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Artículos de revistas 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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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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10

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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11

Benson, Eugene, and L. W. Conolly. "English-Canadian Theatre." Canadian Theatre Review 57 (December 1988): 90–91. http://dx.doi.org/10.3138/ctr.57.020.

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English-Canadian Theatre, part of a new Oxford University Press series which surveys various aspects of Canadian literary culture, offers a scholarly overview of its topic. Written by two professors at the University of Guelph who have an ongoing concern for Canadian theatre, the book claims to be the first comprehensive work to draw together a history of our nation’s anglophone theatre and an assessment of its drama. Though there’s little doubt that dramatic criticism and theatre history are interdependent, Benson and Conolly sometimes go on seeming tangents in their literary discussions, esp

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12

Zhilyakova, Natalia V. "“It was funny, but not fun”: dramatic experiments of pre-revolutionary Tomsk writers." Sibirskiy filologicheskiy zhurnal, no. 2 (2025): 73–85. https://doi.org/10.17223/18137083/91/6.

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The paper examines various extant versions of dramatic works created by Tomsk writers during the late 19th and early 20th centuries. These include individual books printed in Tomsk, works featured in periodicals, inclusions within larger collections, and those reprinted from local publications as brochures. The focus is on the plays written by Tomsk authors, performed locally, yet absent from archived and library collections. Analysis of the source materials, namely the dramatic works of pre-revolutionary Tomsk authors, reveals the significant challenges encountered in the regional development

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13

Severn, John R. "Salieri’s Falstaff, ossia Le tre burle and The Merry Wives of Windsor: Operatic Adaptation and/as Shakespeare Criticism." Cambridge Opera Journal 26, no. 1 (2014): 83–112. http://dx.doi.org/10.1017/s0954586713000323.

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AbstractShakespeare’s The Merry Wives of Windsor contains several features that make it unusual within his dramatic output and that thus render problematic the idea of a unified ‘Shakespearean’ canon. Until very recently, literary criticism has either largely ignored or denigrated the play, with a sustained interest in its portrayal of female agency, family life and the natural world only consolidating in the early twenty-first century. However, earlier operatic adaptations, such as Salieri and Defranceschi’s Falstaff, ossia Le tre burle, demonstrate an engagement with those issues which liter

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14

Harp, Gillis. "Hofstadter's The Age of Reform and the Crucible of the Fifties." Journal of the Gilded Age and Progressive Era 6, no. 2 (2007): 139–48. http://dx.doi.org/10.1017/s1537781400001973.

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In December 1954, the United States Senate voted 67-22 to censure the junior senator from Wisconsin. Joe McCarthy had been drawing increasing criticism for his bullying tactics in ferreting out alleged communists and communist sympathizers within the federal civil service and elsewhere. In the wake of the Army-McCarthy hearings of the preceding spring (and especially after the dramatic televised confrontation with Army counsel Joseph Welch), the tide of public opinion finally turned against McCarthy. Still, his demagogic campaign had ruined the careers of scores of American citizens, from civi

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15

Krajník, Filip. "The Unity of Thomas Southerne’s The Fatal Marriage: or, The Innocent Adultery: A Reconsideration." FOCUS: Papers in English Literary and Cultural Studies 14, no. 1 (2024): 107–22. https://doi.org/10.15170/focus.14.2024.7.

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The present study discusses Thomas Southerne’s tragicomedy The Fatal Marriage (1694), based on Aphra Behn’s earlier novella The History of the Nun (1688). Modern criticism has tended chiefly to point out the simplification of Behn’s main heroine in Southerne’s play, as well as Southerne’s introduction of the comical subplot that appears to be irrelevant to the main tragic story. The present essay defends the structure of Southerne’s piece, observing both ideological and artistic themes that permeate both plots and create a dramatic unity in Southerne’s work. The essay further argues that, in o

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16

Cinpoeş, Nicoleta. "From New to Neo-Europe: Titus redivivus." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (2018): 214–30. http://dx.doi.org/10.1177/0184767818775904.

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The ‘dramatic rise’ of Titus Andronicus ‘among critics and directors’ in the 1990s was primarily linked to ‘the growth of feminist Shakespeare criticism’.1 Its recent stage popularity, however, lies in its responses to the new geopolitical realities and the shifting physical and mental borders of the European Union. This article examines four European productions of Titus Andronicus in their engagement with political change, migration, rising nationalism and xenophobia, which, I argue, refocus attention onto this play’s position in the Shakespeare canon.

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17

Matyjaszczyk, Joanna. "Struggles with Dramatic Form in 16th-Century English Biblical Plays." Anglica. An International Journal of English Studies, no. 31/1 (October 2022): 5–27. http://dx.doi.org/10.7311/0860-5734.31.1.01.

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The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts w

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18

Fickers, Andreas. "Towards a New Digital Historicism?" Making Sense of Digital Sources 1, no. 1 (2012): 19. http://dx.doi.org/10.18146/2213-0969.2012.jethc004.

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This article argues that the contemporary hype in digitization and dissemination of our cultural heritage – especially of audiovisual sources – is comparable to the boom of critical source editions in the late 19th century. But while the dramatic rise of accessibility to and availability of sources in the 19th century went hand in hand with the development of new scholarly skills of source interpretation and was paralleled by the institutionalization of history as an academic profession, a similar trend of an emerging digital historicism today seems absent. This essay aims at reflecting on the

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19

Kozhukhar, Vladimir. "In the wake of one publication, or about the attitude to the history of science as a science." Vestnik of Saint Petersburg University. Medicine 17, no. 4 (2022): 315–26. http://dx.doi.org/10.21638/spbu11.2022.407.

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The article is a historical investigation devoted to reliability of Professor T. A. Ginetsinskaya’s publication about the circumstances of Professor E. S. Danini’s speech (December 1954) criticizing O. B. Lepeshinskaya’s “new cellular theory”. After analyzing scientific sources, memoirs of contemporaries of the described events and comparing the dates, the author proves that E. S. Danini’s speech in the context given in T. A. Ginetsinskaya’s article could not have taken place in reality. It took place in other circumstances and was not so dramatic. This is indicated by the documented memories

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20

Friedman, Susan Stanford. "Alternatives to Periodization: Literary History, Modernism, and the “New” Temporalities." Modern Language Quarterly 80, no. 4 (2019): 379–402. http://dx.doi.org/10.1215/00267929-7777780.

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Abstract Can literary history be done without the conventional reliance on linear periodization? What might a literary history of modernism look like without the usual periodization of roughly 1890–1940? This essay reviews the arguments for and against periodization and then argues that the new time studies—based in nonlinear concepts of time for the study of the contemporary—offers alternatives to the Eurocentric periodization of modernism. These new temporalities were anticipated by early twentieth-century Euro-American modernism, presented in the essay with an account of the dramatic debate

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21

Cifor, Lucia. "Statutul şi identitatea hermeneuticii literare." Romanian Studies Today 5, no. 5/2021 (2021): 129–37. http://dx.doi.org/10.62229/rst/5.1/10.

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If within traditional hermeneutics, literary hermeneutics is viewed as the „poor relative" (Peter Szondi), in the context of literary studies its situation is even more dramatic, the name of the discipline garnering, over time, a series of misunderstandings, resulting from the recurrent act (partly erroneous) of equating it with philology, history, and literary criticism, or with stylistics and poetics, and, in best case scenario (though still incorrect), with literary exegesis. An attempt of clarifying the status and identity of literary hermeneutics, both in the field of literary studies, as

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22

Coquerel, Paul. "Les mythes afrikaners." Politique africaine 25, no. 1 (1987): 7–13. http://dx.doi.org/10.3406/polaf.1987.3845.

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Contemporary Afrikaner ideology has its origins in traditional Boer beliefs. It is based upon an interpretation of History, the religious vision of the Dutch Reformed Churches, and a specific language, Afrikaans. This political culture first appeared as a reaction against British imperialism throughout the XIXth century, resulting in the forming of a strong nationalism which in the XXth century will triumph with the institutionalization of racial segregation. Nowadays, the Afrikaner community is experiencing the most dramatic crisis of its history. Its traditional values and institutions, whic

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23

Abreu, José Guilherme, Salomé Carvalho, Rui Bordalo, and Eduarda Vieira. "THE IMAGE OF SOARES DOS REIS’ SCULPTURE IN ART HISTORY, ART CRITICISM AND LITERATURE: EPOCHS, MODELS AND REPRESENTATIONS." ARTis ON, no. 9 (December 26, 2019): 74–85. http://dx.doi.org/10.37935/aion.v0i9.240.

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A hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, ins

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24

Левицька, Оксана. "Пророкувати зі сцени: огляд сценічних адаптацій драматичної поеми Лесі Українки «Кассандра»". Волинь філологічна: текст і контекст, № 37 (3 грудня 2024): 135–58. https://doi.org/10.29038/2304-9383.2024-37/lev.

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A myth about lack of stageability has long been surrounding Lesya Ukrainka’s dramatic texts, including Cassandra. This sentiment has been echoed frequently and in different contexts – from the first literary critics to contemporary stage directors and theatre critics. Nonetheless, at the turn of the first and second decades of the 21st century, almost 100 years after it was written, Cassandra appears to be one of the most productive texts for understanding Ukrainian history and modernity. The article aims to provide an overview of the theatrical adaptations of Lesya Ukrainka’s dramatic poem Ca

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25

Taylor, Benedict. "Sullivan, Scott andIvanhoe: Constructing Historical Time and National Identity in Victorian Opera." Nineteenth-Century Music Review 9, no. 2 (2012): 295–321. http://dx.doi.org/10.1017/s1479409812000316.

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Arthur Sullivan's Walter Scott-based operaIvanhoe, despite attaining great success at its 1891 premiere, has since quickly fallen from musicological grace. Substantive criticism of this work in the twentieth century has concentrated on the static, tableau-like dramaturgy of the opera, a lack of dramatic coherence, and its undeniably conservative musical language. Taking its bearings from such criticisms this paper explores Sullivan's problematicmagnum opusfrom the perspective of its relationship with time, understood from multiple levels – his opera's musical-dramaturgical, historical, and mus

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26

Søndergaard, Rasmus Sinding. "Human Rights and the 1980 U.S. Presidential Election." American Studies in Scandinavia 52, no. 2 (2020): 29–46. http://dx.doi.org/10.22439/asca.v52i2.6497.

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Due to dramatic developments in international affairs and the starkly diverging foreign policy visions of the two candidates, Jimmy Carter and Ronald Reagan, foreign policy occupied a usually prominent role in the 1980 U.S. presidential election. A central component of the foreign policy debate was the appropriate role for human rights concerns in American foreign relations. Nevertheless, neither historians of U.S. presidential elections nor historians of human rights have devoted much attention to the issue. This article represents the first comprehensive study of the role of human rights in

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27

BARNETT, DAVID. "Reading and Performing Uncertainty: Michael Frayn's Copenhagen and the Postdramatic Theatre." Theatre Research International 30, no. 2 (2005): 139–49. http://dx.doi.org/10.1017/s0307883305001148.

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Michael Frayn's play about quantum mechanics, memory and history, Copenhagen, has taken a lot of criticism for ‘misrepresenting’ its historical characters, primarily Werner Heisenberg. This essay analyses the dramaturgy of the play and argues for a postdramatic reading in which questions of representation are dissolved by formal strategies that ally themselves with the thematics of the work. The text is viewed as a hybrid, somewhere between the dramatic and the postdramatic, set, as it is, in a fictional afterlife where conventional human categories no longer function. The postdramatic theatre

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28

Cao, Bo. "The Chinese Translation of Samuel Beckett: A Critical History." Irish University Review 51, no. 2 (2021): 282–95. http://dx.doi.org/10.3366/iur.2021.0519.

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In light of the relevant merits and defects of translation practice over sixty years, this article presents a critical history of the Chinese translation of the work of Samuel Beckett. The article argues that the history may be divided into two periods: the pre-1980 period and the post-1980 period, with China's reopening to the outside world in the late 1970s as the watershed. The first period is dominated by the politically propelled translation of Waiting for Godot and harsh criticism of Beckett as a ‘decadent’ author. The second period, characterized by a more complex aesthetic response, ma

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29

Dicenzo, Maria, George F. Walker, Chris Johnson, and Dorothy Hadfield. "In Review: Somewhere Else, The East End Plays, Part 2, Suburban Motel (revised edition), Essays on George F. Walker: Playing with Anxiety." Canadian Theatre Review 103 (June 2000): 83–85. http://dx.doi.org/10.3138/ctr.103.013.

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Historiographically, 1999 was a big year for George F. Walker: Talonbooks brought out three volumes of collected plays (a total of thirteen more-or-less individual works), and Blizzard published the first full-length book of criticism devoted entirely to Walker and his plays. By the time the new millennium became the most over-staged non-event in history, students and teachers of Canadian drama did not have to look too far to find a playwright with a significant historical past and presence available for inclusion in their courses. This at a time when our political-economic climate does not pa

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30

Wright, Matthew. "POETS AND POETRY IN LATER GREEK COMEDY." Classical Quarterly 63, no. 2 (2013): 603–22. http://dx.doi.org/10.1017/s000983881300013x.

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The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century an

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31

Walton, Benjamin. ""Quelque peu thééââtral": The Operatic Coronation of Charles X." 19th-Century Music 26, no. 1 (2002): 3–22. http://dx.doi.org/10.1525/ncm.2002.26.1.3.

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The intersection of politics and spectacle has a long tradition in French history, from Louis XIV's Versailles to the streets of revolutionary Paris. As a result, Chateaubriand's criticism of the coronation of Charles X in May 1825 as theatrical may at first seem unremarkable. His description of the occasion as a dramatic performance rather than a real event, however, deserves closer examination. In line with Chateaubriand, this article suggests that the anachronistic final Bourbon coronation can best be understood, at the most literal level, as an opera, with music, resplendent costumes, dash

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32

Vasiniuc, Tiberius. "George Sion și teatrul naturii umane." Cercetări teatrale 5, no. 1 (2024): 216–25. https://doi.org/10.46522/ct.2024.01.13.

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George Sion’s dramatic works had a major impact in the second half of the 19th century, reflecting the concerns and ideals of the era. In his plays, Sion aimed, on the one hand, to criticize society’s flaws, and on the other, to highlight Romanian virtues, thus becoming a staunch supporter of national culture. His works, deeply embedded in the socio-political context of his time, often addressed themes such as patriotism, moral integrity and social justice, resonating with the burgeoning national consciousness of the Romanian people. While Sion’s works have been praised for their originality a

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33

Goldberg, Sander M. "Plautus on the Palatine." Journal of Roman Studies 88 (November 1998): 1–20. http://dx.doi.org/10.2307/300802.

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It was probably in the agora at Athens and possibly in the seventieth Olympiad (i.e. 499–496 B.C.) that a wooden grandstand collapsed while a play by Pratinas was being performed. The Athenians responded quite sensibly to this disaster by moving their dramatic performances to the precinct of Dionysus Eleuthereus, where the audience could be more safely accommodated on the south slope of the acropolis. Or so it appears: no fact of this early period in ancient theatre history is ever entirely secure. By the time of Aeschylus, however, what we call the Theatre of Dionysus was certainly the place

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34

Goldhill, Simon. "Civic ideology and the problem of difference: the politics of Aeschylean tragedy, once again." Journal of Hellenic Studies 120 (November 2000): 34–56. http://dx.doi.org/10.2307/632480.

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There have been few issues in the contemporary analysis of Greek tragedy as hotly debated as what I shall call ‘civic ideology and the problem of difference’. By this I mean a nexus of interrelated questions concerning the political import of tragedy both for the fifth-century Athenians and for subsequent generations: how does the festival of the Great Dionysia—its rituals and dramatic performances—relate to the dominant ideological structures of democracy? How should critical or contestatory discourse be located within the dramatic festival and within the polis? How should the texts of traged

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35

Rodgers, Daniel T. "Living without Labels." Law and History Review 24, no. 1 (2006): 173–78. http://dx.doi.org/10.1017/s0738248000002297.

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Charles Evans Hughes's career ran along the fault lines of most of the major political events of his lifetime. Muckraking catapulted him to fame. He governed New York during four key years of the Progressive era as an effective administrator and earnest reformer. He stayed with the Republican Party when the Progressives bolted in 1912. He ran for the presidency in 1916 but missed the prize, albeit by a narrower electoral college margin than any other contender until the very end of the century. He was instrumental in negotiating the international naval disarmament accords of 1921–22, landmarks

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36

Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.

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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs

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37

Salem, Ahmed Ali. "Academic Historiographic Remedies of Colonialist Images of Egypt’s Nationalist Party." Contemporary Arab Affairs 16, no. 3 (2023): 284–96. http://dx.doi.org/10.1163/17550920-bja00015.

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Abstract This article does not attempt to outline the history of Egypt’s Nationalist Party since its foundation by Mustafa Kamil in 1907; rather, it demonstrates the colonialist nature of early British narratives, then discusses the counternarratives of contemporary Egyptian nationalist leaders, and analyzes the emergence of academic narratives from Egyptian and Western academic historians. The article argues that the image of the Nationalist Party in Western academia has moved away from the defamation of early British colonialist writers, with a favorable image prevailing among Egyptian acade

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Albek, Abazov. "The image of Andemirkan in North Caucasian drama: about the unpublished play by Z.P. Kardan-gushev." Kavkazologiya 2022, no. 4 (2022): 341–49. http://dx.doi.org/10.31143/2542-212x-2022-4-341-349.

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The dramaturgy of the North Caucasus people remains an unresearched field of modern literary criticism. This article presents the introduction issues of scientific circulation and studying of the unpublished manuscript of the play “Andemirkan” (1943), placed in the RSALA fund by the Ka-bardian ethnographer, folklorist, playwright and artist Z.P. Kardangushev. This paper considers textological analysis and preparation for publication of the manuscript (85 pages with author’s comments and corrections). Analysis of the manuscript’s content makes it possible to present the translation processes of

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Cui, Yunyun. "Reception of A.P. Chekhov's play “The Cherry Orchard” in China." Litera, no. 1 (January 2024): 226–36. http://dx.doi.org/10.25136/2409-8698.2024.1.69518.

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Anton Pavlovich Chekhov is a well-known Russian writer and playwright in China. During his life, he created many works that are familiar to the Chinese readers. It is generally recognized that Chekhov's plays open a new page in the history of drama and theater. The Cherry Orchard, Chekhov's last work, is considered one of his most mature dramatic works and today has a debatable character in literary criticism, its interpretations are offered to the audience on the theater stage all over the world, including in China. This article aims to trace the evolution of the reception of the named work i

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Trelawny-Cassity, Lewis. "Tēn Tou Aristou Doxan: On the Theory and Practice of Punishment in Plato’s Laws." Polis: The Journal for Ancient Greek Political Thought 27, no. 2 (2010): 222–39. http://dx.doi.org/10.1163/20512996-90000168.

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The penal code of the Laws has attracted scholarly attention because it appears to advance a coherent theory of punishment. The Laws’ suggestion that legislation follow the model of ‘free doctors’, as well as its discussion of the Socratic paradox, leads one to expect a theory of punishment that recommends kolasis and nouthetēsis rather than timōria In practice, however, the Laws makes use of the language of timōria and categorizes some crimes as voluntary. While the Laws provides a searching criticism of contemporary Greek penal practices rooted in anger and retribution, Kleinias’ dramatic pa

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Markov, Аleksandr V., and Oksana A. Shtayn. "Theatrical auto-communication in the framework of performative cultural practices." Vestnik of Saint Petersburg State University of Culture, no. 3 (60) (2024): 48–54. http://dx.doi.org/10.30725/2619-0303-2024-3-48-54.

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The challenge of theater has always been to present real historical characters on stage, since narrative and illusory principles are the same for historical and non-historical plays. What is required is a special consent of the audience to recognize not only the verisimilitude but also the truthfulness of the play. The paper argues that such consent cannot be obtained simply by actualizing the actors’ roles or enhancing the scenography. The historical figure can be constructed only in a position of autocommunication of the actor, who, displaying him/herself as an actor sending and receiving a

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Castagno, Paul C. "Varieties of Monologic Strategy: the Dramaturgy of Len Jenkin and Mac Wellman." New Theatre Quarterly 9, no. 34 (1993): 134–46. http://dx.doi.org/10.1017/s0266464x00007727.

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Playwrights, directors, and theatre teachers interested in understanding the theatrical possibilities and functions of monologue soon discover that critical analysis in this area is limited alike in extent and depth. In the following analysis of contemporary dramatic monologue, Paul C. Castagno therefore begins by exploring its more expected or traditional uses, and proceeds to examine its present expanded function with particular reference to the plays of two contemporary American playwrights, Len Jenkin and Mac Wellman – both multiple Obie Award-winning writers, whose dramaturgic techniques

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Selim, Samah. "Toward a New Literary History." International Journal of Middle East Studies 43, no. 4 (2011): 734–36. http://dx.doi.org/10.1017/s0020743811000973.

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The past twenty years witnessed a dramatic transformation in Arabic literature studies in the United States. In the early 1990s, the field was still almost exclusively a satellite of area studies and largely bound by Orientalist historical and epistemological paradigms. Graduate students—even those wishing to focus entirely on modern literature—were trained to competence in the entire span of the Arabic literary tradition starting with pre-Islamic times, and secondary research languages were still rooted in the philological tradition of classical scholarship. The standard requirement was Germa

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McCormick, Evan. "Freedom Tide? Ideology, Politics, and the Origins of Democracy Promotion in U.S. Central America Policy, 1980–1984." Journal of Cold War Studies 16, no. 4 (2014): 60–109. http://dx.doi.org/10.1162/jcws_a_00516.

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The Reagan administration came to power in 1981 seeking to downplay Jimmy Carter's emphasis on human rights in U.S. policy toward Latin America. Yet, by 1985 the administration had come to justify its policies towards Central America in the very same terms. This article examines the dramatic shift that occurred in policymaking toward Central America during Ronald Reagan's first term. Synthesizing existing accounts while drawing on new and recently declassified material, the article looks beyond rhetoric to the political, intellectual, and bureaucratic dynamics that conditioned the emergence of

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Herold, Niels. "Madness and Drama in the Age of Shakespeare. A Review Article." Comparative Studies in Society and History 37, no. 1 (1995): 94–99. http://dx.doi.org/10.1017/s001041750001954x.

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Duncan Salkeld's study of madness in the age of Shakespeare is conceived of as being against the grain of both traditional literary criticism and historiography. Noting that the critical contemplation of the inner life of Shakespearean character has been central (as far back as Coleridge) to previous approaches to the study of madness in Shakespeare, Salkeld argues instead that the “inner worlds of the mind of Shakespearean characterization are largely represented by external appearance, in language describing corporeal states.” Thus, the towering constructs of personality in Lear and Hamlet,

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Visych, O. "Critiсal Discourse in Metadrama "Actress without Roles" by Varvara Cherednychenko". Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, № 1(87) (13 травня 2018): 58–62. http://dx.doi.org/10.35433/philology.1(87).2018.58-62.

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The history of drama shows that in transitional periods dramatic texts often turn into a space for analyzing of the ways of art development and, above all, the theater. Experiments, denial of traditions, and the acute need to update aesthetic coordinates become an integral part of the communicative discourse of characters, as well as the basis of dramatic conflict. Legitimate at such stages is the demand for metadramatic forms. The theory of metadrama actively develops in modern literary criticism, based on the studies of Lionel Able, Richard Hornby, Karen Viweg-Marks, Slavomir Sviontka and ot

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Naito, Satoko. "Anxieties of Authorship, Critique of Readership: Mishima Yukio’s Modern Noh Play Genji kuyō." Japanese Language and Literature 55, no. 2 (2021): 407–46. http://dx.doi.org/10.5195/jll.2021.186.

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Mishima Yukio's dramatic suicide half a century ago ensured that his name would forever be associated with a certain fanatic imperialism, and largely fulfilled his own wish that he would die as a military man. And yet, he was until the end foremost a literary artist, concerned with the critical reception of his written works and preoccupied with his lasting reputation as an author. This paper examines Mishima’s portrayal of the celebrity writer, as well as the potentials and limitations of literature as presented in his oft-neglected modern noh play Genji kuyō (Devotional offering for Genji, 1

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Zhiyenbayev, Ye, and N. Abdussattarova. "Analysis of Hussein Rahmi Gurpinar’s novel “Hakka Sygyndyk”." Iasaýı ýnıversıtetіnіń habarshysy 123, no. 1 (2022): 55–70. http://dx.doi.org/10.47526/2022-1/2664-0686.05.

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A pandemic, also known as an epidemic disease, is one of the most common concepts in history. Novels about epidemics in Turkish literature show that the disease is exacerbated by malnutrition and poor physical condition. Apparently, the works on the epidemic are based on real events together with the beliefs of people and solutions to problems. There are not many literary works about the epidemic in Turkish literature. In this context, Hüseyin Rahmi Gürpinar’s novel “Hakka Sığındık” occupies a special place. In the field of literature, Gürpınar is known for his novels. His literary works are w

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Shelnutt, Blevin. "Illuminating the Antebellum Literary Marketplace: The Artfulness of Literary Labor in George Foster’s New York by Gas-Light." American Literary History 34, no. 4 (2022): 1313–34. http://dx.doi.org/10.1093/alh/ajac150.

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Abstract George Foster’s New York by Gas-Light (1850) has been understood as a characteristic text of urban sensationalism, a body of writing more often studied for its response to modernity than literary artfulness. Yet, while Foster seems eager to spectacularize the hidden corners of urban life, he also creates metaliterary moments around scenes of literary business and labor, especially the nighttime labor that the technology of gaslight enabled. Reading these self-referential moments in the context of dramatic changes in publishing facilitated by gaslight opens a theoretical intersection b

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MacLeod, Brock. "So Exact His Text: Reading into the Margins of Sejanus." Ben Jonson Journal 28, no. 1 (2021): 1–36. http://dx.doi.org/10.3366/bjj.2021.0298.

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Since its 1605 quarto publication, Ben Jonson's Sejanus has inspired much critical commentary. Although criticism credits Jonson with a compositorial role in the Quarto's production, critics continue to assess its marginalia as a defense against application, finding in Sejanus, the play, evidence of parallelography, whether it be ideologically instructional, in the mirror of princes tradition, or threateningly Republican. More benignly, they view the Quarto's bountiful margins as a scholarly pretext, a manifestation and awkward defense of Jonson's unorthodox education. Generically, they view t

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