset neurodegenerative disorders that are characterized by progressive cognitive and motor function decline, visual loss, and epilepsy. The age of onset has been historically used for the phenotypic classification of this group of disorders, but their molecular genetic delineation has now enabled a better characterization, demonstrating significant genetic heterogeneity even among individuals with a similar phenotype. The rare Congenital Neuronal Ceroid Lipofuscinosis (CLN10) caused by mutations in the CTSD gene e
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Girelli, Elisabetta. "“Our Bravest and Most Beautiful Soldier”: Pola Negri, Wartime and the Gendering of Anxiety in Hotel Imperial." Film-Philosophy 23, no. 2 (2019): 159–76. http://dx.doi.org/10.3366/film.2019.0107.

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This article focuses on Pola Negri, one of the most iconic stars of the silent era, and concentrates on her performance and image in the Hollywood film Hotel Imperial (Mauritz Stiller, 1927). Assessing Negri's character within the wartime context of the plot, her screen presence and narrative function are analysed in relation to wartime anxiety, gender roles, and the role of the home front. Specifically, this article argues that Negri's exceptional display of anxiety, in contrast to the acting of her male co-protagonists, can be fruitfully understood as a distinctly “female”, empowering qualit
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Cheipesh, A. "The Image of a Woman in Everyday Works of E. Kontratovych." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 243–49. http://dx.doi.org/10.33838/naoma.27.2018.243-249.

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In the works of E. Kontratovych in the early period and the period of heyday, there are the everyday works, the main character of which is a woman. In the early period (1930–1943), the image of woman plays in the main theme of begging – disadvantaged women, suffered beggars. This is connected with the showing the fate of the Verkhovyna population, which suffered because of the World Economic Crisis of the 1930s. At that time, the artist was also interested in the folklore and mysterious world of the legends and myths of the Carpathians, embodied in the original female types. The works of the e
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Yearling, Rebecca. "Emotion, Cognition and Spectator Response to the Plays of Shakespeare." Cultural History 7, no. 2 (2018): 129–44. http://dx.doi.org/10.3366/cult.2018.0170.

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Recapturing what early modern spectators thought and felt when attending the theatre has for some years been a kind of Holy Grail for scholars of Renaissance drama. As Myhill and Low point out in Imagining the Audience in Early Modern Drama (2011), although we now know a great deal about the material conditions of early modern theatre and theatre-going, the actual intellectual and emotional experience of spectators ‘has proved remarkably resistant to examination.’ This article discusses some of the strategies that previous critics have employed in the attempt to rediscover what it felt like to
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Jiang, Qin. "The image of Oksana in the opera by N. Rimsky Korsakov “Christmas Eve”: a composer plan and a performing embodiment." Aspects of Historical Musicology 18, no. 18 (2019): 57–72. http://dx.doi.org/10.34064/khnum2-18.04.

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Background. The modern science reconsiders various conceptions, which were influencing the theory and practice of musical art over the centuries. Particularly, there is much talk today about the fact that marking of female opera roles as “coloratura” according to the principle of their technical complexity and diapason wideness is quite nominal and not connected directly with singing voices’ gradation. Gradually entrenched tendency of denial of the female voice’s definition as “coloratura” has developed, and it is based on the argument that this characteristic reflects parameters of composer’s
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Kopek, Wojciech. "Elements of the Mime in Horace’s Epode “Quid tibi vis, mulier”." Roczniki Humanistyczne 67, no. 3 SELECTED PAPERS IN ENGLISH (2019): 45–61. http://dx.doi.org/10.18290/rh.2019.67.3-3en.

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The Polish version of the article was published in Roczniki Humanistyczne vol. 61, issue 3 (2013).
 The aim of this article is to discover the literary context for Horace’s Epode 12 by juxtaposing it with Herondas’ mimes, particularly Mime 5, titled The Jealous Woman. The description of the relationship between these works is based on the ancient theory of rhetoric and on elements of Horace’s Ars poetica. It has been established that Epode 12 has numerous features of the literary mime: it is an apparent dialogue (sermocinatio, παρῳδή) recited by a single performer (mime), most probably in
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Fedenko, A. "The specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)." Aspects of Historical Musicology 17, no. 17 (2019): 90–102. http://dx.doi.org/10.34064/khnum2-17.06.

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Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musical
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Nedelea, Patricia. "Queering Drama - Or Let the Classics Going Beyond Limits." Theatrical Colloquia 10, no. 2 (2020): 105–24. http://dx.doi.org/10.2478/tco-2020-0024.

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AbstractThis article proposes, explains and describes an original method called Queering Drama, which is the result of this article’s author one decade of research. Queering Drama is not just a theoretical work hypothesis, but also a practical performing method of going beyond limits by Queering the characters of any classic play (the Queering Drama method can be applied to modern plays as well, but the classic plays are the ones most staged, in greater need for new meanings and refashioning). What happened if one character from a classic play would not be put on stage and played as the dramat
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Ostropalchenko, Yu. "Speech behavior of women characters in representation of the concept FAMILY in in the dramaturgical discourse of Wendy Wasserstein." Studia Philologica 1, no. 14 (2020): 81–86. http://dx.doi.org/10.28925/2311-2425.2020.1412.

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The article is devoted to the study and systematization of the speech behavior of women in the representation of the concept FAMILY in the communicative space of the characters of the modern American dramatic discourse on the example of the plays of Wendy Wasserstein. The dynamics of gender markers reveals trends in the cognitive system in the axiological paradigm of American dramatic discourse. Communicative practices of the characters of dramatic works reflect the stereotypical behavior of male and female characters in different situations, which allows to study the specifics of female and m
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Cherkashina, O. V., N. M. Utesheva, and O. M. Yakymchuk. "Spiritual chants for the female choir a cappella by IrynaAleksiichuk: features of the interpretation of canonical text." Aspects of Historical Musicology 17, no. 17 (2019): 60–73. http://dx.doi.org/10.34064/khnum2-17.04.

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Background. The choral creativity of a modern Ukrainian composer Iryna Aleksiichuk is multifaceted and diverse. It includes spiritual chants, cycles of arrangements of Ukrainian and Balkan folk songs, choral works on poetry of Ukrainian and foreign poets (“Letters from the shell” and “Otherworld’ Games” on the verses by O. Stepanenko, “How Volodya flew quickly from the mountain” on the words by D. Harms), etc. The objective of this study is to find out the features of interpretation the canonical text in spiritual chants for a female choir a cappella by I. Aleksiichuk. Methods of studying. The
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Harris, Géraldine. "A review ofwomen in dramatic place and time: Contemporary female characters on stageby Geraldine Cousin." Contemporary Theatre Review 7, no. 2 (1998): 97–98. http://dx.doi.org/10.1080/10486809808568459.

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Ferdous, Mafruha. "The Values of Masculinity in William Shakespeare’s Macbeth." Advances in Language and Literary Studies 8, no. 2 (2017): 22. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.22.

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The theme of gender plays a vital role in William Shakespeare’s famous political play Macbeth. From the very beginning of the play the dramatist focuses on the importance of masculinity in gaining power and authority. Lady Macbeth along with the three witches are as important characters as Macbeth. Because they influence Macbeth profoundly. And Shakespeare very carefully draws the character of Lady Macbeth who being a female sometimes exhibits more masculinity than Macbeth. Similarly is the case of the three witches. Though they look like women they are also bearded which prove the presence of
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Obolenska, M. M. "The Accompanist as the Lord of Time (on the Example of Sonata for French Horn and Piano by Jane Vignery)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 93–107. http://dx.doi.org/10.34064/khnum1-54.06.

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Sonata for French horn and piano by Belgian female composer Jane Vignery (1913–1974), which has not been studied before, is analyzed in the article. The main attention is focused on the role of the pianist-accompanist in the process of composing dramaturgy. Skillful manipulation of musical time is the key to the convincingly constructed dramaturgy of a piece of music. Time management is especially evident in the moments of dramatic knots. By the dramaturgical knot we mean the transition from the completion of one dramaturgical element to the beginning of the next. At the beginning of a piece o
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Klimova, Margarita N. "To the History of Russian Myth of the Great Sinner: Breakers of the Fifth Commandment in the Soviet Novel of the 1970s (F. Abramov, V. Tendryakov, I. Grekova)." Studies in Theory of Literary Plot and Narratology 14, no. 2 (2019): 106–19. http://dx.doi.org/10.25205/2410-7883-2019-2-106-119.

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A meta-story of “repentance and salvation of a great sinner” became world-famous as part of the Christian ethical doctrine, and was enshrined in the sacrament of confession. For a number of reasons it lost its relevance in the West by the beginning of the New Age, but gained a second life in Russia as one of the myths of national consciousness. The Russian adaptations of the great sinner myth are characterized by a “sobornyi” approach to a problem of personal guilt and redemption, as well as fixation on open endings. The myth’s motifs and variations are widely represented in Russian classical
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Campbell, Julie. "The Entrapment of the Female Body in Beckett's Plays in Relation to Jung's Third Tavistock Lecture." Samuel Beckett Today / Aujourd'hui 15, no. 1 (2005): 161–72. http://dx.doi.org/10.1163/18757405-015001015.

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This article is concerned with the female body in Samuel Beckett's drama, and how often the female characters are shown as trapped and immobile. My main focus is on , and the paradoxical nature of Winnie's entrapment, and her attitude to it. I make particular reference to C. G. Jung's Third Tavistock Lecture, which was attended by Beckett and obviously affected him quite profoundly, as he made reference to it throughout his career, for example in , and also during rehearsals when advising female actors how to approach their characters. It seems to me that the ideas Jung expressed in this lectu
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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ". World Science 3, № 8(48) (2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.

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 Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his intere
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Shirokova, Lyudmila. "A reflection of the polyethnic phenomenon in the Slovak novel of the 21 st century." Slavic Almanac, no. 1-2 (2019): 462–71. http://dx.doi.org/10.31168/2073-5731.2019.1-2.6.06.

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The historical polyethnicity of the Slovak society and the connected problems of the interrelations of cultures, ethics, interpersonal relations, are reflected in the works of modern Slovak prose. They are represented most clearly in the novels of middle generation writers P. Rankov, S. Lavrík, P. Krištúfek. They dwell upon the dramatical events of the 20 th century. They cover wide range problems, from the fruitful coexistence of various ethnic groups and their representatives to national contradictions and racial repressions. The artistic quality of the mentioned works, their composition, th
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Steinway, Elizabeth. "Narrating Pregnancy and Childbirth: Infanticide and the Dramatization of Reproductive Knowledge." Humanities 7, no. 4 (2018): 120. http://dx.doi.org/10.3390/h7040120.

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In early modern England, infanticide was a crime overwhelmingly associated with women. Both popular texts and legal records depict women accused of infanticide as mothers acting against nature. These figures, however, do not often appear in the period’s drama. Instead, early modern drama includes fictionalized mothers who kill their children beyond infancy and into adulthood. By eschewing portrayals of neonaticide and the trials associated with it, the drama highlights a dependency upon female characters’ verbal narratives of the reproductive body that reinforces pregnancy’s unstable epistemol
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Kerr, Rosalind. "How the Commedia dell’Arte Actress Revolutionized the Early Modern Italian Stage." Quaderni d'italianistica 36, no. 1 (2016): 115–37. http://dx.doi.org/10.33137/q.i..v36i1.26276.

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The first actresses who joined the previously all-male the commedia dell’Arte in the 1560s are credited with making it a commercial and artistic success. This article explores the evidence to document their multi-faceted contribution and influence on the birth of early modern European theatre. My article will use Tommaso Garzoni’s prophetic observations about certain early actresses to frame an inquiry into how their novel female presence changed the nature of theatrical representation to create a new more “realistic” medium. It will interpret the documents to reveal how they achieved celebrit
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Cheang, Wai Fong. "Maritime Fantasies and Gender Space in Three Shakespearean Comedies." Gender Studies 11, no. 1 (2012): 23–37. http://dx.doi.org/10.2478/v10320-012-0026-5.

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Abstract Laden with sea images, Shakespeare‘s plays dramatise the maritime fantasies of his time. This paper discusses the representation of maritime elements in Twelfth Night, The Tempest and The Merchant of Venice by relating them to gender and space issues. It focuses on Shakespeare‘s creation of maritime space as space of liberty for his female characters.
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Murphy, Sean, Dawn Archer, and Jane Demmen. "Mapping the links between gender, status and genre in Shakespeare’s plays." Language and Literature: International Journal of Stylistics 29, no. 3 (2020): 223–45. http://dx.doi.org/10.1177/0963947020949438.

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The Arts and Humanities Research Council-funded Encyclopedia of Shakespeare’s Language project has produced a resource allowing users to explore Shakespeare’s plays in a variety of (semi-automatic) ways, via a web-based corpus query processor interface hosted by Lancaster University. It enables users, for example, to interrogate a corpus of Shakespeare’s plays using queries restricted by dramatic genre, gender and/or social status of characters, and to target and explore the language of the plays not only at the word level but also at the grammatical and semantic levels (by querying part of sp
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Warońska, Joanna. "Kobiecość a płeć żeńska. Komediopisarki dwudziestolecia międzywojennego wobec dyskursu emancypacyjnego." Wielogłos, no. 2 (44) (2020): 91–116. http://dx.doi.org/10.4467/2084395xwi.20.013.12404.

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Femininity and the Female Gender: Female Comedy Writers of the Interwar Period in Relation to the Emancipation Discourse The article presents an analysis of selected interwar comedies written by women – Marcelina Grabowska, Maria Morozowicz-Szczepkowska, Maria Pawlikowska- -Jasnorzewska and Magdalena Samozwaniec – and dealing with issues related to the emancipation discourse: motherhood, abortion, shaping a new female role model, and relationships in women’s groups. The heroines of those plays, increasingly liberated and self-aware, demanded the rights traditionally assigned to men, while tryi
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Warońska, Joanna. "Kobiecość a płeć żeńska. Komediopisarki dwudziestolecia międzywojennego wobec dyskursu emancypacyjnego." Wielogłos, no. 2 (44) (2020): 91–116. http://dx.doi.org/10.4467/2084395xwi.20.013.12404.

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Femininity and the Female Gender: Female Comedy Writers of the Interwar Period in Relation to the Emancipation Discourse The article presents an analysis of selected interwar comedies written by women – Marcelina Grabowska, Maria Morozowicz-Szczepkowska, Maria Pawlikowska- -Jasnorzewska and Magdalena Samozwaniec – and dealing with issues related to the emancipation discourse: motherhood, abortion, shaping a new female role model, and relationships in women’s groups. The heroines of those plays, increasingly liberated and self-aware, demanded the rights traditionally assigned to men, while tryi
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Ojrzyńska, Katarzyna. "Eroticism in the “Cold Climate” of Northern Ireland in Christina Reid’s "The Belle of the Belfast City"." Text Matters, no. 3 (November 1, 2013): 121–38. http://dx.doi.org/10.2478/texmat-2013-0030.

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Closely based on the dramatist’s personal experience, Christina Reid’s The Belle of the Belfast City offers a commentary on the life of the Protestant working class in the capital of Northern Ireland in the 1980s from a woman’s perspective. It shows the way eroticism is successfully used by the female characters as a source of emancipation as well as a means not only to secure their strong position in the private domain of the household, but also to challenge the patriarchal structures that prevail in the Irish public sphere. The analysis of the play proposed in this essay focuses on the contr
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Caviglioli, Rita. "Minimal Departures: Narratives of Younger Female Mobility in Late Nineteenth- and Early Twentieth-Century Italian Children’s Literature." Quaderni d'italianistica 35, no. 2 (2015): 125–38. http://dx.doi.org/10.33137/q.i..v35i2.23618.

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Mobility narratives in late nineteenth- and early twentieth- century Italian literature for children reflect the dramatic conditions of vagrancy, abandonment and forced relocation, as well as the situation of child-labor exploitation and child trade through apprenticeship contracts. They also document experiences of mass emigration. In my essay I intend to: i) acknowledge that children’s conditions have been the object of an extensive multi-disciplinary debate in the 1800s and early 1900s; ii) briefly discuss the specifics of Italian children’s literature and the representation of young male m
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Wolf, Laurie J. "Women in Dramatic Place and Time: Contemporary Female Characters on Stage. By Geraldine Cousin. London & New York: Routledge, 1996. Pp. vii + 211. £40; 12.99." Theatre Research International 22, no. 2 (1997): 176–77. http://dx.doi.org/10.1017/s0307883300020654.

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Nati, Ikhlas Muhammed. "The underestimated power of woman In Susan Glaspell’s Trifle." لارك 1, no. 21 (2019): 14–25. http://dx.doi.org/10.31185/lark.vol1.iss21.659.

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This paper examines the theme of feminism through focusing on the female bonding as a means of gaining power .In this paper I’ll prove that the America dramatist Susan Glaspell (1876-1948) makes a feminist leap as she portrays her female characters with an ample cunning to secretly and humbly triumph over male prejudice. She challenged those who believed that the United States offered freedom and equality by demonstrating that women were not treated equally since they were excluded from participating in the justice system except as defendants the underestimated power of woman in Susan Glaspell
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Saleh, Asmaa M. "Come Inside my Silence and Know me." Koya University Journal of Humanities and Social Sciences 3, no. 1 (2020): 102–6. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp102-106.

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Deafness has been considered an exceptional condition and people who have this individuality are recognized all over the world as weak, fragile, deformed, and in great need for help from other “fit “people. The problem of integrating deaf people in their societies has been risen since the 19th century. There appeared two camps; one which advocated for teaching the deaf individuals the skills that enable them to blend in the world of “hearing people “while the other camp, the manualists, called for teaching and learning sign language as a means of communication. Amid all the conflicts between t
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Hamilton, K. G. A. "The planthopper genus Stenocranus in Canada: implications for classification of Delphacidae (Hemiptera)." Canadian Entomologist 138, no. 4 (2006): 493–503. http://dx.doi.org/10.4039/n06-805.

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AbstractThe Canadian species of Stenocranus Fieber are keyed by external characters correlated with species concepts defined by known genitalic characters. Stenocranus is differentiated from Terauchiana Matsumura (Asian; here reported from the New World for the first time) and Embolophora Stål (from Africa) by the remarkable development of the female pygofers, which completely conceal the ovipositor. Based on both head and genitalic characters, the genus is divided into two subgenera: typical Stenocranus with many Old World species and two Canadian species, and subgenus Codexnov. for other New
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Márquez Barragán, Miriam Yvonn. "BAILE COMO EXPRESIÓN DE FEMINEIDAD Y EROTISMO EN FEDERICO GARCÍA LORCA." RAUDEM. Revista de Estudios de las Mujeres 5 (December 12, 2018): 129. http://dx.doi.org/10.25115/raudem.v5i0.1996.

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Resumen: El baile a lo largo del tiempo ha sido visto como una actividad peligrosa para los valores morales y religiosos. El cuerpo de la mujer ha sido visto como un medio para excitar el pecado. La obra dramática de Federico García Lorca logra capturar el conflicto moral y las implicaciones sexuales del baile con personajes femeninos que luchan entre el deseo y sus instintos. En el presente trabajo, analizo algunos de los valores sociales y morales del baile en el teatro de Lorca. Palabras clave: Federico García Lorca, Danza, trangresión, cuerpo, estigma social. Abstract: Dance over time has
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Tembo, Nick Mdika. "“Breaking the Head of the Masquerade” Tracie Utoh–Ezeajugh's “Out of the Masks” and Theatre of Exclusion." Matatu 40, no. 1 (2012): 21–32. http://dx.doi.org/10.1163/18757421-040001002.

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In most African societies, traditional rituals are sometimes used as tools for cultural inferiorization of women and girls. Out of frustration, those at the receiving end of such rituals may resort to a variety of performative and subversive tactics aimed at debunking them in society. This essay seeks to examine Tracie Utoh–Ezeajugh's portrayal of women in “Out of the Masks.” The essay particularly seeks to examine how the dramatist responds to and represents the position and role of women in the traditional social context and in the context of changing social values in her play. Through a car
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Ehrick, Christine. "Nené Cascallar's Thirsty Heart." Feminist Media Histories 1, no. 4 (2015): 31–45. http://dx.doi.org/10.1525/fmh.2015.1.4.31.

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This article is an analysis of the script of an Argentine radio serial, Corazón sediento (Thirsty Heart), that aired on Buenos Aires' Radio Splendid and its network of stations on weekday evenings in June 1954. The drama's author, Nené Cascallar (1914–82), a favorite radio librettist during the first Peronist era (1946–55), was best known for penning erotically charged melodramas aimed at mostly female audiences. In this drama, Cascallar makes particular use of sound and voice as dramatic devices and as a means to produce dramas that articulate women's desires—sexual desire, desire for freedom
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Wiet, Victoria. "Dickens’s Tableaux." Nineteenth-Century Literature 74, no. 2 (2019): 167–98. http://dx.doi.org/10.1525/ncl.2019.74.2.167.

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Victoria Wiet, “Dickens’s Tableaux: Melodrama and Sexual Opacity in David Copperfield and Bleak House” (pp. 167–198) This essay examines the features and function of tableaux in two novels by Charles Dickens, David Copperfield (1850) and Bleak House (1853), in order to rethink the influence of melodramatic conventions on the form of narrative fiction, particularly the understanding of female sexuality that melodrama afforded novelists. Taking Dickens as an important example, literary critics have typically associated melodrama with ostentatious legibility, but recent scholarship on the theatri
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NASIF, Majed Jamil, and Ridha Thamer BAQER. "The existential role of women in The Flies and the dirty hands, by Jean Paul Sartre." Al-Adab Journal 3, no. 137 (2021): 1–22. http://dx.doi.org/10.31973/aj.v3i137.1665.

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The freedom and the existential engagement represent two essential notions in the mind of the writer Jean-Paul Sartre. It has been presented in a good and clear way by his philosophy or, in a clearer way, by his artworks. More specifically, the two plays of this author, The Flies and the dirty hands, are the mirror that reflects these twos existential notions.
 These two plays are the perfect testimonies for the two important periods in the XXth century: before and after the Second World War. These two periods vary in so far, the human mind, politics and literature as are concerned. This
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Na-pombejra, Dangkamon. "Confronting Otherness through Theatre: On Directing The Merchant of Venice for Thai Audiences." Manusya: Journal of Humanities 23, no. 3 (2020): 335–51. http://dx.doi.org/10.1163/26659077-02303004.

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Abstract This article analyzes on a new directorial approach to Venice Vanija (เวนิสวาณิช), a Thai version of William Shakespeare’s The Merchant of Venice (written 1596–99) and translated by King Rama vi (r. 1910–1925). It aimed to create a new space and new rules that would encourage Thai audiences to embrace new perspectives by watching the performance. The production was directed by the author in 2018 in the Department of Dramatic Arts in the Faculty of Arts at Chulalongkorn University. The directing approach focused on the play’s famous line “all that glitters is not gold;” (Act ii, scene
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Said, Fadhila Sidi. "Herman Melville’s Poetics / Politics in “The Encantadas”." Asian Journal of Humanity, Art and Literature 6, no. 2 (2019): 111–18. http://dx.doi.org/10.18034/ajhal.v6i2.356.

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Melville’s fictional narrative The Encantadas (1854) and his letter to his brother Gansevoort, a democratic politician who passionately supported U.S expansionism, will allow us to explore Melville’s politics of action; i.e., his critique of the Mexican war and his doubts about Manifest Destiny. Simone De Beauvoir, French writer and feminist, insists that we are ethically compelled to do all we can to change oppressive institutions. De Beauvoir demonstrates the need to take sides, acting politically and with an ethical vision. Her action illustrates the links she sees between the embodied indi
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