Auswahl der wissenschaftlichen Literatur zum Thema „Censorship – drama“
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Zeitschriftenartikel zum Thema "Censorship – drama"
OTA, Kazuaki. „Jacobean Drama and Censorship“. Journal of UOEH 12, Nr. 2 (1990): 239–49. http://dx.doi.org/10.7888/juoeh.12.239.
Der volle Inhalt der QuelleDavidson, Clifford. „Drama, Censorship, and “Vernacular Theology”“. Studies in Philology 116, Nr. 1 (2019): 35–53. http://dx.doi.org/10.1353/sip.2019.0001.
Der volle Inhalt der QuelleBratton, J. S., und John Russell Stephens. „The Censorship of English Drama 1824-1901“. Yearbook of English Studies 15 (1985): 314. http://dx.doi.org/10.2307/3508604.
Der volle Inhalt der QuelleMcKibbin, Ross. „The Censorship of British Drama, 1900–1968“. English Historical Review CXXI, Nr. 490 (01.02.2006): 340–42. http://dx.doi.org/10.1093/ehr/cej102.
Der volle Inhalt der QuelleSchupak, Esther B. „Redefining Censorship“. European Judaism 51, Nr. 2 (01.09.2018): 134–42. http://dx.doi.org/10.3167/ej.2018.510219.
Der volle Inhalt der QuelleSchupak, Esther B. „Redefining Censorship“. European Judaism 51, Nr. 2 (01.09.2018): 134–42. http://dx.doi.org/10.3167/ej.2017.510219.
Der volle Inhalt der QuelleEdelstein, Gabriella. „‘Changed to another form’“. Critical Survey 36, Nr. 1 (01.03.2024): 44–57. http://dx.doi.org/10.3167/cs.2024.360104.
Der volle Inhalt der QuelleRichmond, Steven. „"And Who Are the Judges?": Mikhail Bulgakov Versus Soviet Censorship, 1926-1936“. Russian History 33, Nr. 1 (2006): 83–107. http://dx.doi.org/10.1163/187633106x00050.
Der volle Inhalt der QuelleGoldstein, Robert Justin. „Political Censorship of the Theatre in Nineteenth-Century Europe“. Theatre Research International 12, Nr. 3 (1987): 220–41. http://dx.doi.org/10.1017/s0307883300013699.
Der volle Inhalt der QuelleHowe, Tonya-Marie. „Eighteenth-Century Drama: Censorship, Society, and the Stage“. Restoration and Eighteenth-Century Theatre Research 31, Nr. 1 (2016): 133–36. http://dx.doi.org/10.5325/rectr.31.1.0133.
Der volle Inhalt der QuelleDissertationen zum Thema "Censorship – drama"
Montgomery, John David. „Censorship and the Drama Curriculum: A study of the censoring of HSC Drama texts for study and performance in the experience of nine educators working in secondary Christian schools in New South Wales“. Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/14614.
Der volle Inhalt der QuelleHo, Wing Shan. „How Far Can We Go: Popular Film and TV Drama in Post-1989 China“. Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/17937.
Der volle Inhalt der QuelleMy dissertation addresses two major issues in Chinese contemporary film and TV studies: the first is the proliferations of new forms of subjectivities and the state’s attempt to regulate them via the construction of an ideal citizenship on the film and TV screen; the second is to develop an approach to understand the political economy of screen culture (yingshi wenhua), as well as freedom and control in post-1989 China. My project investigates key contemporary state-sponsored (zhuxuanlü) and state-criticized/banned screen products as a way to explore socialist values advanced by the Chinese Communist Party, as well as the ways in which and the extent to which individuals are able to challenge them. The ways in which my project contributes to the fields of film and TV studies in China are fourfold. First, close readings of selected films and TV dramas inform us of three emergent forms of subjectivity that were previously theorized as a synthesized sublime subject. Second, I conceptualize qualities of the on-screen socialist spirit that the state uses to counteract the three new forms of subjectivity and maintain its superiority. Third, by discussing the state’s intervention and control on production and consumption of screen products, I reveal the state’s vested interests and individuals’ execution of agency in popular culture. This emphasis on state-individual interactions challenges the current focus on TV and film as merely a profit-oriented industry; it also unravels conflicted ideologies in screen products and questions the understanding of popular culture as mainstream culture. Fourth, by achieving the above tasks, my research exposes that the state’s tolerance of its citizens’ partial freedom is for the purpose of political stability.
Tai, Yuhui. „DEVELOPMENT OR DEPENDENCY? THE EMERGING CHINESE CULTURAL-LINGUISTIC TV MARKET AND IDOL TV DRAMA IN TAIWAN AND CHINA“. OpenSIUC, 2013. https://opensiuc.lib.siu.edu/dissertations/769.
Der volle Inhalt der QuellePotter, Anna. „Internationalising Australian Children's Television Drama: The Collision of Australian Cultural Policy and Global Market Imperatives“. Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16016/1/Anna_Potter_Thesis.pdf.
Der volle Inhalt der QuelleFoo, Tee-Tuan. „Managing the Content of Malaysian Television Drama: Producers, Gatekeepers and the Barisan Nasional Government“. Ohio University / OhioLINK, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1102522280.
Der volle Inhalt der QuellePotter, Anna. „Internationalising Australian Children's Television Drama: The Collision of Australian Cultural Policy and Global Market Imperatives“. Queensland University of Technology, 2005. http://eprints.qut.edu.au/16016/.
Der volle Inhalt der QuelleIdrissi, Nizar. „Stephen Poliakoff: another icon of contemporary British drama“. Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.
Der volle Inhalt der QuelleDoctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
Dawood, Rasha Ahmed Khairy Hafez. „Critical discourse within European plays in the first half of the twentieth century and the manifestations of a similar phenomenon in modern Egyptian drama“. Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15359.
Der volle Inhalt der QuelleJulian, Thibaut. „L’Histoire de France en jeu dans le théâtre des Lumières et de la Révolution (1765-1806)“. Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040181.
Der volle Inhalt der QuelleThe second half of the eighteenth-century is characterized by a thorough transformation of the political world, a change which reflected the simultaneous development of public criticism and patriotism. Theatre plays a key role in this process. Following Voltaire, a variety of playwrights use French history for their plots, and in so doing they update genres and audience expectations. Alongside epic or sentimental plays of the troubadour genre, bio-dramas of “Great Men” soon appeared, followed by dramatic apotheoses and the Revolution’s “faits historiques”. This varied corpus of plays – performed ¬ or not, on official or private stages – constitutes what we may call the national drama of the Enlightenment and the French Revolution.By studying these texts and their reception, I analyse how the theatrical representation of French history and its ability to act as a mirror between the past and the present contribute to the contemporary changes in thought. National drama not only showcases the esthetical and dramaturgic debates of this turning point between classicism and romanticism, but it additionally implicates issues of politics and memory: it is more than simple moral entertainment, it has civic value. These productions create a collective historical heritage with its own myths and legends, but the playwrights’ contradictory ideological intentions and the audiences’ active participation also make this theatre a site of dissent. National drama also expresses contemporary social strains and seeks to evoke specific emotions such as admiration, empathy, outrage and horror in the face of the past’s wounds
De, Santis Vincenzo. „Le dramaturge dissident. Le théâtre de Louis Lemercier entre Lumières et Romantisme (suivi de l’édition critique d’Agamemnon et Pinto, ou la journée d’une conspiration)“. Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040039.
Der volle Inhalt der QuelleThe dramatic productions of Jean-François-Louis Népomucène Lemercier (1771-1840) reveal a transition between Neoclassicism, Preromanticism and Romanticism. This writer and academician witnessed the political and social upheavals that characterized France from the twilight of the Enlightenment until the July Revolution and thereafter. The span of his life and works amply exceeds the "long Eighteenth Century" that literary historians have extended to 1820 (Claude Pichois). This dissertation includes two main parts: a monographic study of Lemercier’s dramatic production and a critical edition of the playwright’s major works, Agamemnon (1797), one of the most successful tragedies during the “Directoire” and to 1826; and Pinto, a “historical comedy” composed between 1798 and 1800, and which was seen as a “romantic” triumph in 1834. Lemercier has often been regarded as the author of one of the last classical tragedies (Agamemnon i.e.); nevertheless, in spite of being, at times, one of Romanticism’s fiercest detractors, he emerges in Nineteenth century criticism – and above all in Schlegel’s writings – as one of the most influential pioneers of romantic drama. The intrinsic ambiguity of Lemercier’s dramatic production reveals the uncertainties of this transitional age. This ambiguity thus demands a holistic approach: the context of Lemercier’s literary works will be analyzed from an esthetic, historical and political point of view, emphasizing their intricate relationships with literary and political authorities and censorship issues throughout the period
La produzione drammatica di Jean-François-Louis Népomucène Lemercier si inserisce in quel momento di transizione tra Neoclassicismo, Preromanticismo e Romanticismo che caratterizza gli ultimi anni del Diciottesimo e il primo trentennio del Diciannovesimo secolo. Nato nel 1771 e morto nel 1840, questo scrittore e accademico ha assistito agli sconvolgimenti che hanno caratterizzato la storia della Francia dal tournant des Lumières fino alla Rivoluzione di Luglio e anche oltre. La sua vita e la sua attività poetica oltrepassano ampiamente il “lungo Settecento” che la storia letteraria tende ad estendere sino al 1820 già a partire dalla periodizzazione proposta da Claude Pichois. Questo lavoro si concentra sulla produzione di un autore che, nella sua intrinseca ambiguità, è sotto molti aspetti indicativa di un’indeterminatezza che caratterizza più in generale questo periodo di transizione estetico-letteraria. Spesso considerato, in primis da Madame de Stael, come l’autore dell’ultima tragedia classica - è il caso di Agamemnon del 1797 - Lemercier è stato visto, già a partire dal XIX secolo e in particolare da Schlegel, come uno dei primi autori di drammi romantici, di cui Pinto, ou la journée d’une conspiration (1800) rappresenterebbe una protoforma. Il presente lavoro, che si focalizza sul macrotesto teatrale di Lemercier senza tuttavia negligere altri aspetti della sua variegata opera, consta essenzialmente di due sezioni, una dedicata allo studio del macrotesto teatrale dell’autore, con un’attenzione particolare al contesto-storico letterario e alla ricezione; l’altra all’edizione di due opere, Agamemnon e Pinto, che rappresentano per molti aspetti due degli esempi più significativi della sua produzione drammatica. Il rapporto conflittuale di Lemercier con l’autorità politica e con la nascente “scuola” romantica saranno inoltre oggetto di questa riflessione
Bücher zum Thema "Censorship – drama"
The censorship of British drama, 1900-1968. Exeter, UK: University of Exeter Press, 2003.
Den vollen Inhalt der Quelle findenHenry E. Huntington Library and Art Gallery. Eighteenth century drama: Censorship, society and the stage. Marlborough, Wiltshire, UK]: Adam Matthew, 2016.
Den vollen Inhalt der Quelle findenBanned plays: Censorship histories of 125 stage dramas. New York: Facts on File, 2003.
Den vollen Inhalt der Quelle findenScotland), Traverse Theatre (Edinburgh, Hrsg. Reader. London: Nick Hern Books, 1995.
Den vollen Inhalt der Quelle findenZhirkov, G. V. Predsmertnai︠a︡ t︠s︡enzurnai︠a︡ nedeli︠a︡ L.N. Tolstogo: Astapovskai︠a︡ drama. Sankt-Peterburg: Filologicheskiĭ fakulʹtet SPbGU, 2011.
Den vollen Inhalt der Quelle findenPöllinger, Andreas. Der Zensurprozess um Paul Heyses Drama "Maria von Magdala" (1901-1903): Ein Beispiel für die Theaterzensur im Wilhelminischen Preussen. Frankfurt am Main: P. Lang, 1989.
Den vollen Inhalt der Quelle findenDutton, Richard. Mastering the revels: The regulations and censorship of English Renaissance drama. London: Macmillan, 1991.
Den vollen Inhalt der Quelle findenDutton, Richard. Mastering the revels: The regulation and censorship of English Renaissance drama. Iowa City: University of Iowa Press, 1991.
Den vollen Inhalt der Quelle findenDutton, Richard. Mastering the revels: The regulation and censorship of English Renaissance drama. London: Macmillan, 1991.
Den vollen Inhalt der Quelle findenDowney, Katherine Brown. Perverse Midrash: Oscar Wilde, André Gide, and censorship of biblical drama. New York: Continuum, 2004.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Censorship – drama"
Dutton, Richard. „Theatrical License and Censorship“. In A New Companion to Renaissance Drama, 225–38. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch17.
Der volle Inhalt der QuelleDutton, Richard. „The Regulation and Censorship of Early Modern Drama“. In Licensing, Censorship and Authorship in Early Modern England, 1–15. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230598713_1.
Der volle Inhalt der QuelleBhatia, Nandi. „Censorship, Social Reform, and Mythological Drama in Colonial India“. In Religion in Literature and Film in South Asia, 191–211. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105522_10.
Der volle Inhalt der QuellePeters, Julie Stone. „Performing obscene modernism: Theatrical censorship and the making of modern drama“. In Against Theatre, 206–30. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230289086_12.
Der volle Inhalt der QuelleVan Bruaene, Anne-Laure. „State of Play. Rhetorician Drama and the Ambiguities of Censorship in the Early Modern Low Countries“. In Studies in European Urban History (1100-1800), 295–308. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.seuh-eb.5.114013.
Der volle Inhalt der QuelleSchramm, Jan-Melissa. „Censorship and Sacred Drama“. In Censorship and the Representation of the Sacred in Nineteenth-Century England, 13–48. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198826064.003.0001.
Der volle Inhalt der QuelleNaithani, Sadhana. „The Drama Begins“. In Folklore in Baltic History, 23–34. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496823564.003.0003.
Der volle Inhalt der QuelleMortimer, John. „Television Drama, Censorship and the Truth“. In Television Policy, 71–78. Edinburgh University Press, 2005. http://dx.doi.org/10.3366/edinburgh/9780748617173.003.0006.
Der volle Inhalt der QuelleMortimer, John. „Television Drama, Censorship and the Truth“. In Television Policy, 71–78. Edinburgh University Press, 2005. http://dx.doi.org/10.1515/9781474468268-008.
Der volle Inhalt der Quelle„Chapter Six. Satire, Drama, and Censorship“. In The Clerical Proletariat and the Resurgence of Medieval English Poetry, 218–60. University of Pennsylvania Press, 2021. http://dx.doi.org/10.9783/9780812298017-009.
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