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Książki na temat „Drama Dept”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 5 lutego 2022

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1

Delvalle, Alcibíades González. El drama del 47: Documentos secretos de la guerra civil. Asunción, Paraguay: Editorial Histórica, 1987.

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2

Kramer, Seth. Debt: A drama. [New York, NY]: Playscripts, Inc., 2004.

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3

Blakkisrud, Helge. Det russiske drama. Oslo: Norsk utenrikspolitisk institutt, 1995.

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4

Anderson, Jonah. From debt to death. Toronto, ON: Playwrights Guild of Canada, 2014.

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5

Laço, Teodor. Qyteti i akuzuar: Një det helmi : drama. Tiranë: Botimet Toena, 1996.

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6

Liebst, Lars. Hvem ejer Shakespeare?: Det gamle teater i det moderne. [Denmark]: Gyldendal, 1999.

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7

Lesky, Albin. La tragédie grecque. [Sillery, Québec]: M. Lebel, 1997.

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8

Izazovi budućnosti: Kriza dugova i razvojna drama. Split: Logos, 1989.

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9

Om det tragiske. Wyd. 3. Oslo: Utgitt i samarbeid med Filosofilærernes Forening, Aventura Forlag, 1988.

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10

Kuhlmann, Annelis. Opbrud i det sovjetiske teaterliv. Århus: Institut for dramaturgi, 1988.

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11

Om du vill lära känna det osynliga ...: Anteckningar till Strindbergs sena historiedramatik. Skellefteaa: Norma, 2011.

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12

Ryum, Ulla. Kvindesprog: Udtryk og det sete. Roskilde: Institut for uddannelsesforskning, kommunikationsforskning og videnskabsteori, Roskilde universitetscenter, 1987.

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13

Christoffersen, Erik Exe. Teater poetik: En walkabout i det moderne teater. Århus: Klim, 1997.

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14

Banke, Ole. Det færøske lys = Tađ føroyska ljósiđ = The Faroese light. København: Rhodos, 2001.

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15

Staging depth: Eugene O'Neill and the politics of psychological discourse. Chapel Hill: University of North Carolina Press, 1995.

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16

Conan, Doyle Arthur. Det brogede bånd. Esrum: Facet K-S, 1985.

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17

1945-, Logan John L., Milberg Leonard L, Woolmer J. Howard, Davis Wes, Berne Rebecca i Quigley Megan, red. The Leonard L. Milberg Irish Theater Collection. Princeton, N.J: Princeton University Library, 2006.

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18

Brenna, Dwayne. Emrys' dream: Greystone Theatre in photographs and words. Saskatoon: Thistledown Press, 2007.

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19

Olov Hartman och det kosmiska dramat: En studie av några centrala motiv i ett teologiskt författarskap. Örebro [Sweden]: Bokförlaget Libris, 1986.

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20

Nybo, Mette. Fuglen og Slangen: En analyse af Aiskylos' trilogi Orestien igennem det mytologiske perspektiv Fuglen og Slangen : speciale i teatervidenskab. [Kbh.]: Det Teatervidenskabelige Institut, Københavns Universitet, 1997.

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21

Findsen, Kathrine. H.C. Andersen Festspillene 50 års jubilæumsbog: Det der ikke skrives ned, glemmes! Odense: H.C. Andersen Festspillene, 2014.

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22

Qun, Wang. An in-depth study of the major plays of African American playwright August Wilson: Vernacularizing the blues on stage. Lewiston, N.Y: Edwin Mellen Press, 1999.

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23

Kim's Convenience. Toronto: Anansi, 2012.

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24

Bowman-Kruhm, Mary. The Leakeys: A biography. Amherst, N.Y: Prometheus Books, 2010.

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25

Bleiberg, Ehud, Jesse V. Johnson i Stu Small. The debt collector. 2018.

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26

Det moderna genombrottets dramer: Fem analyser. Lund: Studentlitteratur, 2006.

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27

Yvonne, Leffler, Leffler Anne Charlotte 1849-1892, Skram Amalie 1846-1905 i Benedictsson Victoria 1850-1888, red. Det moderna genombrottets dramer: Fem analyser. Lund: Studentlitteratur, 2004.

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28

Rolf, Gaasland, i Aarseth Hans Erik, red. Mellom europeisk tradisjon og nasjonal selvbevissthet: Det norsk-klassiske drama 1750-1814. Oslo: Spartacus, 1999.

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29

Crowder, Susannah. Performing women. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526106407.001.0001.

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Performing women takes on a key problem in the history of drama: the “exceptional” staging of the life of Catherine of Siena by a female actor and a female patron in 1468 Metz. These two creators have remained anonymous, despite the perceived rarity of this familiar episode; this study of their lives and performances brings the elusive figure of the female performer to center stage, however. Beginning with the Catherine of Siena play and broadening outward, Performing women integrates new approaches to drama, gender, and patronage with a performance methodology to trace connections among the activities of the actor, the patron, their female family members, and peers. It shows that the women of fifteenth-century Metz enacted varied kinds of performance that included and extended beyond the theater: decades before the 1468 play, for example, Joan of Arc returned from the grave in the form of a young woman named Claude, who was acknowledged formally in a series of civic ceremonies. This in-depth investigation of the full spectrum of evidence for female performance – drama, liturgy, impersonation, devotional practice, and documentary culture – both creates a unique portrait of the lives of individual women and reveals a framework of ubiquitous female performance. Performing women offers a new paradigm: women forming the core of public culture. Networks of gendered performance offered roles of expansive range and depth to the women of Metz, and positioned them as vital and integral contributors to the fabric of urban life.
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30

Hall, Bret K., i James Henry Hall. Spin. 2017.

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31

Cramer, Bertrand G., i T. Berry Brazelton. La Relacion Mas Temprana/ The Earliest Relationship: Padres, Bebes Y El Drama Del Apego Inicial / Parents, Infants,and the Drama of Early Attachment. (Psicologia Profunda / Depth Psychology). Ediciones Paidos Iberica, 1993.

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32

Pfister, Joel. Staging Depth: Eugene o'neill and the Politics of Psychological Discourse. University of North Carolina Press, 2000.

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33

Michaelides, Alex, Cassian Elwes, James Oakley, Robert Ogden Barnum i Dave Hansen. The con is on. 2018.

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34

Of Bondage: Debt, Property, and Personhood in Early Modern England. University of Pennsylvania Press, 2013.

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35

Preiss, Richard. Interiority. Redaktor Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.3.

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This chapter traces the history of theatrical interiority and shows when and why early modern theatre became invested in it. More specifically, it examines the way the enclosure of the theatres made possible not only a newly commercialized drama but also characterization and plot-structure that depended on an implied but unrevealed depth. The chapter first considers the analogy between round amphitheatres and ‘round’, complex characters before discussing the culture of the money box to establish the link between early modern theatrical economics and its aesthetics. It then looks at the play’s resistance to closure, its messiness and overcomplication, and the ‘interiority’ of its characters and how characters in later revenge plays construct interiority as negative space. It argues that characters are not people so much as playhouses, propagating the illusion of depth after depth has run out, and explains how ‘interiority’ in the early modern theatre begins as merely its exterior reinscribed—its circle reduced into the body of the actor until it became a point, elemental and ‘inviolate’.
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36

Kim, Chŏng-min, Yŏng-gwang Kim i Chi-hun Kim. Uri chip e sanŭn namja. 2017.

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37

Vertelyte, Egle. Miracle. 2018.

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38

Boncardo, Robert. Jean-Paul Sartre’s Mallarmé: Hero of an Ontological Drama, Agent of the Counter-revolution. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429528.003.0002.

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This first chapter presents an in-depth study of Jean-Paul Sartre’s career-long engagement with Mallarmé. Beginning with a discussion of Sartre’s notorious side-lining of poetry in favour of committed literature, the chapter asks why Sartre nevertheless chose to devote so many pages to Mallarmé, particularly in his incomplete existential biography Mallarmé, or, The Poet of Nothingness. The chapter begins with an extensive reading of this latter work, tracking Sartre’s trenchant Marxist analysis of the post-1848 literary field in France before exploring his account of Mallarmé’s personal trajectory. Finally, it turns to the third volume of Sartre’s The Family Idiot and argues for the consistency of Sartre’s reading of Mallarmé as a nihilist and as a political quietist.
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39

Ingleheart, Jennifer. Here Aphrodite Is Not. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819677.003.0006.

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Bainbrigge’s closet drama is explored from a number of perspectives. These include its debt to Victorian classical burlesques, and responses to other versions of the myth of Achilles, including Homer’s. This chapter explores Bainbrigge’s dramatization of the secrecy that surrounds homoerotic writing, and its use of homoerotic codes. It interrogates the radical homoerotic literary heritage Bainbrigge lays claim to, and his portrayal of lesbianism as equivalent to male homosexuality, not least via a tradition of homoerotic receptions of Sappho, including those of Swinburne and John Addington Symonds. The chapter further explores Bainbrigge’s comments on the links between love between males and classical education, and the continuities between ancient and modern sexualities. The play offers an anarchic range of queer options, encompassing gender fluidity, cross-dressing, and a very wide variety of sexual possibilities and roles.
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40

Newlin, Keith, red. The Oxford Handbook of American Literary Realism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780190642891.001.0001.

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The Oxford Handbook of American Literary Realism offers thirty-five original chapters with fresh interpretations of the artistic and political challenges of representing life accurately. Organized by topic and theme, the chapters draw on recent scholarship in literary and cultural studies to offer an authoritative and in-depth reassessment of major and minor figures and the contexts that shaped their work. One set of chapters explores realism’s genesis and its connection to previous and subsequent movements. Others examine the inclusiveness of representation, the circulation of texts, and the aesthetic representation of science, time, space, and the subjects of medicine, the New Woman, and the middle class. Still others trace the connection to other arts—poetry, drama, illustration, photography, painting, and film—and to pedagogical issues in the teaching of realism.
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41

Hewitt, Seán. J. M. Synge. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198862093.001.0001.

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This is a complete study of the works of the Irish playwright, travel writer, and poet J. M. Synge (1871–1909). A key and controversial figure in the Irish Literary Revival, and specifically in the Abbey Theatre, Synge’s career was short but dynamic. Moving from an early Romanticism, through Decadence, and on to a combative, protesting modernism, the development of Synge’s drama was propelled by his contentious relationship with the Irish politics of his time. This book is a full and timely reappraisal of Synge’s works, exploring both the prose and the drama through an in-depth study of Synge’s archive. Rather than looking at Synge’s work in relation to any distinct subject, this study examines Synge’s aesthetic and philosophical values, and charts the challenges posed to them as the impetus behind his reluctant movement into a more modernist mode of writing. Along the way, the book sheds new and often surprising light on Synge’s interests in occultism, pantheism, socialism, Darwinism, modernization, and even his late satirical engagement with eugenics. One of its key innovations is the use of Synge’s diaries, letters, and notebooks to trace his reading and to map the influences buried in his work, calling for them to be read afresh. Not only does this book reconsider each of Synge’s major works, along with many unfinished or archival pieces, it also explores the contested relationship between Revivalism and modernism, modernism and politics, and modernism and Romanticism.
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42

Nayyar, Deepak, red. Asian Transformations. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198844938.001.0001.

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Gunnar Myrdal published his magnum opus, Asian Drama: An Inquiry into the Poverty of Nations, in 1968. He was deeply pessimistic about development prospects in Asia. The fifty years since then have witnessed a remarkable social and economic transformation in Asia – even if it has been uneven across countries and unequal between people – that would have been difficult to imagine, let alone predict at the time. This book analyses the fascinating story of economic development in Asia spanning half a century. The study is divided into three parts. The first part sets the stage by discussing the contribution of Gunnar Myrdal, the author, and Asian Drama, the book, to the debate on development then and now, and by providing a long-term historical perspective on Asia in the world. The second part comprises cross-country thematic studies on governments, economic openness, agricultural transformation, industrialization, macroeconomics, poverty and inequality, education and health, employment and unemployment, institutions and nationalisms, analysing processes of change while recognizing the diversity in paths and outcomes. The third part is constituted by country-studies on China, India, Indonesia and Vietnam, and sub-region studies on East Asia, Southeast Asia and South Asia, highlighting turning points in economic performance and analysing factors underlying success or failure. This book, with in-depth studies by eminent economists and social scientists, is the first to examine the phenomenal changes which are transforming economies in Asia and shifting the balance of economic power in the world, while reflecting on the future prospects in Asia over the next twenty-five years. It is a must-read.
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43

Pennell, Sara. Happiness in Things? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198748267.003.0011.

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Pennell’s chapter engages with the idea that objects acquire individual and social meaning partly because of the emotions that subjects attach to them, in the context of the often fragile hold that the eighteenth-century poor had on their goods and chattels. The poor might routinely pawn possessions or surrender them to distraint for debt, or for release from the sponging house or debtors’ prison. Pennell focuses in particular on the commonplace drama of distraint, increasingly visible across the eighteenth century following the 1689 Sale of Goods Distrained for Rent Act. Accounts suggest that those who fell foul of warrants for distraint often experienced suffering more because their home was violated than because of the loss of specific goods within it. This suggests a pragmatic view of possessions in which goods were regarded as stores of value, more than as objects of emotional investment.
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44

Smith, Matthew Wilson. The Prison House of Nerves. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190644086.003.0007.

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Zola’s 1873 stage adaptation of his novel Thérèse Raquin is generally considered the first Naturalist drama, which inspired the most famous Naturalist play, Strindberg’s Miss Julie. This chapter examines these plays in the context of the neurophysiological theories behind Zola and Strindberg’s conceptions of Naturalism. It argues that Zola’s Naturalism, like that of his scientific mentor Claude Bernard, attempts to balance a commitment to neurophysiological determinism with a commitment to independent scientific observation, producing an uneasy fault line in Thérèse Raquin. The chapter further depicts Miss Julie as an earthquake in the rift of Zola’s earlier Naturalism. Strindberg’s artistic innovations are partly grounded in the author’s refusal to reconcile the most disruptive neurological findings of his time with more acceptable ideas of objectivity, independence, and agency. Fully appreciating Strindberg’s artistic contribution requires understanding his intellectual debt to the neuropsychological researchers of his day, above all Charcot and Bernheim.
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45

Vandrei, Martha. ‘Higher then to her no bookes doe reach’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816720.003.0002.

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This chapter and the following both draw the reader into seventeenth-century understandings of the past, and of Boudica in particular, and makes clear that in a time before disciplines, writers of ‘history’ were erudite commentators, immersed in political thought, the classical world, and contemporary ideas, as well as in drama, poetry, and the law. Chapter 1 shows the subtleties of Boudica’s place in history at this early stage by giving sustained attention to the work of Edmund Bolton (1574/5–c.1634), the first person to analyse the written and material evidence for Boudica’s deeds, and the last to do so in depth before the later nineteenth century. Bolton’s distaste for contemporary philosophy and his loyalty to James I were highly influential in determining the way the antiquary approached Boudica and her rebellion; but equally important was Bolton’s deep understanding of historical method and the strictures this placed on his interpretive latitude.
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46

Van Buren, Kathleen, i Brian Shrag. Make Arts for a Better Life. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878276.001.0001.

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Make Arts for a Better Life: A Guide for Working with Communities provides a groundbreaking model for arts advocacy. Drawing upon methods and theories from disciplines such as ethnomusicology, anthropology, folklore, community development, and communication studies, the Guide presents an in-depth approach to researching artistic practices within communities and to developing arts-based projects that address locally defined needs. Through clear methodology, case studies from around the world, and sample activities, the Guide helps move readers from arts research to project development to project evaluation. It addresses diverse arts: music, drama, dance, oral verbal arts, and visual arts. Also featured are critical reflections on the concept of a “better life” and ethical issues in arts advocacy. The Guide is aimed at a broad audience including both scholars and public sector workers. Appendices and an accompanying website offer methodology “cheat sheets,” sample research documents, and specific suggestions for educators, researchers, and project leaders.
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47

Fitter, Chris, red. Shakespeare and the Politics of Commoners. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198806899.001.0001.

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This book is a highly original contribution to our understanding of Shakespeare’s plays in two ways. First, it breaks important new ground in introducing readers, lay and scholarly alike, to the existence and character of the political culture of the mass of ordinary commoners in Shakespeare’s England, as revealed by the recent findings of ‘the new social history’. Demonstrating the vibrant, critical, and philosophically dissident politics of plebeians in the Tudor period, the volume thereby helps challenge the traditional myths of a non-political commons and a culture of obedience. Second, it brings together leading Shakespeareans, digesting the recent social history, with eminent early modern social historians, turning their focus upon Shakespeare. The genuinely cross-disciplinary work resulting generates fresh readings of ten plays, locating the penetration of Shakespearean drama by popular political thought and pressure in this period of perceived social crisis. No other volume on Shakespeare has engaged and digested the dramatic importance of the discoveries of the new social history, resituating and revaluing Shakespeare within the remarkable social depth of early modern politics.
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48

Kolb, Laura. Fictions of Credit in the Age of Shakespeare. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198859697.001.0001.

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In Shakespeare’s England, credit was synonymous with reputation, and reputation developed in the interplay of language, conduct, and social interpretation. As a consequence, artful language and social hermeneutics became practical, profitable skills. Since most people both used credit and extended it, the dual strategies of implication and inference—of producing and reading evidence—were everywhere. Like poetry or drama, credit was constructed: fashioned out of the interplay of artifice and interpretation. The rhetorical dimension of economic relations produced social fictions on a range of scales: from transitory performances facilitating local transactions to the long-term project of maintaining creditworthiness to the generalized social indeterminacy that arose from the interplay of performance and interpretation. Fictions of Credit in the Age of Shakespeare examines how Shakespeare and his contemporaries represented credit-driven artifice and interpretation on the early modern stage. It also analyses a range of practical texts—including commercial arithmetics, letter-writing manuals, legal formularies, and tables of interest—which offered strategies for generating credit and managing debt. Looking at plays and practical texts together, Fictions of Credit argues that both types of writing constitute “equipment for living”: practical texts by offering concrete strategies for navigating England’s culture of credit, and plays by exploring the limits of credit’s dangers and possibilities. In their representations of a world rewritten by debt relations, dramatic texts in particular articulate a phenomenology of economic life, telling us what it feels like to live in credit culture: to live, that is, inside a fiction.
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49

Ledford, Katherine, i Theresa Lloyd, red. Writing Appalachia. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.001.0001.

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From the earliest oral traditions to print accounts of frontier exploration, from local color to modernism and postmodernism, from an exuberant flowering in the 1970s to its high popular and critical profile in the twenty-first century, Appalachian literature can boast a long tradition of delighting and provoking readers. Yet, locating an anthology that offers a representative selection of authors and texts from the earliest days to the present can be difficult. Katherine Ledford and Theresa Lloyd have produced an anthology to meet this need. Simultaneously representing, complicating, and furthering the discourse on the Appalachian region and its cultures, this anthology works to provides the historical depth and range of Appalachian literature that contemporary readers and scholars seek, from Cherokee oral narratives to fiction and drama about mountaintop removal and prescription drug abuse. It also aims to challenge the common stereotypes of Appalachian life and values by including stories of multiple, often less heard, viewpoints of Appalachian life: mountain and valley, rural and urban, folkloric and postmodern, traditional and contemporary, Northern and Southern, white people and people of color, straight and gay, insiders and outsiders—though, on some level, these dualisms are less concrete than previously imagined.
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50

Desires of Credit in Early Modern Theory and Drama: Commerce Poesy and the Profitable Imagination. Taylor & Francis Group, 2016.

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