Relevant bibliographies by topics / Melodrama. Women in literature. English drama English drama

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Melodrama. Women in literature. English drama English drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Melodrama. Women in literature. English drama English drama"

1

Shepherd, Simon. "Blood, Thunder and Theory: The Arrival of English Melodrama." Theatre Research International 24, no. 2 (1999): 145–51. http://dx.doi.org/10.1017/s0307883300020769.

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One of the surest ways of registering disapproval of a play or a performance is to dismiss it as ‘melodramatic’, thus invoking a whole network of mistaken dramatic values and improper practice. In arts reviews, classrooms and text books, ‘melodrama’ recurs as the ‘other’ of ‘proper’ realist drama. In English Drama: A Cultural History, we describe the critical history of melodrama as ‘The Unacceptable Face of Theatre's importance and seriousness. One of the most influential interventions came from Peter Brooks, whose Melodramatic Imagination propounds two arguments in favour of melodrama'scultu
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Payne, Deborah C., and Elizabeth Howe. "The First English Actresses: Women and Drama 1660-1700." Theatre Journal 45, no. 3 (1993): 396. http://dx.doi.org/10.2307/3208373.

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Davis, Tracy C., and Elizabeth Howe. "The First English Actresses: Women and Drama 1660-1700." TDR (1988-) 38, no. 3 (1994): 193. http://dx.doi.org/10.2307/1146388.

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Miller, John MacNeill. "When Drama Went to the Dogs; Or, Staging Otherness in the Animal Melodrama." PMLA/Publications of the Modern Language Association of America 132, no. 3 (2017): 526–42. http://dx.doi.org/10.1632/pmla.2017.132.3.526.

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For much of the nineteenth century, nonhuman animals shared the English stage with human performers in a series of popular, widely produced quadruped dramas. Work in animal studies and performance theory overlooks this phenomenon when it laments theater's unbroken history of animal exclusion—a notion of exclusion that quadruped dramas actually helped propagate and reinforce. The animal melodramas produced through the Victorian era featured animal characters whose appeal depended on the perceived otherness of animal actors, especially the knowledge that animals did not so much act in the drama
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Mahfouz, Safi Mahmoud. "Tragedy in the Arab Theatre: the Neglected Genre." New Theatre Quarterly 27, no. 4 (2011): 368–85. http://dx.doi.org/10.1017/s0266464x11000686.

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In this article Safi Mahmoud Mahfouz investigates the current state of tragedy in the Arab theatre and suggests some of the reasons behind the lack of an authentic Arabic tragedy developed from the Aristotelian tradition. Through analyses of the few translations and adaptations into Arabic of Shakespearean and classical tragedy, he both confirms and questions the claims of non-Arabic scholars that ‘the Arab mind is incapable of producing tragedy’. While the wider theatre community has been introduced to a handful of the Arab world's most prominent dramatists in translation, many are still larg
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Nicholls, Peter. "Sexuality and Structure: Tensions in Early Expressionist Drama." New Theatre Quarterly 7, no. 26 (1991): 160–70. http://dx.doi.org/10.1017/s0266464x00005431.

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In the first of two essays, Peter Nicholls explores connections between ideas of an ‘absolute’ or non-representational theatre and the forms of narrative and discursivity which have traditionally invested dramatic forms. In one of the earliest Expressionist plays – Oskar Kokoschka's Murder, Hope of Women – the tension between these ideas is powerfully in evidence. Nicholls shows how Kokoschka's formal experimentalism is grounded in contemporary polemics about gender and sexuality, tracing the ways in which theatrical innovation seeks to evade the Oedipal constraints of plot and narrative. That
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Pelletier, Martine. "Brian Friel on the french stage: from Laurent Terzieff to women directors of Dancing at Lughnasa." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 73, no. 2 (2020): 85–97. http://dx.doi.org/10.5007/2175-8026.2020v73n2p85.

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The success of Brian Friel's drama on stage in the English-speaking world is beyond dispute. Many plays of his plays have also been widely translated leading to numerous productions worldwide. My concern in this article is with French-language productions. The focus in this article will be, first, on the association between Brian Friel and the late great French actor and director Laurent Terzieff, who introduced French theatre professionals and audiences to Friel; and secondly on Dancing at Lughnasa, the play that has been most often performed on French stages, with specific reference to produ
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McFadden, Hugh. "‘Our own fastidious John Jordan’: Poet, Literary Editor, Critic." Irish University Review 42, no. 1 (2012): 124–40. http://dx.doi.org/10.3366/iur.2012.0012.

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For more than three decades, John Jordan (1930–88) was one of the most astute and perceptive literary critics in Ireland. As editor of the magazine Poetry Ireland in the Sixties he helped to revive Dublin as a significant literary centre, maintaining friendships with Patrick Kavanagh, Brendan Behan, and Austin Clarke. Himself a poet in the late modernist mode and a writer of witty and idiosyncratic short stories about the bohemian Dublin of the Forties and Fifties, Jordan was equally well-known as a drama critic, a staunch advocate of the later plays of Sean O'Casey, a defender of Joyce and Be
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Ferozan, Arazoo. "Akhimie, Patricia and Bernadette Andrea, eds. Travel and Travail: Early Modern Women, English Drama, and the Wider World." Renaissance and Reformation 42, no. 4 (2020): 189–91. http://dx.doi.org/10.7202/1068586ar.

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Eriks Cline, Lauren. "The Long Run of Victorian Theater." Victorian Literature and Culture 48, no. 3 (2020): 623–31. http://dx.doi.org/10.1017/s106015032000025x.

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It's March 2020 as I write this, and the theaters are closed. Broadway is dark, and the Globe is once again shut due to a plague. Perhaps “self-isolation” is a strange condition under which to be thinking about crowded Victorian playhouses. As I make dates to watch movies with friends hundreds of miles away on the Netflix Party app, the media environment in which I pursue entertainment has perhaps never felt more dissimilar to that of nineteenth-century theatergoers. But, then again, maybe the photos of empty auditoria and deserted streets are the best demonstration of the space that public cu
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Dissertations / Theses on the topic "Melodrama. Women in literature. English drama English drama"

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Alfar, Cristina León. ""Evil" women : patrilineal fantasies in early modern tragedy /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9455.

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Hill, Alexandra Nicole. ""Bloudy tygrisses" murderous women in early modern English drama and popular literature /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002727.

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Oram, Yvonne. "Older women in Elizabethan and Jacobean drama." Thesis, University of Birmingham, 2002. http://etheses.bham.ac.uk//id/eprint/1778/.

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This thesis explores the presentation of older women on stage from 1558-1625, establishing that the character is predominantly pictured within the domestic sphere, as wife, mother, stepmother or widow. Specific dramatic stereotypes for these roles are identified, and compared and contrasted with historical material relating to older women. The few plays in which these stereotypes are subverted are fully examined. Stage nurse and bawd characters are also older women and this study reveals them to be imaged exclusively as matching stereotypes. Only four plays, Peele’s The Old Wives Tale, Fletche
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Hill, Alexandra. "BLOUDY TYGRISSES": MURDEROUS WOMEN IN EARLY MODERN ENGLISH DRAMA AND POPULAR LITERATURE." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2281.

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This thesis examines artistic and literary images of murderous women in popular print published in sixteenth and seventeenth-century England. The construction of murderous women in criminal narratives, published between 1558 and 1625 in pamphlet, ballad, and play form, is examined in the context of contemporary historical records and cultural discourse. Chapter One features a literature review of the topic in recent scholarship. Chapter Two, comprised of two subsections, discusses representations of early modern women in contemporary literature and criminal archives. The subsections in Chapter
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Harris, Susan C. "Bodies and blood : gender and sacrifice in modern Irish drama /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/fullcit?p9837975.

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Hirsch, Brett Daniel. "Werewolves and women with whiskers : figures of estrangement in early modern English drama and culture." University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0175.

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Each chapter of Werewolves and Women with Whiskers: Figures of Estrangement in Early Modern English Drama and Culture explores a particular figure of fascination and fear in the early modern English imagination: in one it is owls, in another bearded women, in a third werewolves, and in yet another Jews. Drawing on instances from drama and other cultural forms, this thesis seeks to examine each of these phenomena in terms of their estrangement. There is a symbolic appositeness in each of these figures, whether in estranged and estranging minority groups, such as Catholics, Jesuits, Jews, Purita
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Knott, Sue Marilyn. "Competing discourses of love and sexuality in the relationships between men and women in Renaissance drama." Thesis, University of Birmingham, 1998. http://etheses.bham.ac.uk//id/eprint/3629/.

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This thesis is an examination of the ways in which competing discourses of love and sexuality, ranging from the literary and philosophical to the religious, have influenced the portrayal of men and women in the drama of the late sixteenth and early seventeenth centuries. The structure of the thesis is in two parts: the first concerns what might be termed normative relationships, underlying which is the ideal of mutual affection in marriage, and the second, relationships which undermine, or challenge that ideal. My central proposition is that the conflict between the demands of the body and the
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Sheldon, Dania S. K. "'Unregarded age' : texts and contexts for elderly characters in English Renaissance drama, c.1480-1625." Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:20f5d513-2121-4cb6-afcb-de9846ab9a8e.

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This study seeks to provide historical and literary contexts for elderly characters from English play-texts c.1580 to 1625. Its primary aim, from a literary perspective, is to draw attention to the ways that a better understanding of elderly characterisation can enrich the appreciation of much-studied play-texts, and to indicate some interesting features of more obscure ones. Its secondary aim is to suggest the value, for social historians of old age in early modern England, of play-texts as social evidence. I have examined most of the published extant play-texts of the period, and have found
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Steffes, Annmarie. "Between page and stage: Victorian and Edwardian women playwrights and the literary drama, 1860-1910." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5642.

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This study focuses on a series of late-century works by women writers that incorporate facets of theatrical performance into the printed book. Literary drama was a common genre of the Victorian and Edwardian period, used by writers such as Robert Browning, Alfred Tennyson, and Matthew Arnold to elevate drama to the status of literature, a term synonymous with the printed page and the experience of reading. However, this project examines a series of women writers who, in contrast, used this hybrid form to challenge the assumed superiority of text. The values ascribed to the printed page—that it
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Slowe, Martha. "In defense of her sex : women apologists in early Stuart letters." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39756.

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This study explores the problem of female defense in relation to the constitution of women as disempowered speaking subjects within the dominant rhetorical structures of early Stuart literature. The discourse of male rhetoricians defines a subordinate place for women in the order of language. The English formal controversy arguments over the nature of women in the sixteenth and early seventeenth centuries similarly deploy tropes of male precedence and female subordination to restrain women in the symbolic order and to inhibit any form of female discourse. In order to construct an effective def
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Books on the topic "Melodrama. Women in literature. English drama English drama"

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1944-, Gubar Susan, ed. Masterpiece theatre: An academic melodrama. Rutgers University Press, 1995.

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Gender and medieval drama. D.S. Brewer, 2004.

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Howe, Elizabeth. The first English actresses: Women and drama, 1660-1700. Cambridge University Press, 1992.

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Jankowski, Theodora A. Women in power in the early modern drama. University of Illinois Press, 1992.

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Playwriting women: Female voices in English Canada. Simon & Pierre, 1994.

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C, Alston R. A checklist of women writers, 1801-1900: Fiction, verse, drama. G.K. Hall, 1990.

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Newman, Karen. Fashioning femininity and English Renaissance drama. University of Chicago Press, 1991.

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Privacy, playreading, and women closet drama, 1550-1700. Cambridge University Press, 2004.

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Feminist views on the English stage: Women playwrights, 1990-2000. Cambridge University Press, 2003.

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The staged encounter: Contemporary feminism and women's drama. Ibidem, 2004.

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Book chapters on the topic "Melodrama. Women in literature. English drama English drama"

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Findlay, Alison. "Women and Drama." In A Companion to English Renaissance Literature and Culture. Blackwell Publishers Ltd, 2007. http://dx.doi.org/10.1002/9780470998731.ch42.

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Findlay, Alison. "Women and Drama." In A New Companion to English Renaissance Literature and Culture. Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch48.

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"‘Madam Rabbi’: Representations of Jewish Women in English Renaissance Drama." In Masculinity, Anti-Semitism and Early Modern English Literature. Routledge, 2017. http://dx.doi.org/10.4324/9781315249544-11.

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Wilson, Katherine C. "Melodrama Remediated." In Advances in Human and Social Aspects of Technology. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6002-1.ch010.

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This chapter reconsiders some tenets of Genette's insightful framework for analyzing paratexts, by examining the transformation of paratexts on one kind of published play—a cheaper, nineteenth-century, English-language “Acting Edition”—after remediation into digital form for new purposes: not for producing theatre, but for studying old drama. Invoking Aiken's Uncle Tom's Cabin and Dion Boucicault plays as examples of general patterns, the author first fill in gaps in the inventory of print paratexts, delineating a species of theatrical paratext different from the literary paratexts spotlighted by Genette, that, together with the publisher's commercial communications, referred away from the single author or drama and rendered the publication into a hybrid literary-practical commodity. Moving to the twenty-first century, the chapter touches briefly on the pre-digital academic publishing formats, print anthologies and facsimile microform, which involved paratextual and market practices variously inherited by digital successors. While acknowledging the diverse array of digitized playbooks, the chapter concentrates on the proprietary database Literature Online produced by the Chadwyck-Healey division of a conglomerate corporation ProQuest, couching the remediated play paratexts within shifts in global capitalism. These for-profit paratexts partly reveal their political economy basis in fusion with the ideologies of the academic market and the materiality of their medium, including a new species of partly visible protocols that the author calls actuating marks. Overall, the chapter uses old melodrama to open new views of the performances of paratexts across textual media and embedded in political economy.
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Vitkus, Daniel. "Turning tricks: erotic commodification, cross-cultural conversion, and the bed-trick on the English stage, 1580–1630." In Conversions. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719099151.003.0012.

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The ‘bed-trick’) was a pervasive plot device in prose fiction and other forms of Renaissance literature but appeared late as a device in English drama. The arrival and proliferation of the bed-trick can be connected to the emergence of capitalism as a system founded on a basic structure of deception by means of substitution in an increasingly aggressive commodity exchange market. This chapter discusses those plays in which the substituted lover is a Moor. In each of these plays with a Moorish woman substitute, we encounter the Moor as placeholder, a degraded substitute and commodity, the monstrous and demonized version of what women had become in bourgeois marriage. By looking at erotic trickery, at dangerous or dubious economic transactions, and religious or racial instability in Elizabethan and Early Stuart plays, we can begin to glimpse a broad pattern, one in which the fundamental anxieties and instabilities produced by new economic practices in early modern England were projected into stage actions involving rape, theft, swindles and racial or religious infidelity.
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Guadamillas Gómez, María Victoria. "Analysis of the Fictional Elements and Their Connection With Gender Stereotypes in EFL Learners' Productions." In Teaching Language and Literature On and Off-Canon. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3379-6.ch001.

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This contribution analyses short biographies written by pre-service infant and primary school teachers about fictional women in history. The pieces of writing were produced by upper-intermediate English learners within a project carried out in two different classes, and in which reading, storytelling, and creative writing were combined with the main purpose of contributing to women's empowerment and visibility in society as well as writing and oral skills' development. In this regard, students read a selected group of biographies, and, later, they created their own fictional biography in which language use, drama—storytelling—and arts were utilised. For the analysis of the stories, attention is paid to the fictional elements introduced (validity of the story, interiority in the main character/s, and narrative congruence, among others), and the presence of adjectives which tend to be attached to female characteristics. In general, the results have shown that there is not a direct relationship between fictional elements and female stereotypes in the stories.
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