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Journal articles on the topic 'History of drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

Carpenter, Alexander. "Towards a History of Operatic Psychoanalysis." Psychoanalysis and History 12, no. 2 (July 2010): 173–94. http://dx.doi.org/10.3366/pah.2010.0004.

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This paper examines the history of the trope of psychoanalytic therapy in musical dramas, from Richard Wagner to Kurt Weill, concluding that psychoanalysis and the musical drama are, in some ways, companions and take cues from each other, beginning in the mid-19th century. In Wagner's music dramas, psychoanalytic themes and situations – specifically concerning the meaning and analysis of dreams – are presaged. In early modernist music dramas by Richard Strauss and Arnold Schoenberg (contemporaries of Freud), tacit representations of the drama of hysteria, its aetiology and ‘treatment’ comprise key elements of the plot and resonate with dissonant musical soundscapes. By the middle of the 20th century, Kurt Weill places the relationship between analyst and patient in the foreground of his musical Lady in the Dark, thereby making manifest what is latent in a century-spanning chain of musical works whose meaning centres, in part, around representations of psychoanalysis.

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2

Goalen, Paul. "The Drama of History." History Education Research Journal 1, no. 2 (June 1, 2001): 55–65. http://dx.doi.org/10.18546/herj.01.2.07.

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3

Cooke, Pat. "Heritage: Image, Drama, History." Circa, no. 80 (1997): 42. http://dx.doi.org/10.2307/25563135.

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4

M, Vadivel, and Amitha Darwin J. "The Expression of Music in the Theatre." International Research Journal of Tamil 4, S-19 (December 10, 2022): 79–83. http://dx.doi.org/10.34256/irjt224s1913.

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Sangam Tamil consists of three major parts viz., Poetry, Music, and Drama. This is something that no other language in the world has. Hence, Tamil can also be called Muthamizh (The three kinds of literature in Tamil). Drama, along with music, has been developing gradually since time immemorial. Theatrical music is a mirror of worldly events. The literature also makes it clear that the Tamils excelled in art and culture. Therefore, on the basis of literary references, Poetic Tamil, Music Tamil, and Drama Tamil are the three Tamils that make history in many aspects. This approach seeks to explain from a variety of perspectives the work done by Thavathiru Sankaradas Swamigal on Musical Drama Text, mention of literary dramas such as play and dance, and his contribution to Tamil music and drama.

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5

Lauren Shohet. "Caroline Court Drama: Forming History." Yearbook of English Studies 44 (2014): 69. http://dx.doi.org/10.5699/yearenglstud.44.2014.0069.

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Shohet, Lauren. "Caroline Court Drama: Forming History." Yearbook of English Studies 44, no. 1 (2014): 69–86. http://dx.doi.org/10.1353/yes.2014.0013.

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7

Roper, John Herbert, and Charles S. Watson. "The History of Southern Drama." Journal of Southern History 65, no. 2 (May 1999): 394. http://dx.doi.org/10.2307/2587383.

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8

Dasenbrock, Reed Way. ""Copenhagen": The Drama of History." Contemporary Literature 45, no. 2 (2004): 218. http://dx.doi.org/10.2307/3593565.

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Dasenbrock, Reed Way. "Copenhagen : The Drama of History." Contemporary Literature 45, no. 2 (2004): 218–38. http://dx.doi.org/10.1353/cli.2004.0013.

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10

Nicholas, Siân. "HISTORY, REVISIONISM AND TELEVISION DRAMA." Media History 13, no. 2-3 (August 2007): 203–19. http://dx.doi.org/10.1080/13688800701611704.

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11

Dean, Paul. "Renaissance drama and literary history." English Studies 79, no. 5 (September 1998): 441–46. http://dx.doi.org/10.1080/00138389808599147.

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12

Strejčková, Hana. "Site-Specific Author’s Drama." Amfiteater 9, no. 2021-2 (June 30, 2022): 216–32. http://dx.doi.org/10.51937/amfiteater-2022-1/216-232.

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The article discusses the role of the playwright in contemporary site-specific drama and the role of the director of site-specific performance. The study aims at three main areas: the author’s drama based on the recent history of the 20th century; the performative potential of the commonness and of oral history; and contemporary site-specific drama. As a playwright, the author focuses on the memories of witnesses and socially taboo topics. As a theatre director, she examines approaches for transforming into theatrical language the memory of place, the collection of data from oral history and burning issues. She looks at the relations between playwrights and site-specific performance. She observes the links among the topic, communication means and non-theatrical places. This qualitative longitudinal art research is based on experience from theatre practice, analysis and comparison of theoretical knowledge. The author gives examples of authorial plays and reports on their productions, specifically stating these dramas: Midnight in the Borderland (3. and 4. 5. 1950, a monastery), Three Chairs (Alzheimer’s disease, a retirement home), From Majdalenka to Madla (World War II, cellar), Hotel on the Corner (1932–1989, old theatre building). The study emphasises the need for a creative and attentive approach by the author, playwright, dramaturg and director to create a whole new world from the duality: ordinary and taboo. It turns out that the combination of a strong theme, an unusual place tied to the topic of the drama, and the participatory role (active/passive) of the audience can be an effective strategy and even “tactic” in strengthening the role of the author in drama after the year 2000.

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Nasir, Muhammad Saeed, Muhammad Riaz, and Barirah Nazir. "The Representation of Social Reality in Saraiki Dramas Roshan Zameer and Qatil e Hamsheer." Global Language Review VI, no. I (March 30, 2021): 186–96. http://dx.doi.org/10.31703/glr.2021(vi-i).20.

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The Genre of Drama had always been reflective of social life. The history of drama is as old as of humans on earth. Saraiki drama is believed to be developed from undeveloped but organized expressions of caricatures; such kind of organized caricature is found still in the local area. It is a tradition that people of the lower caste named Bhaands. This kind of art was established by the people who were very poor, and they used to caricature the rich and gentry to amuse them and other people. The present study is aimed to trace the social realities and their representation in Saraiki Drama. Two Saraiki dramas Roshan Zameer and Qatil e Hamsheer had been analyzed in light of the Qualitative Content Analysis model proposed by Altheide(1996). It has been found that selected Saraiki dramas speak the prevailing ideological, social realities. It is suggested that more studies should be conducted to explore tradition and social realities existing in the Saraiki region so that regional social and cultural traditions may get a voice in international literary landscapes.

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14

Meredith, Peter, A. C. Cawley, Marion Jones, Peter F. McDonald, David Mills, Richard Beadle, and Pamela M. King. "The Revels History of Drama in English. Volume I: Medieval Drama." Modern Language Review 82, no. 3 (July 1987): 699. http://dx.doi.org/10.2307/3730435.

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15

Shephard, Robert. "Renaissance Drama As Cultural History: Essays from "Renaissance Drama" 1977-87." Sixteenth Century Journal 22, no. 4 (1991): 802. http://dx.doi.org/10.2307/2542407.

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16

Boratti, Vijayakumar M. "Politicized Literature: Dramas, Democracy and the Mysore Princely State." Studies in History 35, no. 1 (February 2019): 37–58. http://dx.doi.org/10.1177/0257643018816397.

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Literary writings such as poetry, drama or novel in colonial India manifest themselves into, react or subscribe to the larger discourse of colonialism or nationalism; rarely do they hold uniformity in their articulations. As colonial experiences and larger nationalist consciousness varied from region to region, cultural articulations—chiefly dramas—not only assumed different forms but also illustrated different thematic concerns. Yet, studies on colonial drama, thus far, have paid attention to either colonialism/orientalism or nationalism. There is a greater focus on British India in such studies. However, the case of princely states demands a momentary sidestep from the dichotomy of colonialism versus nationalism to understand the colonial dramas. The slow and gradual entry of nationalism in the princely states did not have to combat the British chiefly and directly. Much before its full blossom in the princely states, it had to grapple with a range of issues such as monarchy, democratic institutions, constitutionalism, bureaucracy and other pressing issues locally. In the present article, the Kannada dramas of Devanahalli Venkataramanaiah Gundappa (DVG) in the early decades of the twentieth century are examined to throw light on the ways in which they act as political allegories which imagine and debate democracy and its repercussions in the social and political spheres of the Mysore princely state.

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17

Greig, Hannah. "‘The New Downton Abbey’? Poldark and the Presentation and Perception of an Eighteenth-century Past." Journal of British Cinema and Television 16, no. 1 (January 2019): 94–113. http://dx.doi.org/10.3366/jbctv.2019.0458.

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As soon as it was commissioned, Poldark, like a number of other recent historical dramas, was labelled as the ‘new Downton Abbey’ and the comparison has persisted. Given Downton Abbey's hit status such comparisons are surely welcomed by production companies. For historians, however, such associations highlight an important phenomenon: the grouping of diverse period dramas as broadly similar, all perceived as being ‘like’ Downton. In what ways, though, are such dramas part of the same genre? And what implications do such associations have for how we should approach and analyse period dramas as a form of public history? This article uses a case study of Poldark as a starting point for addressing these questions, exploring the history foregrounded in the Poldark narratives and examining what happens to audience perceptions of that history as the story moves from novel to screen. It argues that although Winston Graham created a deeply researched, revisionist historical world in his fiction, his historical innovation is rarely acknowledged when his stories are consumed. While this goes some way to explaining why it is that a drama set in the eighteenth century can be regarded as being ‘like’ Downton Abbey, this apparent lack of engagement with a drama's specific historical content raises important, if difficult, questions for historians keen to analyse historical drama as a form of public history.

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18

Vasić Rakočević, Branislava V. "„LIPTONOV ČAJ“ RADOMIRA KONSTANTINOVIĆA I IZAZOV RADIO-DRAME." Nasledje Kragujevac XIX, no. 52 (2022): 299–309. http://dx.doi.org/10.46793/naskg2252.299vr.

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This paper begins with an overview of the history of radio drama as well as its charac- teristics. Radio dramas of Radomir Konstantinović represent a very specific part of his work mostly due to the historical position of this genre. The central part of the paper is the analysis of his radio drama called The Lipton Tea. There are some characteristic poetic elements in it which are connected to his novels. The crucial problems are problems of identity in a modern world and a dream of happiness and friendship. Since his radio dramas are fully published in 2019 for the first time, this paper traces the path for further research in this area.

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19

Wharton, Fred, and Joseph A. Porter. "Shakespeare's Mercutio: His History and Drama." South Atlantic Review 56, no. 1 (January 1991): 103. http://dx.doi.org/10.2307/3200150.

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Jackson, Russell, and Joseph A. Porter. "Shakespeare's Mercutio: His History and Drama." Yearbook of English Studies 21 (1991): 352. http://dx.doi.org/10.2307/3508530.

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21

Warner, Kate. "History, Memory and Television Crime Drama ( )." SPIEL 2017, no. 1 (January 1, 2017): 39–54. http://dx.doi.org/10.3726/spiel.2017.01.03.

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22

Robert, Lucie. "Toward a History of Quebec Drama." Poetics Today 12, no. 4 (1991): 747. http://dx.doi.org/10.2307/1772714.

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23

Smith, Bruce R., and Joseph A. Porter. "Shakespeare's Mercutio: His History and Drama." Shakespeare Quarterly 42, no. 1 (1991): 99. http://dx.doi.org/10.2307/2870660.

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24

HILGAR, MARIE-FRANCE. "FROM HISTORY TO DRAMA: NITETIS’ EVOLUTION." Journal of the Australasian Universities Language and Literature Association 85, no. 1 (May 1996): 103–8. http://dx.doi.org/10.1179/aulla.1996.85.1.009.

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25

McAnea, Thomas. "A brief history of medical drama." BMJ 322, Suppl S5 (May 1, 2001): 0105157. http://dx.doi.org/10.1136/sbmj.0105157.

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26

GOALEN, PAUL. "Twenty years of history through drama." Curriculum Journal 6, no. 1 (March 1995): 63–77. http://dx.doi.org/10.1080/0958517950060105.

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27

Xiang, Yu, and Irina V. Monisova. "Russian symbolist drama and theater in the Chinese scientific context." RUDN Journal of Studies in Literature and Journalism 24, no. 2 (December 15, 2019): 235–44. http://dx.doi.org/10.22363/2312-9220-2019-24-2-235-244.

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The article is based on the material, presented by the authors at the International Scientific Conference “Russia and China: History and Prospects of Cooperation”. It summarizes the experience of studying drama and theater of Russian symbolism in modern Chinese philological science, and discusses the promise of translating and presenting these dramas on the Chinese stage. One of the authors of this article is a translator and publisher with a number of plays by Russian symbolists, so the article focuses on problems, which concern about adaptation and reception of Russian symbolist drama in the modern Chinese context. We can make the conclusion about Chinese researchers’ growing interest is not only to the phenomenon of the new drama by recent decades, but also to the artistic innovations in drama and theater at the turn of 19 and 20 centuries, where can be found the influence of traditional Chinese theatre and fine arts.

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28

Syukri, Muhammad, and St Rahmaniah Bahrun. "INTERSECTING AND RECOGNIZING THE VALUE OF CULTURE THROUGH LOCAL HISTORY DRAMA “TOPEKKONG AGREEMENT”." JLE: Journal of Literate of English Education Study Program 2, no. 01 (July 29, 2021): 14–24. http://dx.doi.org/10.47435/jle.v2i01.650.

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Presenting drama as a tool in the learning process, especially English learning has been advanced. For a local history drama technique, one of them is to use drama. In this study, to increase the students' knowledge of their community, a drama using local history is interesting. The drama will build up learners who are proud of their community. In this case, the analysis shows how students intersect and recognize the importance of culture. Via a questionnaire, I collected the data to understand the interest of students by using the local history drama in the learning process. The element that the study finds is how the students intersect and understand the culture's meaning. The outcome indicates that none of the students state a derogatory comment about the use of techniques for local history drama. Sixty-five (86.67 percent) students were highly involved in the students' range of 66-80 percent. The highest score was 79, categorized as highly interested, and the lowest score was 61, categorized as an interesting group, based on the student scores on the questionnaire (see appendix 6 ). It is proposed that learning English through the use of local history drama could present the understanding of their cultural value as a pride in their life to the students.

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29

Kim Namseok. "The Fate of Korea Poetic Drama and the Model, ‘Poetic Drama History’." Institute for Humanities and Social Sciences 17, no. 3 (August 2016): 697–708. http://dx.doi.org/10.15818/ihss.2016.17.3.697.

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30

Gordon, Joel. "Viewing Backwards: Egyptian Historical Television Dramas in the 1990s." Review of Middle East Studies 52, no. 1 (April 2018): 74–92. http://dx.doi.org/10.1017/rms.2018.5.

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AbstractThe 1990s marked an important moment in Egyptian television, when the country turned its attention increasingly (although never monolithically) toward historical drama as a means of recreating and reinterpreting modern Egyptian history. Mahfouz Abd al-Rahman and Osama Anwar Okasha, in particular, scripted long multi-year series aired during Ramadan, the peak season for television viewing, that covered decades of the late ninteenth century and pre-Nasserist history, in many ways re-writing public history, and making historical drama—and history—fashionable. I focus here on the former and his first mega-hitBawabat al-Halawani (Halawani Gate). Biographical dramas, initially of artists, but later politicians, kings, and religious leaders would follow. As the Egyptian industry atrophied in the following decade these dramatists passed the mantle on to the Syrians, later the Turks, who broke the Egyptian monopoly and brought their own stories to the fore. But a rebirth may be in view.

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31

Gozansky, Yuval. "Fifty Years of Drama on Israeli Children’s Television." Israel Studies Review 33, no. 2 (September 1, 2018): 123–47. http://dx.doi.org/10.3167/isr.2018.330208.

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This article analyzes the changes in drama series in the first five decades (1966–2016) of Israeli children’s television. Based on interviews with 27 central producers, this cultural-historical study seeks to explain the significance attributed to children’s drama over the years. Early children’s drama series in Israel were instructional or educational, but they also sought to control the representation of childhood under the direct supervision of the state. The neo-liberal privatization process in Israeli society led to the creation of locally produced, Hebrew-speaking daily dramas on private channels for children. In the multiscreen environment created by the age of multichannel television and digital media, original Israeli daily drama shows functioned as a central branding tool for children’s channels. The article contends that these shows became one of the producers’ key answers to the changes in children’s viewing habits and, more particularly, linear television’s strategy for success in a world of multiple online screens.

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32

Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life." Science and Technology Development Journal 18, no. 4 (December 30, 2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.

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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.

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33

Zhang, Jinsong. "Discussion on Raymond Williams’ Methodology of Drama Criticism." Journal of Contemporary Educational Research 5, no. 10 (October 29, 2021): 153–57. http://dx.doi.org/10.26689/jcer.v5i10.2635.

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Raymond Williams is one of the representative figures of British cultural Marxism and British cultural research. His cultural research, especially mass culture research, focuses on literary criticism. Among them, drama criticism is one of Williams’ most important forms of cultural criticism methodology. Williams’ drama criticism is based on drama history criticism. Through the historical analysis of drama content and form as well as the synchronic analysis of modern drama in different historical periods, including the ongoing drama history, Williams proposed the notion of “structures of feeling.” The emergence of this concept opened up the social critical dimension of Williams’ drama criticism. Drama criticism has become a window for examining, analyzing, and grasping the current social emotional structure or social culture. Furthermore, by implanting tragic plots in the drama, a potential practical strategy of social and cultural revolution can be realized.

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34

Saleh Hasan Dahami, Yahya. "Arabic Contemporary Poetic Drama: Ali Ahmed Ba-Kathir A Pioneer." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 40–59. http://dx.doi.org/10.24093/awejtls/vol5no1.3.

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Many central playwrights significantly contributed to the progress and advancement of Arabic drama. They were apt to achieve dramatic illustrations in several Arabic countries all the way through ages and places. Still, this study attempts to shed light on an innovator poet-dramatist who represents many cultures and experiences. It aims at displaying the most significant features of renovation associated with the development of the modern Arabic poetic drama that employs history and social problems to present a vision for Arabic literature in the contemporary age. The researcher adopts the critical-descriptive approach in analyzing the poet-dramatist, Ali Ahmad Ba-Kathir, and two of his poetic dramas. It is mapped with an introductory overview dealing with a concise notion of drama, concentrating predominantly on poetic drama. The foremost part copes with the developer and pioneer Ali Ahmad Ba-Kathir, focusing on his thoughts and experiences in the field. The paper, then, moves ahead to deal with two verse plays as a model of his craftsmanship and mastery. After that, the study finishes with a brief argument and/or recommendations and an end.

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35

Legutko, Grażyna. "Informacyjny nadmiar i niedobór – dylematy edytora dramatów Żeromskiego. (Rzecz o Sułkowskim i Ponad śnieg bielszym się stanę)." Poznańskie Studia Polonistyczne. Seria Literacka, no. 27 (November 17, 2016): 185–204. http://dx.doi.org/10.14746/pspsl.2016.27.9.

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The article presents the problems faced by a modern editor of Stefan Żeromski’s dramas. In the case of the drama „Sułkowski” an editor has at their disposal extremely rich material enabling a detailed editorial commentary (connected with the origin of the drama, the historical sources used by Żeromski, subsequent stages of working on the text, publishing history, etc.), they do not however have the possibility to describe the original final draft of Sułkowski because it has not endured. In the case of „Ponad śnieg bielszym się stanę” (“Whiter Than Snow Shall I Be”), an editor does not have any concrete information which would show the birth of the idea of the drama and would give the testimony of working on the text; the editor does not also have any information about the first printing. Although the lack of extratextual information makes carrying out a critical editing of „Ponad śnieg bielszym się stanę” (“Whiter Than Snow Shall I Be”) more difficult, the endured original final draft and several pages of drama do recompense it in a way.

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36

Hnatiuk, Mykhailo, and Olha Shostak. "Ivan Franko’s Sketch of Drama “To Brazil”: from History of Unfinished ‘Emigrational’ Text." Академічний журнал "Слово і Час", no. 3 (March 30, 2019): 53–64. http://dx.doi.org/10.33608/0236-1477.2019.03.53-64.

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The paper provides an analysis of I. Franko’s unfinished drama “To Brazil” that deals with the first wave of the Ukrainians’ emigration, especially events of Brazilian Rush in 1895–1897. Since the literary text is based on important historical process, the authors characterize the special features of emigration from East Halychyna to the South American country at the late 19th and early 20th centuries. The research explores I. Franko’s participation in emigration movement and outlines the background of the author’s interest in creating literary work on the theme of emigration. Franko’s sketch of emigrational drama is not lengthy. It contains the list of characters, the author’s stage instruction describing the place of the first action (tavern), the first scene, and the beginning of the second. However based on the first fragment the features of conflict between two contrary characters’ groups are already noticeable. These groups are presented by peasants as eventual emigrants and their antagonist agent Podorozhnyi who acts in cooperation with a subagent Jew renter Moshko. It looks like in the play “To Brazil” the writer intended to highlight only key issues of the problem, in particular the emigrational agitation. Franko’s unfinished drama about the emigration contributed to appearance of the poetic cycle “To Brazil” (1896–1898) where its traditional topoi became somewhat transformed (the characters of peasants-emigrants, the agent, the Jewish subagent, archduke Rudolf, and motive of cheating). The mentioned cycle has an evident theatrical tone due to the dominance of role characters in lyrics. However, in the authors’ opinion, the drama, if it had been finished, could have offered more significant psychological analysis and enriched the presentation of Brazilian discourse in I. Franko’s literary works about emigration. I. Franko’s unfinished drama is interpreted not only within the author’s ‘emigrational’ text but also in the general context of the Ukrainian literature at the turn of the 19th and 20th centuries dealing with emigration in Brazilian direction (L. Lopatynskyi’s dramas “Mother-in-law” (1899) and “To Brazil”; A. Chaikovskyi’s story “Brazilian Welfare” (1896); T. Borduliak’s short story “Ivan the Brazilian” (1899); D. Markovych’s short story “Brazilians” (1896), etc.). The mentioned works have their basis in traditional narrative with its fixed images (agent, emigrant, homeland, outland) and motives (departure agitation, travel obstacles, hard work abroad, comeback).

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37

Kim, Gi-Bong. "How to view the Historical Drama: The Historical Drama as a ‘Dreaming History’." Humanities Contens 43 (December 31, 2016): 9. http://dx.doi.org/10.18658/humancon.2016.12.43.9.

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38

Nohhyun Park. "Television Drama and Historical Imagination - focusing on intertextuality & anachronism of History-drama." Studies in Korean Literature ll, no. 44 (June 2013): 387–414. http://dx.doi.org/10.20881/skl.2013..44.011.

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39

Davidson, Clifford, John D. Cox, and David Scott Kastan. "A New History of Early English Drama." Sixteenth Century Journal 29, no. 1 (1998): 134. http://dx.doi.org/10.2307/2544419.

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40

Domínguez, Frank A., Henryk Ziomek, and Frank A. Dominguez. "A History of Spanish Golden Age Drama." South Atlantic Review 50, no. 2 (May 1985): 111. http://dx.doi.org/10.2307/3199242.

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41

Steinberg, Michael P. "Music Drama and the End of History." New German Critique, no. 69 (1996): 163. http://dx.doi.org/10.2307/488613.

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42

Astington, John H., John D. Cox, and David Scott Kastan. "A New History of Early English Drama." Modern Language Review 94, no. 3 (July 1999): 786. http://dx.doi.org/10.2307/3737010.

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43

Griffin, Nigel, and Henryk Ziomek. "A History of Spanish Golden Age Drama." Modern Language Review 82, no. 4 (October 1987): 996. http://dx.doi.org/10.2307/3729127.

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44

Krouk, Dean. "The Drama of History: Ibsen, Hegel, Nietzsche." Scandinavian Studies 94, no. 2 (July 1, 2022): 253–56. http://dx.doi.org/10.5406/21638195.94.2.08.

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45

Hermenegildo, Alfredo, and Henryk Ziomek. "A History of Spanish Golden Age Drama." Hispanic Review 54, no. 1 (1986): 94. http://dx.doi.org/10.2307/473793.

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46

Slater, W. J. "Three Problems in the History of Drama." Phoenix 47, no. 3 (1993): 189. http://dx.doi.org/10.2307/1088419.

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Bank, Rosemarie K. "Indigenous North American Drama: A Multivocal History." Ecumenica 9, no. 1-2 (January 1, 2016): 60–63. http://dx.doi.org/10.5325/ecumenica.9.1-2.0060.

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Erdal, Erinc, and Ruken Akar Vural. "Teaching History Through Drama: The 'armenian Deportation'." History Education Research Journal 8, no. 2 (October 1, 2009): 4–25. http://dx.doi.org/10.18546/herj.08.2.02.

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Jones, Richard, and Barbara Goff. "History, Tragedy, Theory: Dialogues on Athenian Drama." Classical World 91, no. 5 (1998): 437. http://dx.doi.org/10.2307/4352136.

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Whitaker, Shirley B., and Henryk Ziomek. "A History of Spanish Golden Age Drama." Hispania 70, no. 4 (December 1987): 799. http://dx.doi.org/10.2307/342528.

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