Bibliografías temáticas / Dramatic criticism – history

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Literatura académica sobre el tema "Dramatic criticism – history"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Dramatic criticism – history"

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EVANS, PETER W. "GOLDEN-AGE DRAMATIC CRITICISM NOW." Seventeenth Century 2, no. 1 (1987): 49–53. http://dx.doi.org/10.1080/0268117x.1987.10555260.

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Ellenzweig, Sarah. "Rhyme's Contrapuntal History in Early Dryden." ELH 91, no. 2 (2024): 377–404. http://dx.doi.org/10.1353/elh.2024.a929153.

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Abstract: While John Milton was disavowing "the jingling sound of like endings," John Dryden was cementing a vogue for writing rhymed couplets that would dominate the English literary landscape for the next 150 years. Seeking rhyme's lost links to pleasure and sometimes to transgression, this essay looks closely at Dryden's early considerations of couplet rhyme in his Essay of Dramatick Poesie (1668) and related critical writings contemporaneous with Paradise Lost (1667), as well as in a few examples of his early couplet practice in his plays and prologues from this period. My claim is that Dr
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Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic." Synopsis: Text Context Media 26, no. 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.

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The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fictio
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Elam Jr., Harry J. "Making History." Theatre Survey 45, no. 2 (2004): 219–25. http://dx.doi.org/10.1017/s0040557404000171.

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These three quotes will serve as a starting point as I enter into this discussion of the import and role of theatre history. While I make a case for theatre history generally, my examples and thesis are drawn from African American theatre history most specifically. My argument is for a critical historicism, a process that recognizes the need to historicize and situate dramatic criticism as well as the need to theorize history or, as Walter Benjamin suggests, to “rub history against the grain.” Rubbing history against the grain means that we must interrogate the past in order to inform the pres
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Knowles, Richard Paul. "CTR and Canadian Theatre Criticism: Constructing the Discipline." Canadian Theatre Review 79-80 (June 1994): 10–13. http://dx.doi.org/10.3138/ctr.79-80.002.

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In an article published in Theatre History in Canada (1990), and in his introduction to The CTR Anthology, Alan Filewod has analysed “The Canon According to CTR”, usefully examining the ways in which CTR constructed, and subsequently deconstructed, “Canadian Theatre”, and particularly Canadian drama, throughout the 1970s and 80s. Filewod was concerned primarily to explore the selection and publication of playscripts in the journal, and the ways in which the discourse of CTR has shifted over the years and over its first three editorial “regimes”, as he calls them, to become increasingly plurali
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Catană, Elisabeta Simona. "History as Story and Parody in Julian Barnes’s the Noise of Time." Romanian Journal of English Studies 16, no. 1 (2019): 25–31. http://dx.doi.org/10.1515/rjes-2019-0004.

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AbstractThis article analyses Julian Barnes’s The Noise of Time, a postmodernist parody of the Russian communist world, and shows that historical truth is turned into a story which is remembered with bitter irony and which offers various interpretations. Being nothing but a story, history, associated with the symbol of noise, becomes subject to parody. Emphasizing the role of irony in revealing the dramatic effects of the Russian communist past, this essay remarks that parody functions as severe criticism.
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Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (2018): 196–204. http://dx.doi.org/10.3167/ej.2018.510226.

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Abstract Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict be
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Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (2018): 196–204. http://dx.doi.org/10.3167/ej.2017.510226.

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Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the
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9

Borovnik, Silvija. "Razvoj dramatike Dušana Jovanovića,." Jezik in slovstvo 49, no. 5 (2024): 49–66. http://dx.doi.org/10.4312/jis.49.5.49-66.

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Dušan Jovanović, whose dramatic opus has gone from Luddism and engaged political drama enwrapped into playful intertextuality and enclosed by sharp, gallows satire, developing into sensitive intimate playwriting and making a return to gallows humour, is one of the most expressive contemporary Slovene playwrights. According to research in literary history and criticism, the true value of his plays, written so that they can be added to and altered during their staging, is in the fact that they are a witty account of both the Slovene present and recent past. The article is an analysis of Jovanovi
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Liu, Yunfei. "Multi-dimensional Viewing from a Longitudinal Perspective: Review of a Study on Japanese Samurai Films by Liya Luo." Philosophy and Social Science 1, no. 2 (2024): 126–31. http://dx.doi.org/10.62381/p243220.

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Samurai films, as the most distinctive film genre of Japan, hold a paramount position not only in the history of Japanese cinema, but also in the global cinematic landscape. Therefore, they deserve significant attention and thorough research. However, until now, most domestic academic studies on Japanese samurai films have been fragmented and lacking systematic analysis. Luo Liya's “A Study of Japanese Samurai Films” is the first scholarly monograph published in China that systematically examines these films. It comprehensively employs critical methodologies such as social and historical criti
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Tesis sobre el tema "Dramatic criticism – history"

1

Li, Siu Leung, and 李小良. "Toward a theory of dramatic adaptation: with special reference to Shakespearean and Ming Qing adaptations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.

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Wright, Elizabeth Helena. "Virginia Woolf and the dramatic imagination." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.

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LaReau, Brandon. "Dramatic Themes: Active Learning and Thematic Teaching in the Theatre History Classroom." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5755.

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This thesis explores major texts dealing with pedagogical theory and active learning in the context of a theatre history class. By comparing a class which is taught in the traditional, chronological format relying heavily on lectures to a class taught in a newer, thematic format utilizing active learning the thesis defines what student-centered learning means. Active learning, its benefits, and its implementation are explained and explored, along with the advantages and benefits of teaching thematically instead of chronologically. All of this is applied to a theatre history class in the result
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Allingham, Philip Victor. "Dramatic adaptations of the Christmas books of Charles Dickens, 1844-8 : texts and contexts." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28615.

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Although Dickens' familiarity with Victorian theatre has been explored with reference to his own playwrighting, amateur theatricals, style, and characterization, little work has been done on his actual involvement with the adaptation of his works for the stage. For example, even though A Christmas Carol remains his most staged and filmed work, few critics have explored the degree of Dickens' involvement in the 'officially-sanctioned' adaptation by one of the Victorian theatre's most prolific adaptors, Edward Stirling. Dickens' letters shed some light on his involvement in the staging of the
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Carson, Jo. "Teller Tales: Histories." Digital Commons @ East Tennessee State University, 2007. http://amzn.com/082141753.

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Recounts the story of the Overmountain Men and the battle of King's Mountain, a tide-turning battle in the American Revolution. This title includes the stories of native Americans, settlers, explorers, and revolutionaries of early America.<br>https://dc.etsu.edu/alumni_books/1018/thumbnail.jpg
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6

LAW, Ching. "高行健之戲劇 : 理論與實踐". Digital Commons @ Lingnan University, 2006. https://commons.ln.edu.hk/otd/17.

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高行健的戲劇作品與理論，兼備中西文化主題（motifs），東西方劇場的手法，最適合作比較文學的範例。本文全面分析高行健的劇作與理論，從主題與形式兩方面，審度劇作中重複出現追尋自我的主題。其劇作包括《絕對信號》、《車站》、《野人》、《彼岸》、《冥城》、《逃亡》、《山海經傳奇》、《生死界》、《對話與反詰》、《夜遊神》、《周末四重奏》、《八月雪》、《叩問死亡》；五個現代折子戲包括《模仿者》、《躲雨》、《行路難》、《喀巴拉山口》、《獨白》；一個舞劇《聲聲慢變奏》共計十八部戲劇。又整理探究理論文集《對一種戲劇的追求》、《沒有主義》、以及《文學的理由》。作者的主體意識扣緊不同時期的逃亡經驗，經一番外求與內尋的過程，不斷抗衡與否定不同的「他者」。這種抗衡，固然呈現人類本質的狀態，卻缺乏主體的自主性，也展示主題的矛盾。因為無論「他者」怎樣不斷置換為集體、強權、中國、性、慾望等對象，也不能抹殺其先於主體的實存性，反倒確立了主體的依附性。所以他的主體都一貫逃避中心、集體、缺乏實質的內涵，卻又內外交困，無法安頓。這種不斷反詰的精神，又反映在劇作的「間離」的形式上。高行健以敘事、三重角色與儀式（rituals），間離觀眾與角色。雖然他追求戲劇本質，嘗試回復中國儺戲與戲曲的傳統，也緊隨現當代劇作家如布萊希特（Bertolt Brecht）、惹奈（Jean Genet），但是難以調動觀眾的直覺感知經驗，達至娛
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Weiss, Katherine. "Haunted by the Blitz: History, Trauma and Noel Coward’s Blithe Spirit." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/2257.

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Choate, Catie. "The Action to the Word, The Word to the Action: Teaching Shakespeare as Performance Litearture." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4234.

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This paper details a class taught in the Virginia Commonwealth Theatre Department in Fall of 2015 on the works of William Shakespeare. Within both the class and this paper, I attempted to form the beginnings of a pedagogy of Shakespearean literature that incorporated elements of literary criticism, historical context and performance theory. Dramatic literature, including Shakespeare, is a moving target, as the text is reimagine and reinterpreted on stage again and again. My goal with this paper is to examine both how dramatic literature can be taught and the special challenges present in teach
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Ben-Shach, Jane Respitz. "The false Messiah in Yiddish literature : a comparison between two dramatic works." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59384.

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This thesis discusses the role of the "false Messiah" in modern Yiddish Literature.<br>The figure of the Messiah in Jewish religious imagination signifies the prophetic yearning for redemption at the end of days, but it also provoked hopes in a strong leader who will bring about social and political redemption. Based on historical models, literature from the twelfth to the twentieth century addressed these "false Messiahs" and in the modern period used them to define and illustrate contemporary catastrophe.<br>Shlomo Molcho by American Yiddish poet Aaron Glanz-Leyeles and Prince Reuveni by Sov
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Yantolo-Sotyelelwa, Betty Matase. "The portrayal of characters through dialogue and action in isiXhosa drama : dramatic and cultural perspectives." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/3361.

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Thesis (MA (African Languages))--University of Stellenbosch, 2005.<br>This study aims at highlighting one of the crucial aspects of Xhosa drama: how women have been regarded by a variety of communities as being inferior to men. This stereotype pervades almost all spheres of life. The low status assigned to women find its way into literature as well. Ngewu’s drama “Yeha mfazi obulala indoda” and Taleni’s drama “Nyana nank’uNyoko” has been examined. In most Xhosa literature, women are portrayed as submissive, obedient and minor characters. The advent of Ngewu’s work changed this scenario by port
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Libros sobre el tema "Dramatic criticism – history"

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Austin, Gayle. Feminist theories for dramatic criticism. University of Michigan Press, 1990.

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Cardullo, Bert. Dramatic considerations: Essays in criticism, 1977-1987. P. Lang, 1991.

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Hanbery, MacKay Carol, ed. Dramatic Dickens. Macmillan, 1988.

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Hanbery, MacKay Carol, ed. Dramatic Dickens. St. Martin's Press, 1989.

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Lynn, Hulse, and Malone Society, eds. Dramatic works. Published for the Malone Society by Oxford University Press, 1996.

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Nwabueze, Emeka. Studies in dramatic literature. ABIC Books, 2011.

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Jürgen, Wolter, ed. The Dawning of American drama: American dramatic criticism, 1746-1915. Greenwood Press, 1993.

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Ferlita, Ernest. The uttermost mark: The dramatic criticism of Gerard Manley Hopkins, his dramatic works, and the performance thereof. University Press of America, 1990.

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9

Ha, Hae-sŏng. Kŭk pipʻyŏng kwa taŏnŏjŏk tamnon: The dramatic criticism and polylingual discourse. Pʻurŭn Sasang, 2004.

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Melrose, Susan. A semiotics of the dramatic text. St. Martin's Press, 1994.

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Capítulos de libros sobre el tema "Dramatic criticism – history"

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Cannan, Paul D. "Introduction: On Writing the History of Early English Criticism." In The Emergence of Dramatic Criticism in England. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-03717-6_1.

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Cassiers, Edith. "1.4.2. Drama." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxv.20cas.

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Theatre is often defined by its ephemerality, its fundamental presence in the here and now. Can we circumvent performance’s immediacy and study theatre through the genetic documents of its creative process? How are drama drafts related to other literary drafts? Can we use the same methodological techniques to study drama and literary drafts? In this chapter, I will first suggest a new definition for drama drafts and discuss the theoretical domain of genetic criticism as an analytical tool. In the second part, I will explain the differences between dramatic and other literary drafts, and connec
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Cassiers, Edith. "1.4.2. Drama." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.35.20cas.

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Theatre is often defined by its ephemerality, its fundamental presence in the here and now. Can we circumvent performance’s immediacy and study theatre through the genetic documents of its creative process? How are drama drafts related to other literary drafts? Can we use the same methodological techniques to study drama and literary drafts? In this chapter, I will first suggest a new definition for drama drafts and discuss the theoretical domain of genetic criticism as an analytical tool. In the second part, I will explain the differences between dramatic and other literary drafts, and connec
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Saber, Fathieh Hussam. "Shellyseer: A Literary Evolution." In Gulf Studies. Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-7796-1_22.

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AbstractThe dramatic elements that are in Shellyseer have traveled for a long period of time and have been affected by dramatic elements from different cultures, which means that Shellyseer is a result of the evolution of drama. This chapter draws attention to the effect that the East and the West have on each other, by pointing out the effect that Aristotle’s Poetics—Western Theory—had on Ghanem Al-Suliti’s Shellyseer—Eastern Literature. This chapter combines comparative literature with literary theory and criticism in order to give an example of a globalized view of how drama evolves where t
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"Criticism and Destiny: Kundera and Havel on the Legacy of 1968." In 1948 and 1968 – Dramatic Milestones in Czech and Slovak History. Routledge, 2013. http://dx.doi.org/10.4324/9781315879413-13.

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Mitchell-Boyask, Robin N. "Dramatic Scapegoating: On the Uses and Abuses of Girard and Shakespearean Criticism." In Tragedy and the Tragic. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198149514.003.0028.

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Abstract In recent years comparative approaches have enriched the study of Greek drama, hut the increasing congruity of Renaissance and Hellenic studies might surprise many classicists. Proponents of the ‘New Historicism’ would recognize how the stimulating collection Nothing to Do with Dionysos? also investigates what Stephen Greenblatt calls ‘the circulation of social energy’, the societal forces engaged by the text. The two fields have been adopting ever more similar interpretive strategies as part of a more general movement to recontextualize literarary studies in history. While scholars o
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Goldhill, Simon. "Representing Democracy: Women at the Great Dionysia." In Ritual, Finance, Politics. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198149927.003.0022.

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Abstract There are five books on my shelves which are often used as reference works, but which, when read cover to cover, changed my academic life. Three of them are Fraenkel’s edition of the Agamemnon. The other two are Pickard¬ Cambridge’s Dramatic Festivals of Athens. I say two because the second edition, revised by John Gould and David Lewis, the honorand of this volume, is really a new book. Reading this second edition along with the first provides a marvellous example of careful, scholarly criticism that is never less than instructive. It is with this remarkable volume in mind that I off
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Graziosi, Barbara. "Performing Epic and Reading Homer." In Epic Performances from the Middle Ages into the Twenty-First Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0002.

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There are two long-recognized obstacles to dramatic performances of epic. The first is scale and the second is portrayal of the gods. This chapter argues that both these features have been important for the definition of what literature is—i.e. what is characteristic of literature as opposed to the performing arts. The first section of the chapter offers a close reading of Aristotle, because he identified scale and the gods as issues that differentiate epic from tragedy, and because his Poetics was foundational for the later development of both literary criticism and performance studies. The s
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Hershinow, David. "Coda." In Shakespeare and the Truth-Teller. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439572.003.0007.

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In this book, I have tried to show that it is only with the rise of dramatic realism that the figure of the Cynic truth-teller begins to provoke sustained interpretive crisis, a crisis that takes shape in the sixteenth century and that goes on to drive key developments in our literary, philosophical and political history. Through my readings of Shakespeare’s plays, I have also tried to show that literature – along with its academic offspring, literary criticism – is uniquely positioned to diagnose the interpretive errors that consequently underwrite philosophical and political ideas about the
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Jones, Polly. "Perestroika and Post-Soviet Afterlives." In Revolution Rekindled. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804345.003.0006.

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This chapter focusses on the dramatic changes that the ‘Fiery Revolutionaries’ series underwent over the last decade of Soviet power. It first analyses the difficult conditions for the series in the early 1980s, as official suspicion of the series and its ‘niche’ mounted, and as censorship became more oppressive. However, these conditions of the late Brezhnev, Andropov, and Chernenko periods ultimately proved easier and more productive than the Gorbachev era: glasnost and perestroika marked the peak of popular interest in Soviet history nationwide, but also a full-blown crisis for the series.
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Actas de conferencias sobre el tema "Dramatic criticism – history"

1

Zlotnikova, Tatyana. "Power in Russia: Modus Vivendi and Artis Imago." In Russian Man and Power in the Context of Dramatic Changes in Today’s World, the 21st Russian scientific-practical conference (with international participation) (Yekaterinburg, April 12–13, 2019). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-rmp-2019-pc02.

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Contemporary Russian socio-cultural, cultural and philosophical, socio psychological, artistic and aesthetic practices actualize the Russian tradition of rejection, criticism, undisguised hatred and fear of power. Today, however, power has ceased to be a subject of one-dimensional denial or condemnation, becoming the subject of an interdisciplinary scientific discourse that integrates cultural studies, philosophy, social psychology, semiotics, art criticism and history (history of culture). The article provides theoretical substantiation and empirical support for the two facets of notions of p
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Brand, Anthony. "The ChatGPT Effect: Rethinking Architectural Pedagogy in the AI Age." In 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.56.

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Can the architectural classroom harness the power of advanced text-generating tools? This paper delves into the dramatic shifts spurred by these tools in architectural pedagogy, with a particular focus on OpenAI’s ChatGPT. It underscores the pressing need to reconfigure our pedagogical strategies as we grapple with the profound implications of such technologies for traditional essay-based assessments.The advent of these text-generating tools in the academic realm presents two distinct paths for the future of architectural pedagogy. We could revert to traditional, invigilated examination method
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Brand, Anthony. "The ChatGPT Effect: Rethinking Architectural Pedagogy in the AI Age." In 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.55.

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Can the architectural classroom harness the power of advanced text-generating tools? This paper delves into the dramatic shifts spurred by these tools in architectural pedagogy, with a particular focus on OpenAI’s ChatGPT. It underscores the pressing need to reconfigure our pedagogical strategies as we grapple with the profound implications of such technologies for traditional essay-based assessments.The advent of these text-generating tools in the academic realm presents two distinct paths for the future of architectural pedagogy. We could revert to traditional, invigilated examination method
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