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Journal articles on the topic 'Literature Drama Drama'

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1

Diamond, Elin. "Modem Drama/Modernity's Drama." Modern Drama 44, no. 1 (2001): 3–15. http://dx.doi.org/10.3138/md.44.1.3.

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2

Keturakienė, Eglė. "Lithuanian Literature and Shakespeare: Several Cases of Reception." Interlitteraria 24, no. 2 (2020): 366–79. http://dx.doi.org/10.12697/il.2019.24.2.8.

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The article is based on the reception theory by Hans Robert Jauss and analyses how Shakespeare’s works were read, evaluated and interpreted in Lithuanian literature in the 19th to 21th centuries. Some traces of Shakespeare’s works might be observed in letters by Povilas Višinskis and Zemaitė where Shakespearean drama is indicated as a canon of writing to be followed. It is interesting to note that Lithuanian exodus drama by Kostas Ostrauskas is based on the correspondence between Višinskis and Zemaitė. The characters of the play introduce the principles of the drama of the absurd. Gell’s conce
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3

Falkner, Gerhard, and Andrew Duncan. "Drama." Chicago Review 48, no. 2/3 (2002): 88. http://dx.doi.org/10.2307/25304879.

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4

Martine, James J. "Drama." American Literary Scholarship 1998, no. 1 (2000): 391–416. http://dx.doi.org/10.1215/00659142-1998-1-391.

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5

Martine, J. J. "Drama." American Literary Scholarship 1999, no. 1 (2001): 413–38. http://dx.doi.org/10.1215/00659142-1999-1-413.

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6

Martine, J. J. "Drama." American Literary Scholarship 2000, no. 1 (2002): 417–34. http://dx.doi.org/10.1215/00659142-2000-1-417.

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7

Martine, J. J. "Drama." American Literary Scholarship 2001, no. 1 (2003): 421–43. http://dx.doi.org/10.1215/00659142-2001-1-421.

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8

Martine, J. J. "Drama." American Literary Scholarship 2002, no. 1 (2004): 399–423. http://dx.doi.org/10.1215/00659142-2002-1-399.

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9

Martine, J. J. "Drama." American Literary Scholarship 2003, no. 1 (2005): 475–98. http://dx.doi.org/10.1215/00659142-2003-1-475.

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10

Martine, J. J. "Drama." American Literary Scholarship 2004, no. 1 (2006): 433–52. http://dx.doi.org/10.1215/00659142-2005-014.

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11

Chansky, D. "Drama." American Literary Scholarship 2005, no. 1 (2007): 427–55. http://dx.doi.org/10.1215/00659142-2006-009.

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12

Chansky, D. "Drama." American Literary Scholarship 2006, no. 1 (2008): 421–51. http://dx.doi.org/10.1215/00659142-2007-020.

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13

Chansky, D. "Drama." American Literary Scholarship 2007, no. 1 (2009): 437–63. http://dx.doi.org/10.1215/00659142-2008-014.

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14

Chansky, D., and J. Chambers. "Drama." American Literary Scholarship 2008, no. 1 (2010): 415–39. http://dx.doi.org/10.1215/00659142-2009-013.

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15

Sauer, D. K. "Drama." American Literary Scholarship 2011, no. 1 (2013): 391–414. http://dx.doi.org/10.1215/00659142-2076912.

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16

Sauer, David K., and Geoffrey Sauer. "Drama." American Literary Scholarship 2016, no. 1 (2018): 339–57. http://dx.doi.org/10.1215/00659142-4383882.

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17

Sauer, David K., and Geoffrey Sauer. "Drama." American Literary Scholarship 2017, no. 1 (2019): 371–93. http://dx.doi.org/10.1215/00659142-7491877.

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18

Sauer, David K., and Geoffrey Sauer. "Drama." American Literary Scholarship 2018, no. 1 (2020): 343–64. http://dx.doi.org/10.1215/00659142-8118622.

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19

Maher, Eamon. "Literature, Drama And Film." Irish Studies Review 17, no. 4 (2009): 528–31. http://dx.doi.org/10.1080/09670880903316052.

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20

Namazova, F. "CHARACTERISTICS OF DRAMA GENRE AND DRAMA LANGUAGE." BULLETIN Series of Philological Sciences 75, no. 1 (2021): 77–82. http://dx.doi.org/10.51889/2021-1.1728-7804.13.

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Addressing the specific problems of dramatic creativity, we must first determine the basic meaning of the term "drama". As we know, the word "drama" has different meanings. We also call a certain range of real events, for example, the drama of life, one of the genres of the dramatic type of literature (the noble drama of the eighteenth century) and the dramatic theater, which is the leading type of performing arts. Dramatic works are fundamentally different from other genres. As early as the 19th century, the great thinker MFAkhundov distinguished the genre of drama he brought to our literatur
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21

Fareeha Zaheer. "Theatrical Milieu: Investigating Drama and Theatre in tandem with Socio-Political Landscape of Pakistan." sjesr 4, no. 2 (2021): 278–87. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(278-287).

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This study is an attempt to trace the impacts of socio-political conditions in the formation and evolution of drama and theatre traditions in Pakistan. It provides the genesis of theatre and drama in Pakistan intertwining it with the past and present situations of this genre of literature. It also ventures at the inert position of drama and theatre in English in Pakistan. Qualitative textual analysis is conducted to analyze and highlight the major available critical acumen in the genre of Pakistani drama and theatre. The methodology adopted is interpretive of the theatrical performances by maj
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22

Boratti, Vijayakumar M. "Politicized Literature: Dramas, Democracy and the Mysore Princely State." Studies in History 35, no. 1 (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 stud
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23

Zotova, Tatiana A. "TRAGEDY IN L. TIECK’S DRAMA. SOME ASPECTS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 32–41. http://dx.doi.org/10.28995/2686-7249-2021-3-32-41.

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The article considers the genre of tragedy in the works of L. Tieck, one of the key figures of German Romanticism. It is known that the tragedy genre among the German romantics is represented mainly by two varieties: the “tragedy of fate” (Schicksalsdrama) and the drama on a religious-historical theme (in literature most often referred to as Universaldrama, “universal drama”). L. Tieck stands at the origins of both genres, while the tragedy “The Life and Death of Saint Genoveva” (1801), to which other religious and historical dramas of German romanticism go back, turned out to be especially in
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24

Groves, B. "Capital Drama." Cambridge Quarterly 38, no. 4 (2009): 392–97. http://dx.doi.org/10.1093/camqtly/bfp020.

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25

Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life." Science and Technology Development Journal 18, no. 4 (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 whol
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26

Sagar, Aparajita, and Bruce King. "Post-Colonial English Drama: Commonwealth Drama since 1960." World Literature Today 68, no. 1 (1994): 228. http://dx.doi.org/10.2307/40150112.

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27

Abu Bakar, Roslina, Arba’ie Sujud, and Nurul Ainabila Shuhaimi. "Falsafah Pemikiran Hatta Azad Khan dalam Kumpulan Drama Dunia Belum Kiamat." Ulum Islamiyyah 18 (February 7, 2017): 67–89. http://dx.doi.org/10.33102/uij.vol18no.260.

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Makalah ini adalah untuk melihat falsafah pemikiran Hatta Azad Khan dalam Kumpulan Drama Dunia Belum Kiamat (2013). Fokus kajian ini ialah untuk mengenal pasti dan membincangkan falsafah dan pemikiran yang ingin diketengahkan oleh pengarang dalam kumpulan drama tersebut. Kumpulan Drama Dunia Belum Kiamat (2013) beraliran realisme dan mengandungi lima buah drama iaitu drama Awang, Anak Korporat, Dunia Belum Kiamat, Cermin Tipu Daya dan Puteri Gunung Ledang. Kaedah kajian yang digunakan ialah kaedah kepustakaan dan analisis kandungan. Kajian ini menggunapakai teori Sosiologi oleh J. Duvidnaud (1
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28

Watts, Michael, and Robert F. Smith. "Economics in Literature and Drama." Journal of Economic Education 20, no. 3 (1989): 291. http://dx.doi.org/10.2307/1182306.

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29

Watts, Michael, and Robert F. Smith. "Economics in Literature and Drama." Journal of Economic Education 20, no. 3 (1989): 291–307. http://dx.doi.org/10.1080/00220485.1989.10844633.

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30

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 (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 cri
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31

Gibert, John. "SATYRIC DRAMA." Classical Review 53, no. 1 (2003): 22–24. http://dx.doi.org/10.1093/cr/53.1.22.

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32

Petrides, Antonis K. "Satyr Drama." Classical Review 55, no. 1 (2005): 38–41. http://dx.doi.org/10.1093/clrevj/bni024.

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33

Gilbert, Jan, and Kevin McCaffrey. "Tank Drama." TDR/The Drama Review 57, no. 1 (2013): 18–25. http://dx.doi.org/10.1162/dram_a_00231.

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In post-Katrina New Orleans, creative artists took responsibility for remembering the disaster and re-visioning the city. This collection of articles and photographs offers a glimpse into the still-emerging effort to think through the past and envision the future of life and art in New Orleans.
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34

Shen, Liang. "Drama Etudes." TDR: The Drama Review 65, no. 2 (2021): 131–49. http://dx.doi.org/10.1017/s1054204321000125.

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Teaching theatre and drama in primary and secondary schools is a very difficult task worldwide. In China, there is a huge demand for drama teachers who also know practical theatre. Taking on this mission, the Shanghai Theatre Academy started a program of “drama etudes.” This pedagogical experiment stimulated debate about opposing concepts in theatre education: imitation vs. improvisation.
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35

Rawski, Jakub. "Błędni rycerze Juliusza Słowackiego — Zawisza Czarny i Beniowski." Prace Literackie 56 (June 29, 2017): 33–49. http://dx.doi.org/10.19195/0079-4767.56.3.

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Knights-errant by Juliusz Słowacki — Zawisza the Black and Beniowski„Zawisza the Black” and „Beniowski” drama there are one of poorly discussed works by Juliusz Słowacki. The unfinished dramas by the poet, dating from the late, mystical phase of his literature, opens awide field of research. It appears advisable to place the thesis of apossible inspi­ration Słowacki „Don Quixote” by Miguel de Cervantes Saavedra when writing drama „Zawisza the Black” and „Beniowski” drama. Spanish novel, which is amockery of chivalric romances and epics, perhaps, has become for author of „Kordian” point of refe
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36

Ridley, Philip. "The Poetry in Drama, the Drama in Poetry." Journal of Contemporary Drama in English 9, no. 1 (2021): 145–51. http://dx.doi.org/10.1515/jcde-2021-0010.

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37

Balázs, Béla. "Radio Drama." October 115 (January 2006): 47–48. http://dx.doi.org/10.1162/octo.2006.115.1.47.

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38

Mizusawa, Ken. "Drama-Based Playwriting: Teaching Playwriting Through Drama in the English Literature Classroom." Teaching Artist Journal 17, no. 1-2 (2019): 3–10. http://dx.doi.org/10.1080/15411796.2019.1595968.

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39

Garrard, Kate. "The school drama book: drama, literature and literacy in the creative classroom." NJ 41, no. 2 (2017): 158–59. http://dx.doi.org/10.1080/14452294.2017.1429192.

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40

Czerwinski, E. J., and Alja Predan. "Contemporary Slovenian Drama." World Literature Today 71, no. 4 (1997): 832. http://dx.doi.org/10.2307/40153437.

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41

Parameswaran, Uma, and Erin B. Mee. "Drama Contemporary India." World Literature Today 76, no. 1 (2002): 144. http://dx.doi.org/10.2307/40157080.

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42

Hempel, Nele, and Doris Dörrie. "Happy: Ein Drama." World Literature Today 76, no. 3/4 (2002): 121. http://dx.doi.org/10.2307/40157691.

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43

Conteh-Morgan, John, and Tejumola Olaniyan. "Drama and Performance." Research in African Literatures 30, no. 4 (1999): 1–5. http://dx.doi.org/10.2979/ral.1999.30.4.1.

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44

Czerwinski, E. J., and Marketa Goetz-Stankiewicz. "Drama Contemporary: Czechoslovakia." World Literature Today 59, no. 4 (1985): 621. http://dx.doi.org/10.2307/40142085.

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45

Terras, Victor, and Bodo Zelinsky. "Das russische Drama." World Literature Today 61, no. 1 (1987): 124. http://dx.doi.org/10.2307/40142610.

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46

Falk, Thomas H., George Saiko, and Adolf Haslinger. "Drama und Essays." World Literature Today 61, no. 4 (1987): 626. http://dx.doi.org/10.2307/40143860.

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47

Györgyey, Clara, and Eugene Brogyanyi. "New Hungarian Drama." World Literature Today 66, no. 2 (1992): 378. http://dx.doi.org/10.2307/40148288.

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48

Knowles, Ronald, and Peter Buse. "Drama + Theory: Critical Approaches to Modern British Drama." Modern Language Review 99, no. 1 (2004): 181. http://dx.doi.org/10.2307/3738894.

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49

Hornby, Richard. "Mathematical Drama." Hudson Review 48, no. 2 (1995): 279. http://dx.doi.org/10.2307/3851825.

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50

Hornby, Richard. "Freudian Drama." Hudson Review 49, no. 1 (1996): 112. http://dx.doi.org/10.2307/3851950.

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