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Tesis sobre el tema "English drama English drama Theater Theater Magic in literature"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de febrero de 2022

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1

Coffey, Alexandra. "Höllischer Ehrgeiz und himmlische Macht : Herrschafts- und Magiediskurse im Theater der englischen Renaissance /." München : Utz, 2009. http://d-nb.info/988230267/04.

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2

Pruitt, John. "British drama museums : history, heritage, and nation in collections of dramatic literature, 1647-1814 /." View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3203336.

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3

Keller, Michelle Margo 1954. "A study of pathological narcissism in Renaissance English tragic drama." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289178.

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The central conviction of this dissertation is that the tenets of the psychiatric medical category, pathological narcissism, explain, in a way other psychological interpretations have not adequately addressed, why the main characters in several important English Renaissance tragic dramas become enmeshed in difficulty and come to ruin. Evidence in the plays themselves invites the use of this particular interpretive category. William Shakespeare's Coriolanus in Coriolanus, Vindice in Cyril Tourneur's The Revenger's Tragedy, Edward in Christopher Marlowe's Edward II, and John Frankford in Thomas

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4

Nagase, Mariko. "Literary editing of seventeenth-century English drama." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3628/.

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This thesis explores how literary editing for the dramatic publication was developed in seventeenth-century England. Chapter 1 discusses how the humanist scholars embraced the concept of textual editing and put it into practice about a half century after the invention of the press. Chapter 2 addresses the development of the concept of literary editing in seventeenth-century England by investigating the editorial arguments preserved in the paratextual matter. Chapter 3 explores Jonsonian convention of textual editing which was established in imitation of classical textual editing of the humanis

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5

MacKenzie, Sarah. "Representations of Rape and Gendered Violence in the Drama of Tomson Highway." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28696.

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In The Rez Sisters (1986), Dry Lips Oughta Move to Kapuskasing (1989), and Rose (1999) renowned Cree dramatist Tomson Highway mounts a dramaturgical critique of colonialism, focusing most prominently upon the disenfranchisement of Native women and the introduction of Western gender roles into First Nations cultures. Within each of the three "Rez Plays," he employs the metaphor of rape to depict cultural, territorial and spiritual dispossession brought about by colonization. However, in hegemonic narratives of colonization, Indigenous women are similarly represented in connection with the land

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6

Sharrett, Elizabeth. "Beds as stage properties in English Renaissance drama : materializing the lifecycle." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5153/.

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This thesis examines beds as stage properties in English Renaissance drama. It argues that their indissoluble associations with the major rites of passage in the early modern lifecycle – birth, marriage, and death – created particular dramatic effects in performance not immediately obvious to audiences today. Chapter one identifies the theoretical and methodological frameworks informing the thesis, and addresses assumptions about the physical structure of beds from the period and their appearance as props. The succeeding chapters each explore different rites of passage. Chapter two considers c

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7

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

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This thesis explores the presentation of older women on stage from 1558-1625, establishing that the character is predominantly pictured within the domestic sphere, as wife, mother, stepmother or widow. Specific dramatic stereotypes for these roles are identified, and compared and contrasted with historical material relating to older women. The few plays in which these stereotypes are subverted are fully examined. Stage nurse and bawd characters are also older women and this study reveals them to be imaged exclusively as matching stereotypes. Only four plays, Peele’s The Old Wives Tale, Fletche

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8

O'Brien, Richard Thomas. "Shakespeare and the development of verse drama, 1660-2017." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7962/.

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This thesis offers an account of how verse drama, despite the entrenched cultural significance of Shakespeare, came over time to occupy a marginal, often maligned position within English theatre. The introduction establishes its critical-creative methodology: I approach the question not only as a critic, but as a practitioner exploring what T. S. Eliot called ‘the possibility of a poetic drama’ in the modern world. The first chapter demonstrates how verse dramatists over the last thirty years have been inhibited by continuous comparison to Shakespeare. The remainder of the thesis argues more b

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9

Kingston, Talya Anne. "The dramaturgy of dialect an examination of the sociolinguistic problems faced when producing contemporary British plays in the United States /." Connect to this title online, 2008. http://scholarworks.umass.edu/theses/105/.

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10

Newman, Harry Rex. "Impressive Shakespeare : sexual identity and impressing technologies in Shakespearean drama." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3858/.

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This thesis examines the relationship between the sexual formation of identity and three ‘impressing technologies’ (sealing, coining and printing) in Shakespearean drama. In a number of plays, Shakespeare uses the ‘language of impression’ to create metaphors that analogise sexual activities such as kissing, defloration and impregnation with acts of imprinting. In doing so, I argue, he establishes a rhetorical nexus that contributes to the construction of his characters’ sexual identities. Following a chapter on relevant historical contexts, each chapter close reads a single Shakespeare play, f

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11

Cull, Marisa R. "Staging Cambria: Shakespeare, the Welsh, and the Early Modern English Theater, 1590-1615." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211545621.

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12

Reiff, Marija. "The syncretic stage: religion and popular drama during the fin de siècle." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6254.

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This dissertation examines the popular theatre of the late-nineteenth century and focuses on the most commercially successful and popular playwrights of the era: Henry Arthur Jones, Arthur Wing Pinero, and Oscar Wilde. Looking at the major popular playwrights reveals that the commercial stage had different concerns than the avant-garde theatre of Ibsen and Shaw. Foremost among these concerns was religion, and starting with Jones’s 1884 play Saints and Sinners, a massive change swept through the commercial stage as religious prejudice and official censorship fell by the wayside. In its place, r

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13

Gilmore, Nicola Anne. "The whole play of parts : a study of cued parts in English Renaissance drama, 1590-1620." Thesis, University of Gloucestershire, 2012. http://eprints.glos.ac.uk/1249/.

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The chief objective of this doctoral thesis is to identify the feasibility of interpreting non-Shakespearean plays written during the English Renaissance period in terms of their integral actors’ cued parts. The cued part is defined herein as the prevalent type of theatrical script received by an early modern professional actor. Unlike the familiarly linear, holistic guide to a play typically received by a twenty-first century actor, such a unique text consisted solely of the lines to be spoken by the player on behalf of the individual character he was to represent. Each moment of speech was p

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14

Seahorn, Christal R. "Fighting Words| The Discourse of War in Early Modern Drama and Military Handbooks." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3687704.

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<p> This dissertation analyzes war discourse in sixteenth-century military handbooks and history plays with a focus on formal performances of martial rhetoric and the informal language used to rally audiences and justify war. Chapter One uses Rhetorical Genre Studies to classify the pre-battle oration as a social genre with common structures and themes, familiar not only to exhorting commanders and their soldiers but also to the general Renaissance populace. Establishing the pre-battle speech as a highly-conventionalized, even ritualized form of oratory, Chapter Two argues that performances of

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15

Knott, Sue Marilyn. "Competing discourses of love and sexuality in the relationships between men and women in Renaissance drama." Thesis, University of Birmingham, 1998. http://etheses.bham.ac.uk//id/eprint/3629/.

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This thesis is an examination of the ways in which competing discourses of love and sexuality, ranging from the literary and philosophical to the religious, have influenced the portrayal of men and women in the drama of the late sixteenth and early seventeenth centuries. The structure of the thesis is in two parts: the first concerns what might be termed normative relationships, underlying which is the ideal of mutual affection in marriage, and the second, relationships which undermine, or challenge that ideal. My central proposition is that the conflict between the demands of the body and the

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16

Louro, Maria Filomena Pereira Rodrigues. "The drama of J.M. Synge : a challenge to the ideology and myths of Irishness." Thesis, University of Warwick, 1991. http://wrap.warwick.ac.uk/108624/.

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Opinions about Synge's work vary from redundant noise to van-guardist art, or the embodiment of the spirit of the Nation. The literary mask created by Yeats and the disparaging caricature his opponents publicised, have barred access to the unbiased study of his work documents. Synge's plays changed the course of the emerging National Theatre. Yeats's plays were attacked for not serving well enough the nationalist cause, but Synge's were seen by nationalists as working completely on the other side of the fence. This argument and the poetical fallacy of Synge's political inactivity are here reap

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17

Gibbs, Jenna Marie. "Performing the temple of liberty slavery, rights, and revolution in transatlantic theatricality (1760s-1830s) /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1554940031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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18

Garafalo, Sanner. "'Most wonderful!' : a contextual study of twinship in early modern drama and Shakespeare's plays." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3937/.

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This thesis examines twins as objects of wonder in early modern drama. In Wonders and the Order of Nature: 1150-1750, Lorraine Daston and Katharine Park divide the experience of wonder into three separate emotional reactions: horror, repugnance, and pleasure. The thesis builds on this model, arguing that, as objects of wonder, twins were capable of inspiring this range of emotional responses which could, consequently, be capitalized on in a dramatic work. The first three chapters consider non-Shakespearean drama and its depiction of twins as wonderful, tracing how twins emerge as either object

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19

Hennessey, James Todd. "An examination of human anatomy in the drama of the early modern period." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7075/.

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An examination of the science of human anatomy and dissection as it occurs in plays of the early modern period. Starting with a survey of available literature on the subject, the thesis then moves on to examine the state of human anatomy in England at the time as well as an overview medical training, textbooks and information that may have been available to the public at large. This leads to an examination of a group of plays that refer explicitly to the practice of anatomy, references that are found to be either literal or metaphorical in nature. In this, the theatrical representation of anat

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20

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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21

Yun, Hunam. "Appropriations of Irish drama by modern Korean nationalist theatre : a focus on the influence of Sean O’Casey in a colonial context." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/34647/.

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My thesis explores how a translated author on the periphery of the host culture’s translated repertoire can be at once subversive and innovative on the colonial scene, using as an example the case of Sean O’Casey in colonial Korea. It explores the importation of Irish drama in modern Korean theatre during the colonial period and examines the appropriations of O’Casey’s plays by a central Korean playwright, Yu Chi-jin, in creating his own plays. Under Japanese colonial rule in the early twentieth century, intellectuals perceived the supreme task for the Korean people to be the recovery of natio

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22

Roberts, David. "The ladies : female patronage of Restoration drama 1660-1700." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670377.

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23

Midhin, Majeed Mohammed. "The artist as a dramatic character in contemporary British drama : a critical study of Stoppard, Barker and Wertenbaker." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20011/.

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The focus of this dissertation is the representation of the artist as a character in British theatre. In this study, which includes three chapters and one introductory chapter, I attempt to show that British playwrights, whether male or female, use their main fictional characters as artists either for self-reflexivity or to comment on the situation of being an artist. In accordance with the above premise, the responsibility of the artist and the function of art is investigated with due reference to radical thinkers, philosophers and writers such as, among others, Immanuel Kant, Oscar Wilde, Ge

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24

Kwon, Kyounghye. "Local Performances, Global Stages: Postcolonial and Indigenous Drama and Performance in Glocal Circuits." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259760023.

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25

Tasker, Elizabeth Anne. "Low Brows and High Profiles: Rhetoric and Gender in the Restoration and Early Eighteenth Century Theater." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_diss/18.

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The Restoration and early eighteenth-century theaters of London formed an important mixed-gender rhetorical venue, which was acutely focused on the age-old “querrelle des femmes” (or woman question). The immediate popularity of the newly opened Restoration theaters, the new practice of casting actresses rather than actors in female roles, and the libertine social climate of London from 1660 to the early 1700s created a unique rhetorical situation in which women openly participated as speakers and audience members. Through a methodology combining feminist historiography, performance theory, Bit

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26

Baird, Rachel A. "String Theory." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1273803256.

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27

Dyson, Jessica. "Staging legal authority : ideas of law in Caroline drama." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/366.

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This thesis seeks to place drama of the Caroline commercial theatre in its contemporary political and legal context; particularly, it addresses the ways in which the struggle for supremacy between the royal prerogative, common law and local custom is constructed and negotiated in plays of the period. It argues that as the reign of Charles I progresses, the divine right and absolute power of the monarchy on stage begins to lose its authority, as playwrights, particularly Massinger and Brome, present a decline from divinity into the presentation of an arbitrary man who seeks to impose and increa

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28

Lewis, Anna Christina Kohler. "WWJD /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2433.pdf.

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29

Wardell, Kathryn Brenna. "The rake's progress: Masculinities on stage and screen." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11457.

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viii, 261 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>My dissertation analyzes the rake, the libertine male, a figure whose liminal masculinity and transgressive appetites work both to stabilize and unsettle hegemony in the texts in which he appears. The rake may seem no more than a sexy bad boy, unconnected to wider social, political, and economic concerns. However, my project reveals his central role in reflecting, even shaping, anxieties and desires regarding gender and sexuality, race and ethnicity.

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30

Miranker, Emily. "An Infinity of Questions: Dramatizing Science on Stage." Oberlin College Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1212179899.

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31

Porterfield, Melissa Rynn. "Warning, Familiarity and Ridicule: Tracing the Theatrical Representation of the Witch in Early Modern England." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1114108678.

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Thesis (M.A.)--Miami University, Dept. of Theatre, 2005.<br>Title from first page of PDF document. Document formatted into pages; contains [1], ii, 104 p. Includes bibliographical references (p. 101-104).

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32

Gurnis, Musa. "Heterodox Drama: Theater in Post-Reformation London." Thesis, 2011. https://doi.org/10.7916/D82236BF.

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In "Heterodox Drama: Theater in Post-Reformation London," I argue that the specific working practices of the theater industry generated a body of drama that combines the varied materials of post-Reformation culture in hybrid fantasies that helped audiences emotionally negotiate and productively re-imagine early modern English religious life. These practices include: the widespread recycling of stock figures, scenarios, and bits of dialogue to capitalize on current dramatic trends; the collaboration of playwrights and actors from different religious backgrounds within theater companies; and t

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33

Lee, Huey-ling. "Eat, drink, man, woman: Food, eating, and social formations in Renaissance culture and drama." Thesis, 2003. http://hdl.handle.net/1911/18550.

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Food and eating have attracted the attention of scholars in different disciplines, but no one has yet attempted a systematic study of their social and cultural significance in early modern England. This dissertation undertakes such a study of a period in which the traditional social hierarchy was loosening and economic resources were changing hands in an unprecedented pace. Analyzing contemporary drama along with medical treatises, self-help manuals, and popular literatures, I demonstrate the way in which cultural beliefs and practices accompanying preparation and consumption of food contribut

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34

"Affecting Objects; or, the Drama of Imperial Commodities in English Performance, 1660-1800." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.29826.

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abstract: Early modern theater was a major site of cultural exploration into Britain’s imperial ambitions. The frequency with which drama depicted exotic locations and foreign peoples has prompted a wealth of excellent scholarship investigating how London theater portrayed Asia and the New World. With so much attention paid to the places and people of the world, however, dramatic scholarship has yet to take note of the way in which the commodities of empire, the actual driving force behind expansion of British trade routes and colonial holdings, featured in long eighteenth-century drama. "Affe

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35

Im, Chung-in. "Adventuring men and changeable women in early modern drama /." 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3250263.

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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006.<br>Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0582. Adviser: Carol Thomas Neely. Includes bibliographical references (leaves 176-198) Available on microfilm from Pro Quest Information and Learning.

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36

Kermode, Lloyd Edward. "Alien stages: Immigration, reformation, and representations of Englishness in Elizabethan moral and comic drama." Thesis, 1998. http://hdl.handle.net/1911/19275.

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This dissertation discusses the complex representation of foreigners in sixteenth-century English drama. It relates literary evidence to contemporary implicit and overt allegations that vices brought to England by both immigrant aliens and returning English travelers were corrupting, infecting, or "alienating" England and the English. My thesis argues that, during the Elizabethan period, the English experienced an increasing awareness of their own "national" identity vis-a-vis immigrant aliens and ideas of the alien "other" in literary representation. Such awareness spawned an English obsessio

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37

Zajac, Timothy W. "The everyday feast: Recreational consumption and social status in early modern English drama." 2013. https://scholarworks.umass.edu/dissertations/AAI3603179.

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Drawing on recent criticism in food studies and material culture, this dissertation examines representations of recreational consumption in early modern drama. Shakespeare and his contemporaries litter the commercial stage with scenes of appetitive desire, leisurely eating, and conviviality. This dissertation asserts that such moments provide more than comic relief or colorful accents to staged fictions; they coalesce into a socially and politically resonant discourse of profitable consumption. While pastimes such as civic festivals and pageants were common in early modern England, what I term

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38

Shortslef, Emily. "Weeping, Wailing, Sighing, Railing: Shakespeare and the Drama of Complaint." Thesis, 2015. https://doi.org/10.7916/D8MS3RTJ.

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Speech acts described as forms of “complaint”—lamentations, accusations, supplications—permeate early modern theatrical tragedy. “Shakespeare and the Drama of Complaint” explores and theorizes the largely unexamined relationship between complaint and tragedy in light of the fact that in the early modern period, “complaining” was cultural shorthand for ineffective, effeminate, and shameful responses to loss and injury. Focusing on familiar Shakespearean tragedies such as Richard III, Richard II, Hamlet, and King Lear, as well as contemporaneous plays by other writers, including Thomas Kyd’s Spa

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39

Leonard, Nathaniel C. "The Reflexive Scaffold: Metatheatricality, Genre, and Cultural Performance in English Renaissance Drama." 2013. https://scholarworks.umass.edu/dissertations/AAI3589073.

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The critical discussion of metatheatre has historically connected a series of reflexive dramatic strategies—like soliloquy, chorus, dumb show, the-play-within-the-play, prologue, and epilogue—and assumed that because these tropes all involve the play's apparent awareness of its own theatrical nature they all have similar dramaturgical functions. This dissertation, by contrast, shows that the efficacy derived from metatheatrical moments that overtly reference theatrical production is better understood in the context of restaged non-theatrical cultural performances. Restaged moments of both thea

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40

VanWagoner, Benjamin D. "Doubtful Gains: Risk in Early Modern Maritime Drama, 1592–1625." Thesis, 2018. https://doi.org/10.7916/D8Z33G88.

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“Doubtful Gains” argues that the concept of economic risk emerged in the early modern theater through performances of maritime peril staged at a moment of unprecedented growth for English venturing. Even as the hazards of global commerce became increasingly apparent, there existed no expression in English for risk, nor the inchoate logic by which early modern merchants attempted to manage their voyages’ losses. Yet my study shows that oceanic hazards are repeatedly worked over in “maritime drama,” an under-recognized cross-section of plays concerned with the sea, staged between the founding of

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41

Thompson, Liana J. "Maryse Conde's Early Plays: An English Translation of "God Gave Him to Us..." and "The Death of Oluwemi of Ajumako"." 2009. https://scholarworks.umass.edu/theses/292.

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Having built her career and her reputation on her novels, Maryse Condé is not a familiar name in the theater. However, at the beginning of her career Condé was very involved with theater, and her first published works were plays: Dieu nous l’a donné… (1972) and Mort d’Oluwémi d’Ajumako (1973) preceded Condé’s first novel, Heremakhonon (1976). Though these plays do not get as much attention as do her more recent novels, they continue to have a lot to offer: they are highly dramatic, their themes remain relevant to the world today, and they are accessible for a modern audience. This M.F.A. thesi

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42

"Clothes make the wo/man: cross-dressing and gender on the English renaissance stage and in the late Imperial Chinese theatre." 2004. http://library.cuhk.edu.hk/record=b6073650.

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Liao Weichun.<br>"August 2004."<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2004.<br>Includes bibliographical references (p. 249-268).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Mode of access: World Wide Web.<br>Abstracts in English and Chinese.

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43

Garner, Ann E. "How should I act?: Shakespeare and the theatrical code of conduct." 2012. https://scholarworks.umass.edu/dissertations/AAI3518233.

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This dissertation examines the intersection of English Renaissance drama and conduct literature. Current scholarship on this intersection usually interprets plays as illustrations of cultural behavioral norms who find their model and justification in courtly norms. In this dissertation, I argue that plays present behavioral norms that emerge from this nascent profession and that were thus influenced by this profession and the concerns of the people who worked in it, rather than by the court. To do so, I examine three behavioral norms that were important to courtiers, specifically Disguise, Mod

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44

Madison, Emily. "Stages of Emotion: Shakespeare, Performance, and Affect in Modern Anglo-American Film and Theatre." Thesis, 2020. https://doi.org/10.7916/d8-gndv-n045.

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This dissertation makes a case for the Shakespearean stage in the modern Anglo-American tradition as a distinctive laboratory for producing and navigating theories of emotion. The dissertation brings together Shakespeare performance studies and the newer fields of the history of emotions and cultural emotion studies, arguing that Shakespeare’s enduring status as the playwright of human emotion makes the plays in performance critical sites of discourse about human emotion. More specifically, the dissertation charts how, since the late nineteenth century, Shakespeare performance has been implic

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45

Mitchell, Heather S. "'Dost Thou Speak like a King?': Enacting Tyranny on the Early English Stage." Diss., 2009. http://hdl.handle.net/10161/1580.

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<p>The Biblical drama that was popular in England from the fourteenth to sixteenth centuries is a fruitful site for exploring the dissemination of political discourse. Unlike Fürstenspiegeln (mirrors for princes literature) or the tradition of royal civic triumphs, Biblical drama, whether presented as ambitious "history of the world" civic cycles or as individual plays put on by traveling companies or parish actors, did not attempt to define or proscribe ideals of kingly behavior. On the contrary, the superstars of the early English stage were tyrants, such as Herod, Pharoah, Pilate, and Luc

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Roy, Cheman Rachel. "With universal applause the exotic and eighteenth century afterpieces /." 2007. http://etd.nd.edu/ETD-db/theses/available/etd-07132007-212753/.

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Thesis (Ph. D.)--University of Notre Dame, 2007.<br>Thesis directed by Margaret Anne Doody and Seamus F. Deane for the Department of English. "July 2007." Includes bibliographical references (leaves 396-449).

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Hong, Yonjoo. "A Translation of Yun-T'aek Yi's Faust in Blue Jeans." 2012. https://scholarworks.umass.edu/theses/908.

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In this thesis, I present a translation of Yun-T’aek Yi’s Faust in Blue Jeans accompanied by an introduction discussing my decision making process. Yun-T’aek Yi’s eighth play for the theater, Ch’ŏngbajirŭl ibŭn p’ausŭt’ŭ, is a Korean adaptation of Wolfgang von Goethe’s Faust, set in twentieth-century Korea with contemporary Korean characters. Given the English title Faust in Blue Jeans, I consider this text for purposes of a staged performance and point out the difficulties in the replacement of one culture by another, especially in consideration of my personal situation as a Korean born trans

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"Kin with Kin and Kind with Kind Confound: Pity, Justice, and Family Killing in Early Modern Dramas Depicting Islam." Thesis, 2012. http://hdl.handle.net/1911/70385.

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This dissertation examines the early modern representation of the Ottoman sultan as merciless murderer of his own family in dramas depicting Islam that are also revenge tragedies or history plays set in empires. This representation arose in part from historical events: the civil wars that erupted periodically from the reign of Sultan Murad I (1362-1389) to that of Sultan Mehmed III (1595-1603) in which the sultan killed family members who were rivals to the throne. Drawing on these events, theological and historical texts by John Foxe, Samuel Purchas, and Richard Knolles offered a distorted im

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