Relevant bibliographies by topics / Goths – Drama

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Academic literature on the topic 'Goths – Drama'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Goths – Drama"

1

Burzyńska, Katarzyna. "Reproductive politics and parental economies in Titus Andronicus." Studia Anglica Posnaniensia 58, no. 1 (2023): 73–108. https://doi.org/10.14746/stap.2023.58.06.

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Tamora, Queen of the Goths in Shakespeare’s Titus Andronicus (1594), belongs to a relatively substantial canon of pregnant characters in English early modern drama. Her pregnant embodiment has generated less critical interest than the pregnancies and maternities of later tragic heroines. In this paper I wish to reread Tamora’s non-normative pregnancy and her maternal authority against a tenuously established consensus on reproduction and maternity in the period. Thus, my primary aim is to trace Tamora’s monstrous gestational body as a locus of the discursive triangularity of gender, race, and
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Frühauf, Tina. "Raqs Gothique: Decolonizing Belly Dance." TDR/The Drama Review 53, no. 3 (2009): 117–38. http://dx.doi.org/10.1162/dram.2009.53.3.117.

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Goth belly dance—or “raqs gothique”—fuses the already Westernized interpretative dance style of the Middle East with Goth subculture. Goth belly dancers want to reject or transcend the obvious roots of belly dancing in Orientalism, but how successful are they?
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3

Lee, Do-kyung, and Hyun-zin Ko. "Analysis of the Goth Style in Netflix Spin-off Drama ＜ Wednesday ＞." Journal of Communication Design 86 (January 31, 2024): 462–80. https://doi.org/10.25111/jcd.2024.86.31.

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Brandt, George W. "An Eighteenth-Century Performance Analysis: Böttiger on Iffland." New Theatre Quarterly 20, no. 1 (2004): 28–35. http://dx.doi.org/10.1017/s0266464x03000307.

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Trained under Ekhof at Gotha, the German actor August Wilhelm Iffland began his professional career in 1779 at the Mannheim Court Theatre. He moved to Berlin to become director of the National Theatre in 1796, remaining there till his death in 1814. In between, he paid a guest visit to the Weimar Court Theatre, at the invitation of its presiding genius, Goethe. A local schoolmaster, Karl August Böttiger, published an account of several of his roles. This was, for its times, an evocative and unusually detailed record of performance style, and here George Brandt complements his analysis with ext
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5

Maria, Mariana Silva, and Daniella Gonzalez Tinois da Silva. "CAPTAÇÃO E UTILIZAÇÃO DA ENERGIA DA DESCARGA ATMOSFÉRICA." Revista Estudos & Pesquisas Unilins 1, no. 1 (2021): 73–83. http://dx.doi.org/10.54149/pesquisaunilins.2018.v1.25.

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 Dos mais variados tipos de fenômenos da natureza, as tempestades, com seus raios, relâmpagos e trovões, despertam grande interesse e curiosidade; seja pelo fato de oferecerem um espetáculo de luzes e som, seja pelas destruições causadas por elas, simplesmente. Desde sempre as pessoas tentam explicar como, ou por que ocorrem tais fenômenos. Antigamente as histórias eram passadas de geração em geração e, um mito muito utilizado nas civilizações antigas, dizia que os raios e os trovões em noites de grandes tempestades demonstravam ira e grandes manifestações negativas dos deuses de suas ci
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Brammer, Rebekah. "Dark Laughs." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3152.

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Introduction: From Classic Noir Parody to Aussie Comedy Noir However you choose to identify noir – as a genre, style, or cycle – over its 80 years from classic American film noir to neo-noir, neon-noir, national noirs, and television noir, it has undeniably seeped into popular culture. Exemplary of this is the way noir has hybridised with other genres and styles, true of comedy as much as its more serious pairings with science fiction, Western, and Gothic. This is not a new phenomenon: Sue Short points out that pastiche noir began appearing at the end of the classic cycle, citing Kiss Me Deadl
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Books on the topic "Goths – Drama"

1

Allgaier, Johannes. Philosopher and barbarian: A chronicle play of the last years of Roman civilization in six scenes. College of New Caledonia Press, 1991.

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2

Shakespeare, William. The Tragedy of Titus Andronicus. Edited by Drew, J. Michael, editor of compilation. Focus Publishing/R. Pullins Company, 2013.

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Shakespeare, William. Romeo and Juliet ; Titus Andronicus. Doubleday Book & Music Clubs, 1989.

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Shakespeare, William. Three classical tragedies. Edited by David Bevington. Bantam Books, 1988.

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5

Shakespeare, William. Titus Andronicus. Washington Square Press, 2005.

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Shakespeare, William. Titus Andronicus. Oxford University Press, 1994.

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Shakespeare, William. Titus Andronicus: Modern text with introduction. University Press of America, 1987.

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8

Shakespeare, William. Xue hai jian chou ji: Titus Andronicus. Shi jie shu ju, 1996.

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9

Shakespeare, William. Titus Andronicus: Introduction, the play in performance and commentary by Jacques Berthoud. Penguin, 2001.

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10

Shakespeare, William. TITUS ANDRONICUS; ED. BY ALAN HUGHES. CAMBRIDGE UNIV PRESS, 2006.

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Book chapters on the topic "Goths – Drama"

1

Crosbie, Christopher. "Fixing Moderation: Titus Andronicus and the Aristotelian Determination of Value." In Revenge Tragedy and Classical Philosophy on the Early Modern Stage. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440264.003.0003.

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This chapter draws on Aristotle’s Nicomachean Ethics to argue that Shakespeare structures Titus Andronicus around the variable ways the concept of an ethical mean —the theoretical point of moral equilibrium between two diametrically opposed, immoral extremes — finds instantiation in embodied action, depending upon context. By embedding within this grotesque drama a set of prevailing ontological assumptions about the nature of genuine moderation, Shakespeare creates a narrative of retribution that – even as it horrifies – resonates as appropriate and that aligns with a predicating notion of val
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Clark, Walter Aaron. "A Born Pianist." In Enrique Granados. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195140668.003.0002.

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Abstract The medieval cathedral (Seu Vella) of Lleida, on the Segre River in Catalonia, sits high atop a hill overlooking the surrounding plain and the mountains beyond. It thus occupies a very defensible position, and the fortifications around it bear mute witness to the violent dramas that have taken place beneath their parapets. Whoever held Lleida held a large region around it. No army ever approached the town by surprise, though it has been besieged over the millennia by Romans, Goths, Moors, and French, as well as Catalans and Castilians. It has suffered its fair share of destruction, but
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