Relevant bibliographies by topics / Nineteeth century English and American drama

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

Academic literature on the topic 'Nineteeth century English and American drama'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Nineteeth century English and American drama"

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Ginsburg, Shai. "The Physics of Being Jewish, or On Cats and Jews." AJS Review 35, no. 2 (2011): 357–64. http://dx.doi.org/10.1017/s0364009411000444.

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The opening scene of Joel and Ethan Coen's A Serious Man has baffled many. What does an unsettling tale of an encounter with what may or may not be a dybbuk, set in the mid-nineteenth century in a Polish shtetl, and played out entirely in Yiddish, have to do with the story of a Jewish professor of physics and his family in suburban Minnesota in the summer of 1967, related in English? Is the scene to be viewed as a warm-up of sorts before the main attraction, akin, if you will, to the short-subject films—newsreels, animated cartoons, and live-action comedies and documentaries—that movie houses
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Zhang, Saiyao, and Yu Sun. "A Study of Gender Differences in English from the Perspective of Sociolinguistics." International Journal of Languages, Literature and Linguistics 8, no. 1 (2022): 36–39. http://dx.doi.org/10.18178/ijlll.2022.8.1.319.

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As we all know, there are certain differences between female and male in physiology and psychology, but for a long time, the language characteristics and differences between female and male have been rarely known. Until the rise of the American women's Liberation Movement in the last century, linguists began to pay more attention to the differences in language between different genders. In this paper, the author selects 22 episodes of the first season of the American drama How I Met Your Mother and arranges the conversations among them. Then the author studies the language differences of femal
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Karnad, Girish. "Performance, Meaning, and the Materials of Modern Indian Theatre." New Theatre Quarterly 11, no. 44 (1995): 355–70. http://dx.doi.org/10.1017/s0266464x00009337.

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Girish Karnad is not only India's leading playwright, and a practitioner across the performing arts in all that nation's media, but the first contemporary Indian writer to have achieved a major production in a regional American theatre – Naga-Mandala, seen at the Guthrie Theatre in July 1993. The following interview was recorded on the occasion of that production, and ranges widely not only over Karnad's own work and its circumstances, but the situation and problems of the Indian theatre today, and its ambivalent relationship alike to its classical and its colonial past, and to the contemporar
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He, Chengzhou. "‘The Most Traditional and the Most Pioneering’: New Concept Kun Opera." New Theatre Quarterly 36, no. 3 (2020): 223–36. http://dx.doi.org/10.1017/s0266464x20000469.

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Featuring hybridity, transgression, and improvisation, New Concept Kun Opera refers to experimental performances by Ke Jun and other Kun Opera performers since the beginning of the twenty-first century. From telling the ancient stories to expressing the modern self, this new form marks the awakening of the performer’s subjectivity and develops a contemporary outlook by rebuilding close connections between Kun Opera and modern life. A synthetic use of intermedial resources contributes to its appeal to today’s audiences. Its experimentation succeeds in maintaining the most traditional while expl
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Kabanova, Irina V. "English and American Travel Writing of the 1930s on Soviet Russia." Literature of the Americas, no. 10 (2021): 228–65. http://dx.doi.org/10.22455/2541-7894-2021-10-228-265.

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Starting with a survey of historical and ideological reasons for the unprecedented rise of Western interest in Russia after 1917 and especially after the Great Depression, the paper focuses on the travel books widely read on both sides of the Atlantic in the 1930s. The decade saw the blooming of travel prose in the English-speaking world, as well as the peak of enthusiasm for Russia during the XXth century. The paper attempts a closer look at the travel books on Soviet Russia, usually dismissed by critics as lacking in the quality of writing, too ideological. First the model of stereotypical b
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Prentice, Catherine, and Helena Leongamornlert. "The RSC Goes Walkabout: ‘The Dillen’ in Stratford, 1983." New Theatre Quarterly 18, no. 1 (2002): 47–58. http://dx.doi.org/10.1017/s0266464x02000143.

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This article describes and analyzes Barry Kyle's production of The Dillen, a community project staged by the RSC in 1983, in which The Other Place became no more than a base from which the play, its actors, and its audiences set out into the streets, fields and river in Stratford, to re-enact the life of a working-class Stratford man, George Hewins, born around a century earlier. In addition to placing the play in its social, political, and local context, the authors raise questions about the implications of the production for the RSC and the people of Stratford today. The kernel of this artic
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Senelick, Laurence. "Stanislavsky's Second Thoughts on ‘The Seagull’." New Theatre Quarterly 20, no. 2 (2004): 127–37. http://dx.doi.org/10.1017/s0266464x0400003x.

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Stanislavsky's first production of The Seagull is well documented in English, in The Seagull Produced by Stanislavsky, edited by S. D. Balukhaty in 1952. But little is known of his exploratory work on an intended second production almost two decades later amidst the turmoil of the revolutionary period, and the rehearsal notes made by Stanislavsky's assistant Pyotr Sharov remained unpublished even in Russian until 1987. Here, Laurence Senelick provides the first English translation of these notes, contextualizing them with an account of the difficulties under which Stanislavsky and the Art Thea
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Čirić-Fazlija, Ifeta. "“Not the time for fighting but for taking care of each other”: Portrayals of the Second World War in Two Asian-American Plays." Društvene i humanističke studije (Online) 7, no. 2(19) (2022): 139–52. http://dx.doi.org/10.51558/2490-3647.2022.7.2.139.

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Most of humanity’s recorded history has been indelibly marked by armed conflicts in various places around the world, yet the scale and effect of the two world wars in the first half of the twentieth century were unprecedented. Both wars remapped the geography, politics, economies, and consciousness of prior realities, and echoed deafeningly throughout the modern works of literature of diverse nations. Anglophone literature overtly portrays wartime atrocities and human ordeals, and concurrently raises awareness of, and agitates against, the savagery of warfare. It does so through its poignant T
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Waite, Genevieve. "L’homoérotisme en autotraduction : Le cas de Sud / South de Julien Green." Dalhousie French Studies, no. 117 (March 29, 2021): 111–25. http://dx.doi.org/10.7202/1076096ar.

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As a translingual American writer, Julien Green (1900-1998) wrote a wide variety of novels, plays, short stories, and essays, as well as one of the longest recorded journals of the twentieth century. Among his bilingual texts Green published an important homoerotic play, Sud (1953), which he later translated into English as South (1959) in collaboration with his sister, Anne Green. Although the homoerotic nature of the characters of Green’s novels has been examined in certain critical texts, the evolution of this homoeroticism in Green’s self-translated play, Sud / South, has not yet been stud
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari
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Dissertations / Theses on the topic "Nineteeth century English and American drama"

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Christianson, Frank Q. "Realism and the cult of altruism : philanthropic fiction in nineteeth-century America and Britain /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174588.

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Morrow, Sarah Emily. "Absent Characters as Proximate Cause in Twentieth Century American Drama." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/58.

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This thesis explores the status of a specific subset of absent characters within twentieth century American drama. By borrowing the term “proximate cause” from tort law and illuminating its intricacies through David Hume’s A Treatise of Human Nature, this thesis re-appropriates proximate cause for literary studies. Rather than focus on characters whose existence remains the subject of critical debate, this set of absent characters presumably exists but never appear onstage. Despite their non-appearance onstage, however, these absent characters nonetheless have a profound effect upon the action
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Schroot, Lisa M. "A Culture of Rape: In Twentieth Century American Literature and Beyond." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/39.

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This project examines rape culture in American literature and society, exploring factors of rape culture through the narratives of literary protagonists and current women alike. Each chapter is grounded in a work of literature, which serves as a lens through which to analyze a factor of rape culture, and is then broadened in scope to incorporate recent court cases that have had significant sociocultural impacts. The introduction includes a critical review of rape in feminist theory, from Susan Brownmiller to Ann J. Cahill. The first chapter treats the rape of Dolores Haze and victim blaming in
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Bean, Heidi R. "Poetry 'n acts: the cultural politics of twentieth-century American poets' theater." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/638.

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"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the f
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Janardanan, Dipa. "Images of loss in Tennessee Williams's The glass menagerie, Arthur Miller's Death of a salesman, Marsha Norman's Night, mother, and Paula Vogel's How I learned to drive." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11122007-085911/.

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Thesis (Ph. D.)--Georgia State University, 2007.<br>Title from file title page. Matthew C. Roudane, committee chair; Pearl McHaney, Nancy Chase, committee members. Electronic text (208 p.) : digital, PDF file. Description based on contents viewed Feb. 28, 2008. Includes bibliographical references (p. 192-208).
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Books on the topic "Nineteeth century English and American drama"

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Ellis, James. English drama of the nineteenth century: An index and finding guide. Edited by Donohue Joseph W. 1935- and Zak Louise Allen. Readex Books, 1985.

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Joseph, Donohue, and Zak Louise Allen, eds. English drama of the nineteenth century: An index and finding guide. Readex Books, 1985.

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1954-, Alexander Suzanne, ed. A joker's folio: Parlor humor & sayings of the mid-nineteeth century. Virtualbookworm, 2003.

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Weber, Myles. Middlebrow annoyances: American drama in the 21st century. Gival Press, 2003.

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Annika, Bluhm, ed. The theatre arts audition book for women. Routledge, 2003.

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Jocelyn, Beard, ed. 100 great monologues from the 19th century romantic and realistic theatres. Smith and Kraus, 1994.

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7

Cohn, Ruby. Anglo-American interplay in recent drama. Cambridge University Press, 1995.

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1938-, Richmond Farley P., ed. Plays of provocation. Kendall/Hunt Pub. Co., 1999.

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Michael, Earley, and Keil Philippa, eds. Solo!: The best monologues of the 80's (men). Applause Theatre Book Publishers, 1987.

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Schakel, Peter J. Approaching literature in the 21st century: Fiction, poetry, drama. 2nd ed. Bedford/St. Martin's, 2008.

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Book chapters on the topic "Nineteeth century English and American drama"

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Bordman, Gerald. "1949-1950." In American Theatre: A Chronicle of Comedy and Drama, 1930-1969. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195090796.003.0020.

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Abstract Any notions that the new season could repeat the brilliance of the preceding one were brutally disabused early on. Continually inflating production costs so discouraged producers from gambling on an always risky Broadway reception that the number of new plays crashed by nearly 30 percent-a wrenching drop. Fewer than thirty new plays came before the footlights. Moreover, not even half of these were original American works. The others were either English pieces, adaptations from the French, or dramatizations of novels. (The total of new plays, revivals, and musicals was fiftyseven-far a
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Solomon, Jon. "Comparing the Reception of Quo vadis and Ben-Hur in the United States, 1896–1913." In The Novel of Neronian Rome and its Multimedial Transformations. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.003.0006.

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Shortly after the Boston publisher Little, Brown and Company issued Jeremiah Curtin’s English translation of Henryk Sienkiewicz’s novel Quo Vadis: A Tale of the Time of Nero, it was soon compared in American newspapers to Lew Wallace’s novel Ben-Hur: A Tale of the Christ. The plot of Wallace’s novel, published in 1880 and by 1896 the most commercially successful American novel of its generation, concluded before the reign of Nero, so Sienkiewicz’s novel was widely perceived as a chronological sequel or historical comparandum to Ben-Hur. Comparisons ranged from publication announcements to adve
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Racz, Gregary J. "La vida es sueño en forma analógica Teoría, metodología y recepción de la traducción a contrapelo." In Biblioteca di Rassegna iberistica. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/024.

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Since at least the 1990s, Translation Studies theorists have advocated greater respect for alterity in literary translation. With the advent of Naturalist theatre and, later, the predominance of free-verse poetry in the 20th century, renderings of both poetry and verse drama in the English-speaking world have favoured assimilation with target-culture values. “Organic form”, described by James S. Holmes as the methodology with which a translator renders a source text primarily for its meaning, has been the prevalent strategy for translating works such as Spanish Golden Age dramas for approximat
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Riis, Thomas L. "New York Roots: Black Broadway, James Reese Europe, Early Pianists." In The Oxford Companion To Jazz. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0006.

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Abstract New York’s significance for jazz history lies in its open embrace of all things theatrical and seemingly all life forms with a dramatic or dramatizable element. Because the city possesses a long history of hospitality to the marginalized of the world-not merely twentieth-century immigrants arriving at Ellis Island, but Dutch sailors in the seventeenth century, English loyalists during the American Revolution, Atlantic pirates in search of safe haven, and all manner of scoundrels, scalawags, traders, and freebooters over the last several hundred years-its openness to unusual custom, in
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Allen, Irving Lewis. "The Contempt for Provincial Life." In The City in Slang. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195075915.003.0010.

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Abstract The disdain of city people for their country cousins is an ancient story that reoccurs in every urbanizing society. The perennial drama was played out in the century and a half from the emergence of the early industrial city in the United States, through its evolution into a metropolis in the decades around 1900, its maturing after 1920, and its decentralization after the late 1940s down to the present time. The cultural and political conflict between the City of New York and upstate is a classic case in point. The cultural conflict between the center and the periphery arising from th
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Feinstein, Michael, and Steven Suskin. "Composers of the Early Years." In Show Tunes. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195125993.003.0001.

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Abstract The twentieth century began with American musical theatre dominated by European operettas—English, German, and Austrian. This held firm until 1914, when the Great War quickly ended popularity of things foreign. Jerome Kern, a practiced hand at “Americanizing” imports, finally had a chance to explore his own style; the result was the “modern musical comedy” form (actually, the first of many “modern musical comedy” forms). Irving Berlin, already known along Broadway for pop song hits, tried his hand at complete scores; he was less adventurous than Kern, but highly successful. The postwa
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