Auswahl der wissenschaftlichen Literatur zum Thema „Drama - literary criticism“
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Zeitschriftenartikel zum Thema "Drama - literary criticism"
Jabborova, Dilafruz. „Interpretation of Fitrat Dramas in Literary Criticism“. International Journal for Research in Applied Science and Engineering Technology 9, Nr. 12 (31.12.2021): 2437–40. http://dx.doi.org/10.22214/ijraset.2021.39332.
Der volle Inhalt der QuelleZhang, Jinsong. „Discussion on Raymond Williams’ Methodology of Drama Criticism“. Journal of Contemporary Educational Research 5, Nr. 10 (29.10.2021): 153–57. http://dx.doi.org/10.26689/jcer.v5i10.2635.
Der volle Inhalt der QuelleWahyuni, Neneng. „Kritik Sosial dalam Karya Sastra Bentuk Nyata Protes Sastrawan“. Jurnal Kajian Bahasa, Sastra dan Pengajaran (KIBASP) 2, Nr. 2 (04.06.2019): 144–57. http://dx.doi.org/10.31539/kibasp.v2i2.619.
Der volle Inhalt der QuelleBarry, P. „Feminist Literary Criticism; Modernism/Postmodernism; New Historicism and Renaissance Drama; Contemporary Marxist Literary Criticism“. English 42, Nr. 173 (01.06.1993): 182–88. http://dx.doi.org/10.1093/english/42.173.182.
Der volle Inhalt der QuelleAckerman, Alan. „The Prompter's Box: Modern Drama and Literary Criticism“. Modern Drama 50, Nr. 4 (Dezember 2007): 475–86. http://dx.doi.org/10.3138/md.50.4.475.
Der volle Inhalt der QuelleAckerman, Alan. „The Prompter’s Box: Modern Drama and Literary Criticism“. Modern Drama 50, Nr. 4 (2007): 475–86. http://dx.doi.org/10.1353/mdr.0.0000.
Der volle Inhalt der QuelleSaverchanka, I. V. „Achievements of literary science, textology and criticism“. Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, Nr. 4 (31.10.2018): 490–96. http://dx.doi.org/10.29235/2524-2369-2018-63-4-490-496.
Der volle Inhalt der QuelleAlamsyah, Devy Kurnia, Widya Husein und Yenni Hayati. „Kritik Sosial dalam Naskah Drama West Side Story karya Arthur Laurents: Kajian Sosiologi Sastra“. Jurnal Bahasa dan Sastra 10, Nr. 2 (03.07.2022): 200. http://dx.doi.org/10.24036/jbs.v10i2.117410.
Der volle Inhalt der QuellePejčić, Aleksandar. „The dramas of Manojlo Đorđević Prizrenac on the Serbian stage“. Zbornik radova Filozofskog fakulteta u Pristini 54, Nr. 2 (2024): 113–32. http://dx.doi.org/10.5937/zrffp54-50364.
Der volle Inhalt der QuelleSeba, Nur. „Membaca Indonesia dalam Orang-Orang Bawah Tanah: Kumpulan Naskah Drama“. ATAVISME 12, Nr. 2 (31.12.2009): 181–92. http://dx.doi.org/10.24257/atavisme.v12i2.169.181-192.
Der volle Inhalt der QuelleDissertationen zum Thema "Drama - literary criticism"
Kelly, Catriona. „Innokenty Fedorovich Annensky and the classical ideal : poetry, translations, drama and literary essays“. Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:402cf752-742c-4447-ae0c-ffeace85f95c.
Der volle Inhalt der QuelleRivetti, Ugo Urbano Casares. „Crítica e modernidade em Raymond Williams“. Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-27012016-123033/.
Der volle Inhalt der QuelleThis dissertation aims to analyze Raymond Williams work from the point of view of the critique of modernity undertaken by him in a specific period of his trajectory: from Culture and Society (1958) to The Country and the City (1973). Therefore, we begin by reconstructing the forms assumed by this critique in the interpretative schemes of the two greatest formative influences in Williams thought, and which became the two greatest theoretical currents in the English intellectual scenario in the 20th century: literary criticism and Marxism. Hence, we plan to offer an alternative interpretation of his oeuvre, reconsidering the importance of each of his main texts, the continuities and ruptures crossing it and, finally, the sense of the theoretical development covered by Williams in the period here considered, notably, focusing the impact that Marxism produced in the shaping of his theoretical project.
Wright, Elizabeth Helena. „Virginia Woolf and the dramatic imagination“. Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
Der volle Inhalt der QuelleHirsch, Brett Daniel. „Werewolves and women with whiskers : figures of estrangement in early modern English drama and culture“. University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0175.
Der volle Inhalt der QuelleLoberg, Harmonie. „Hamlet Haven: An Online, Annotated Bibliography“. Scholar Commons, 2002. https://scholarcommons.usf.edu/etd/1524.
Der volle Inhalt der QuelleCosta, Lilian Nunes da 1985. „Gêneros poéticos na comédia de Plauto = traços de uma poética plautina imanente“. [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270793.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A obra do comediógrafo romano Tito Mácio Plauto (c. 254 ¿ 184 a.C.) é marcada pela presença dos gêneros trágico, épico e mesmo lírico em determinadas passagens, que têm sido identificadas por diversos critérios, como menção, alusão e associação por paralelos formais. Estudos teóricos sobre "mescla" ou "cruzamento de gêneros" vêm se desenvolvendo ao menos desde a proposição do conceito de "Kreuzung der Gattungen" por W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). No entanto, estudiosos como A. Barchiesi ("The crossing", 2001) passam a questionar premissas do trabalho do filólogo alemão, que tomava a "miscigenação" como "decadência" da cultura literária helenística e romana. Em nossa pesquisa sobre as mesclas genéricas na comédia plautina, também nos afastamos da perspectiva de W. Kroll e não propomos, como ponto de partida, que as peças que abrigam outros gêneros resultem necessariamente em híbridos. Na verdade, preferimos uma abordagem como a de S. J. Harrison, que lida com a noção de "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). A sistematização da presença de outros gêneros poéticos no corpus de Plauto selecionado (a peça Cativos, bem como passagens de Báquides, O cabo, O soldado fanfarrão, dentre outras) nos interessa no sentido de explorar o quanto a comédia é enriquecida precisamente por meio de elementos perceptíveis pelo público plautino como "alheios" a esse gênero. Assim, nosso método envolve a identificação de aspectos (temáticos e formais) sob os quais esses gêneros aparecem ou transparecem, bem como uma reflexão sobre a possibilidade de, a partir da observação das convenções poéticas com que ele brinca em seus textos, pensar em uma poética imanente em Plauto
Abstract: The presence of the tragic, the epic, and even the lyric genre in the work of the Roman comic poet Titus Maccius Plautus (c. 254 ¿ 184 BC) has been already noted in the field of classical studies. Among the various criteria used in the identification of those poetic genres there is not only direct mention of elements of the works pertaining to them, but also (thematic or formal) allusion to such elements. Theoretical studies about "genres miscellany" or "genres crossing" have been developed at least since the proposition of the concept of "Kreuzung der Gattungen" by W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). However, scholars such as A. Barchiesi ("The crossing", 2001) now question premises from Kroll¿s work, which considered the "miscegenation" as a "decadence" on the Hellenistic and Roman literary cultures. The present research does not assume Kroll¿s perspective, i.e. it does not presuppose that the plays in which the presence of other genres is evinced are necessarily hybrids. Rather, it favors an approach like that of S. J. Harrison, which deals with the notion of "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). While systematizing such a presence of different poetic genres in the selected Plautine corpus (the play Captiui, as well as passages from Bacchides, Miles gloriosus, Rudens, among others) this study intends to appreciate to what extent comedy is enriched precisely by the elements perceived by the plautine public as extraneous to this genre. The method is based on the identification of (thematic and formal) aspects under which such genres emerge as the play goes on. The observation of the poetic conventions with which the Roman dramatist plays in his texts may also provide a reflexion on an imanent poetics in Plautus
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Jenson, DeAnna Faye. „Shakespeare's Bolingbroke: Rhetoric and stylistics from Richard II to Henry IV, part 2“. CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2536.
Der volle Inhalt der QuelleLoberg, Harmonie Anne Haag. „Hamlet haven : an online, annotated bibliography“. University of South Florida, 2002. http://purl.fcla.edu/fcla/etd/SFE0000036.
Der volle Inhalt der QuelleHamman, Frans Josias. „Sarah Kane en die liriek as literêr-musikale interteks“. Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6475.
Der volle Inhalt der QuelleAFRIKAANSE OPSOMMING: Die literêre interteks staan sentraal tot die teks-analitiese proses en die gevolglike ontsluiting van betekenis binne die oeuvre van Sarah Kane, maar in die huidige besprekings van haar werk, word hierdie interteks alleenlik tot literatuur soos die roman, die gedig en die teaterteks beperk. Die gevolg is dat daar ‘n totale verontagsaming van die neerslag van die liriek as nóg ‘n tipe literêre interteks is. Beide James Macdonald (in Fisher 2001b) en Iain Fisher (2001b) dui daarop dat lirieke van heelparty orkeste - o.a. Joy Division, Radiohead, Nirvana en die Beatles - in Kane se werk nagespeur kan word, maar geeneen blyk ondersoek na die moontlike redes vir die ontlening daarvan óf hoe dit die betekeniswaarde van haar werk informeer, in te stel nie. Deur op Still en Worton (1990:1-2) se teorie dat die leser van ‘n teks sy/haar eie intertekste op daardie teks van toepassing kan maak in ‘n poging om die betekenis daarvan te ontsluit (selfs al word betrokke intertekste nie noodwendig deur die skrywer erken nie), te trek, word daarop gedui waar en hoe verskeie lirieke van voorgenoemde vier orkeste hul neerslag in vier van Kane se dramas, Phaedra’s Love, Cleansed, Crave en 4.48 Psychosis vind. Na gelang van Michael Riffaterre (1990:58) se teorie omtrent “connectives” (in hierdie geval die lirieke wat Kane se tekste met liedjies uit die populêre kultuur verbind) en hoe ‘n deeglike voorkennis daaromtrent die leser daartoe in staat stel om te bepaal of betrokke “connective” wel die teenwoordigheid van ‘n interteks daarstel al dan nie, word ‘n deeglike studie van elkeen van die lirieke gedoen. Daarna word verskeie raakpunte tussen hierdie lirieke en Kane se tekste uitgewys, hetsy dit met onderwerpmateriaal of tematiek verband hou, sodat ge-argumenteer word dat hierdie lirieke wel as intertekste beskou kan word. Vervolgens word die betekenisse van die onderskeie lirieke op Kane se dramas (spesifiek die tematiek daarvan) van toepassing gemaak en daar word ge-argumenteer dat hierdie intertekste óf bestaande beskouings daarvan ondersteun en moontlik daarop uitbrei óf dat dit tot radikaal nuwe insigte omtrent haar werk aanleiding gee, sodat nuwe en oorspronklike benaderings tot tematiek en karakters in die toekoms gevolg sou kon word. Uiteindelik illustreer ek aan die hand van my meestersproduksie empty (2010) hoe ek my benadering tot die neerslag van die liriek as interteks in Kane se werk op genoemde produksie van toepassing gemaak het, sodat die betekenis daarvan ook na gelang van die liriek as interteks duidelik word.
ENGLISH ABSTRACT: The intertextual relationship between Kane’s own work and those literary sources she derives ideas and adopts words from, plays a vital part in the textual analysis of her oeuvre. However, current discussions about and analyses of this intertextual relationship only focus on the novel, the poem and the play as literary intertexts and their subsequent influence on the interpretation of her work. This results in a complete disregard for the lyric’s use as another type of literary intertext (where the lyric is to be understood as the written and not the sung word). James Macdonald (in Fisher 2001b) and Iain Fisher (2001b) both refer to the presence of lyrics from various bands - among them Joy Division, Radiohead, Nirvana and The Beatles - in Kane’s work, but neither of them preoccupy themselves with the further investigation as to why these lyrics have been borrowed or how they inform the interpretation of her work. Drawing on Still and Worton’s (1990:1-2) theory that “the reader’s experience of some practice or theory unknown to the author may lead to a fresh interpretation” of any given text he/she reads (i.e. where the reader applies the knowledge about his/her own intertexts in an attempt to decipher the meaning of the text he/she is currently reading or studying), a clear indication of where and how various lyrics from aforementioned bands can be found in four of Kane’s dramas: Phaedra’s Love, Cleansed, Crave and 4.48 Psychosis. Based on Michael Riffaterre’s (1990:58) theory of “connectives” (in this case those lyrics which establish a connection between Kane’s plays and songs from popular culture) and how proper foreknowledge about these “connectives” can help in determining whether they do establish an intertextual relationship between the play and the song(s) or not, a thorough study of every lyric is undertaken and various similarities between them and Kane’s plays are highlighted. Based on these similarities (whether it be with regard to themes, subject matter or characterization), arguments are made that these lyrics should be viewed as intertexts, and the meanings and analyses of these lyrics are subsequently applied to Kane’s work. In the end these literary intertexts either support existing views and interpretations of her work, or they lead to radically new insights about the work, so that new, innovative and original approaches can henceforth be followed with regard to themes and characterization in her work. Finally I use my own master’s production, empty (2010), as an example to illustrate how I applied the research I have done about the lyric as an intertext in Kane’s work, on my own work and how these various lyrics help to give a better understanding of the play.
Leyicka, Bissanga Gisèle. „Michel Butor : du roman à l'effet romanesque“. Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30010/document.
Der volle Inhalt der QuelleMichel Butor’s work is different from the others by its crossing genres which it shows the limits of. Referring to the generic classification inherited from the nineteenth century, literary criticism often divides the work in poems, novels, and unclassifiable texts, while maintaining the idea that he had neglected the novelistic form after 1960. Still, the choice of the work that includes several forms of a hybrid text will now determine the genre.The first part deals with the mutation of the literary forms in the work of Michel Butor. We will examine the question of the choice of novelistic form by the author. Generic hybridization will be Butor’s favorite means of artistic expression, because the search of new aspects of Butor’s poetics reveals that it is corrupted by dramatic metaphor. So, we will see the interaction between the novel and radio drama through the reading of Mobile: study for a representation of the United States, Airline Network and Niagara.The second part is about the drama and shows radiophonic aspects of the postnovelistic work through different levels of reading set up by Patrice Pavis (Discursive, Narrative, Actantial, Ideological and Unconscious), and the production system in relation with the recording studio. The notion of “novelistic effect” will therefore be the result of an obsession of novelistic form produced by reading.The third part analyses poetic prose of radio drama and the unconscious and ideological structures of the work, based on the importance of oral discourse which reveals the ambiguity between the form (radio drama) and the individual attitude and the group, marked by the inability to pass on a coherent perception of the world because of their prejudices
Bücher zum Thema "Drama - literary criticism"
Contemporary literary criticism. Detroit, Mich: Gale, 2010.
Den vollen Inhalt der Quelle findenGroup, Gale, Hrsg. Contemporary literary criticism. Detroit, Mich: Gale Group, 2001.
Den vollen Inhalt der Quelle findenDraper, James P., und Jennifer Allison Brostrom. Contemporary literary criticism. Detroit, Mich: Gale Research, 1994.
Den vollen Inhalt der Quelle findenVotteler, Thomas. Contemporary literary criticism. Herausgegeben von Gale Group. Detroit, Mich: Gale Research, 1993.
Den vollen Inhalt der Quelle findenTrudeau, Lawrence J. Twentieth-century literary criticism. Detroit, Mich: Gale, 2010.
Den vollen Inhalt der Quelle findenTrudeau, Lawrence J. Twentieth-century literary criticism. Detroit, Mich: Gale, 2010.
Den vollen Inhalt der Quelle findenTrudeau, Lawrence J., und Thomas J. Schoenberg. Twentieth-century literary criticism. Detroit, Mich: Gale, 2009.
Den vollen Inhalt der Quelle findenTrudeau, Lawrence J. Twentieth-century literary criticism. Detroit, Mich: Gale, 2011.
Den vollen Inhalt der Quelle findenSchoenberg, Thomas J., und Lawrence J. Trudeau. Twentieth-century literary criticism. Detroit, Mich: Gale, 2010.
Den vollen Inhalt der Quelle findenTrudeau, Lawrence J. Twentieth-century literary criticism. Detroit, Mich: Gale, 2010.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Drama - literary criticism"
Peck, John, und Martin Coyle. „Drama“. In Literary Terms and Criticism, 78–106. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-13155-6_3.
Der volle Inhalt der QuelleShattock, Joanne, Joanne Wilkes, Katherine Newey und Valerie Sanders. „The new drama“. In Literary and Cultural Criticism from the Nineteenth Century, 351–75. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-64.
Der volle Inhalt der QuelleShattock, Joanne, Joanne Wilkes, Katherine Newey und Valerie Sanders. „William Bodham Donne, ‘The Drama’“. In Literary and Cultural Criticism from the Nineteenth Century, 273–77. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-53.
Der volle Inhalt der QuelleShattock, Joanne, Joanne Wilkes, Katherine Newey und Valerie Sanders. „Edward Lytton Bulwer, ‘The Drama’“. In Literary and Cultural Criticism from the Nineteenth Century, 81–85. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-14.
Der volle Inhalt der QuelleShattock, Joanne, Joanne Wilkes, Katherine Newey und Valerie Sanders. „A. B. W., ‘The Drama’“. In Literary and Cultural Criticism from the Nineteenth Century, 373–75. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-72.
Der volle Inhalt der QuelleSaber, Fathieh Hussam. „Shellyseer: A Literary Evolution“. In Gulf Studies, 365–80. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-7796-1_22.
Der volle Inhalt der QuelleShattock, Joanne, Joanne Wilkes, Katherine Newey und Valerie Sanders. „Henry Arthur Jones, ‘The Future of English Drama’“. In Literary and Cultural Criticism from the Nineteenth Century, 122–25. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-23.
Der volle Inhalt der QuelleShattock, Joanne, Joanne Wilkes, Katherine Newey und Valerie Sanders. „W. A. Lewis Bettany, ‘Criticism and the Renascent Drama’“. In Literary and Cultural Criticism from the Nineteenth Century, 357–63. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-66.
Der volle Inhalt der QuelleShattock, Joanne, Joanne Wilkes, Katherine Newey und Valerie Sanders. „Walter Scott, extract from ‘An Essay on the Drama’“. In Literary and Cultural Criticism from the Nineteenth Century, 53–59. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-10.
Der volle Inhalt der QuelleShattock, Joanne, Joanne Wilkes, Katherine Newey und Valerie Sanders. „The decline of the drama, and the national theatre“. In Literary and Cultural Criticism from the Nineteenth Century, 75–125. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-13.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Drama - literary criticism"
Magiru, Anca, und Ionel Magiru. „SUGGESTOPEDIA, A SERIOUS COMPETITIVE GAME“. In eLSE 2012. Editura Universitara, 2012. http://dx.doi.org/10.12753/2066-026x-12-146.
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