Dissertationen zum Thema „Dramatic criticism – history“
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Li, Siu Leung, und 李小良. „Toward a theory of dramatic adaptation: with special reference to Shakespearean and Ming Qing adaptations“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.
Der volle Inhalt der QuelleWright, Elizabeth Helena. „Virginia Woolf and the dramatic imagination“. Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
Der volle Inhalt der QuelleLaReau, Brandon. „Dramatic Themes: Active Learning and Thematic Teaching in the Theatre History Classroom“. VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5755.
Der volle Inhalt der QuelleAllingham, Philip Victor. „Dramatic adaptations of the Christmas books of Charles Dickens, 1844-8 : texts and contexts“. Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28615.
Der volle Inhalt der QuelleArts, Faculty of
English, Department of
Graduate
Carson, Jo. „Teller Tales: Histories“. Digital Commons @ East Tennessee State University, 2007. http://amzn.com/082141753.
Der volle Inhalt der Quellehttps://dc.etsu.edu/alumni_books/1018/thumbnail.jpg
LAW, Ching. „高行健之戲劇 : 理論與實踐“. Digital Commons @ Lingnan University, 2006. https://commons.ln.edu.hk/otd/17.
Der volle Inhalt der QuelleWeiss, Katherine. „Haunted by the Blitz: History, Trauma and Noel Coward’s Blithe Spirit“. Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/2257.
Der volle Inhalt der QuelleChoate, Catie. „The Action to the Word, The Word to the Action: Teaching Shakespeare as Performance Litearture“. VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4234.
Der volle Inhalt der QuelleBen-Shach, Jane Respitz. „The false Messiah in Yiddish literature : a comparison between two dramatic works“. Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59384.
Der volle Inhalt der QuelleThe figure of the Messiah in Jewish religious imagination signifies the prophetic yearning for redemption at the end of days, but it also provoked hopes in a strong leader who will bring about social and political redemption. Based on historical models, literature from the twelfth to the twentieth century addressed these "false Messiahs" and in the modern period used them to define and illustrate contemporary catastrophe.
Shlomo Molcho by American Yiddish poet Aaron Glanz-Leyeles and Prince Reuveni by Soviet Yiddish author David Bergelson are two twentieth century poetic historic dramas based on two messianic figures of the sixteenth century. These two modern works are compared in relation to the respective authors' life and times, political and aesthetic outlook, and dramatic powers. The comparison shows the usefulness of the "false Messiah" in dramatizing and expressing difficult contemporary issues.
Yantolo-Sotyelelwa, Betty Matase. „The portrayal of characters through dialogue and action in isiXhosa drama : dramatic and cultural perspectives“. Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/3361.
Der volle Inhalt der QuelleThis study aims at highlighting one of the crucial aspects of Xhosa drama: how women have been regarded by a variety of communities as being inferior to men. This stereotype pervades almost all spheres of life. The low status assigned to women find its way into literature as well. Ngewu’s drama “Yeha mfazi obulala indoda” and Taleni’s drama “Nyana nank’uNyoko” has been examined. In most Xhosa literature, women are portrayed as submissive, obedient and minor characters. The advent of Ngewu’s work changed this scenario by portraying women as independent characters. This has led to great conflict with male characteristics and this demonstrates clearly that partriarchal domination is deep rooted in Xhosa culture.
Edelman, Charles. „The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare“. Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.
Der volle Inhalt der QuelleSimpson, Hope W. „The Invention and Impacts of Hell’s Atmosphere: A Study of the Influence of Sartrean Themes in Two Plays by Alfonso Sastre“. Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/168.
Der volle Inhalt der QuelleTaghavie-Moghadam, Mariah. „A Miraculous Deliverance: An Adaptation Through Historical Criticism and Feminist Theory“. VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5740.
Der volle Inhalt der QuelleWeiss, Katherine. „The Plays of Samuel Beckett“. Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.
Der volle Inhalt der Quellehttps://dc.etsu.edu/etsu_books/1072/thumbnail.jpg
Satyo, Priscilla Nomsa. „Women in Xhosa drama : dramatic and cultural perspectives“. Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52615.
Der volle Inhalt der QuelleENGLISH ABSTRACT: This study aims at highlighting a crucial aspect of Xhosa drama: The portrayal of the role women have been forced culturally to assume in society. A selection of Xhosa plays from three periods (1958 - 1965; 1974 - 1982; and 1988 - 1997) is examined. In the process of the study, the analysis and the interpretation of these dramas as well as the depiction of women characters is examined. Authors of the ten dramas under study advocate change through the powerful forces of gender stereotypes and culture distortions. The attributes that the authors commonly ascribe to women characters are passivity, irrationality, compliancy and incorrigibility. An examination of the reasons behind this proliferation of these female stereotypes and the lack of realistic women characters is undertaken. The study posits reasons why particular stereotypes appear in the works of several authors over a period of time. The women characters are products of social conditioning, that is, ideals or counter-ideals of the prevailing values of the authors' culture. They are a symbolic fulfillment of the writers' needs. The broad cultural perspectives of the authors also shape the texts they produce. These dramas treat issues and themes, which become central to the formal and structural ordering of the drama. Such themes have an impact at times on form and structure. In each case the ideology of the class represented by authors under study is indeed reflected in the text, to its detriment. The dominating themes in the ten dramas are forced marriages and women abuse. The authors are so preoccupied with injustices against women that they distort certain cultural aspects by, for example, exaggeration. Women are constantly depicted as victims, while there are no indications in the authors' depictions of women that perceptions of their cultural role and status are in reality undergoing changes. The thesis is arranged as follows: Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the development of plot within episodes in the dramas of the first literary period (1958 - 1965). These episodes depict the different phases of the dramas. A critical evaluation of the dramas by motivating their positive and negative aspects is undertaken. Chapter 3 deals with the development of plot within episodes in the dramas of the second literary period (1974 - 1982). As in the first literary period, a critical evaluation of the dramas by motivating their positive and negative aspects is examined. Chapter 4 deals with the development of plot within episodes in the dramas of the third literary period (1988 - 1997). A critical evaluation of the dramas by motivating their good and bad points is undertaken. Chapter 5 deals with woman as character in Xhosa dramas under study. A detailed analysis of the main woman character in each drama is undertaken. Furthermore, a critical summary of how the woman has been portrayed in the dramas is presented. Chapter 6 presents depiction of Xhosa culture in the Xhosa dramas. From each drama, certain selected aspects of culture are explored and an investigation of the portrayal of these aspects is undertaken. Chapter 7 summarizes the findings of the study.
AFRIKAANSE OPSOMMING: Die doelstelling van hierdie studie is om 'n kern aspek van Xhosa drama te belig: die rolle wat vroue kultureel gedwing is om te vervul in die gemeenskap. 'n Seleksie Xhosa dramas vanuit drie tydperke (1958 - 1965; 1974 - 1982; en 1988 - 1997) word ondersoek. In die loop van die studie, ontleding en interpretasie van hierdie dramas word die uitbeelding van vroue karakters ook ondersoek. Die skrywers van die tien dramas wat bestudeer word, betoog vir verandering deur middel van die sterk kragte van stereopites en kultureelverwronge voorstellings. Die eienskappe wat die skrywers algemeen toeskryf aan vroue karakters is passiwiteit, irrasionele optrede, gehoorsaamheid en deugsaamheid. 'n Ondersoek na die redes vir die proliferasie van hierdie vroulike stereotipes en die tekortkoming aan realistiese vroue karakters in Xhosa dramas word uitgevoer in die studie. Die studie voer redes aan waarom bepaalde stereotipes in die werk van verskeie skrywers oor 'n tydperk verskyn: hulle vrouekarakters is die produk van sosiale kondisionering, dit wil sêm ideale of teen-ideale van die heersende waardes van die skrywer se kulturele agtergrond en 'n simboliese vervulling van die skrywer se behoeftes. Die algemene kulturele perspektiewe van die skrywers beïnvloed en vorm ook die tekste wat hulle lewer. Hierdie dramas behandel naamlik vraagstukke tematies wat sentraalook bepalend is ten opsigte van die vorm en struktuur van die drama. Sodanige temas het gevolglik in bepaalde gevalle 'n invloed op die vorm en struktuur van die drama. Voorts word die ideologie van die klas verteenwoordig deur die skrywers in elke geval gereflekteer en die teks tot bepaalde nadele daarvan. Die prominente temas in die tien dramas is gedwonge huwelike en vrouemishandeling. Die skrywers is so gepre-okkupeer met die ongeregtighede teenoor vroue dat hulle bepaalde kulturele aspekte verwring deur, byvoorbeeld, buitensporige voorstellings. Vroue word voortdurend voorgestel as slagoffers, terwyl daar feitlik geen aanduidings is in die skrywer se voorstelling van vroue, dat persepsies oor hulle kulturele rol en status inderwaarheid besig is om veranderinge te ondergaan. Die proefskrif is soos volg gestruktureer: Hoofstuk 1 gee die doelstellings, omvang, teorieë en metodes wat in die studie gevolg word. Hoofstuk 2 behandel die ontwikkeling van intrige binne verskillende episodes in die dramas van die eerste literêre periode (1958 - 1965). Hierdie episodes gee 'n uitbeelding van die verskillende fases van die dramas wat in die studie ondersoek word. 'n Kritiese evaluering word van die dramas gedoen deur die positiewe en negatiewe aspekte daarvan te motiveer. Hoofstuk 3 behandel die ontwikkeling van intrige binne die episodes van die dramas van die tweede literêre periode (1974 - 1982). Soos vir die eerste literêre periode, word 'n kritiese evaluering gedoen van die dramas deur onder andere die positiewe en negatiewe literêre aspekte daarvan te motiveer. Hoofstuk 4 ondersoek die ontwikkeling van die intrige binne die episodes in die dramas van die derde literêre periode (1988 - 1997). Die kritiese evaluering van hierdie dramas sluit, soos vir die vorige periodes, 'n gemotiveerde beskouing in van die positiewe en negatiewe aspekte. Hoofstuk 5 ondersoek die vrou as karakter in die Xhosa dramas wat bestudeer word. 'n Gedetaileerde analise van die hoof-vroue karakters in elke drama word gedoen. Daarna word 'n kritiese oorsig aangebied van hoe die vrou voorgestel word in die dramas wat bestudeer is. Hoofstuk 6 bied 'n uitbeelding van Xhosa kultuur in die dramas wat ondersoek is. Bepaalde aspekte van kultuur word vir elke drama ondersoek en die uitbeelding van hierdie kultuur aspekte word behandel. Hoofstuk 7 bied 'n opsomming van die belangrikste bevindinge van die studie.
Oxley, Natasha Emma Fortescue. „Talking taboos: the personal over the political? : contemporary Polish playwriting : theme and dramatic technique in selected modern Polish plays“. Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:036a5a0e-aa99-40f9-b610-4a267bc1e533.
Der volle Inhalt der QuelleRogers, Jami. „Shakespeare and the thirties : representations of the past in contemporary performance“. Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/2855/.
Der volle Inhalt der QuelleMarcus, Reker Katherine B. „"Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/876.
Der volle Inhalt der QuelleBenson, Fiona. „The Ophelia versions : representations of a dramatic type, 1600-1633“. Thesis, St Andrews, 2008. http://hdl.handle.net/10023/478.
Der volle Inhalt der QuelleGivens, Emma. „A Dull Soldier and a Keen Guest: Stumbling Through The Falstaffiad One Drink at a Time“. VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4826.
Der volle Inhalt der QuelleGriffith, Mary Peyton. „Power and Relationships in the Plays of Neil LaBute: Directing and Performing in Some Girl(s)“. Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/112.
Der volle Inhalt der QuelleGoodall, Harrison M. III. „The Choreopolitics of Liberation and Decolonization“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/160.
Der volle Inhalt der QuelleLane, Michelle I. „"Why do hurt people hurt people?" A SERIES OF CASE STUDIES EXPLORING ABUSIVE RELATIONSHIPS IN DRAMATIC TEXTS AND ONSTAGE WITH TONI KOCHENSPARGER'S MILKWHITE“. Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492704228702652.
Der volle Inhalt der QuelleLittle, Julianna. „“Frailty, thy name is woman”: Depictions of Female Madness“. VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3709.
Der volle Inhalt der QuelleWatt, Linda Ann. „One-Third of a Nation, the Second Amendment, a Living Newspaper Play“. VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5704.
Der volle Inhalt der QuelleDotson, Jessica N. „INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & THEATRE“. VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3725.
Der volle Inhalt der QuelleMontecillo, Victoria. „The Naïve Ingénue, The Plucky Everyman's Hero, and the Ingénue Gone Awry: The Satirical Deconstruction of Theatrical Character Tropes in Urinetown: The Musical“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/868.
Der volle Inhalt der Quelle韋明月. „當代澳門民眾戲劇先行者 : 周樹利 = The forerunner of contemporary Macau community theatre : Chow Shui Lee“. Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2101715.
Der volle Inhalt der QuellePukszta, Claire A. „Myrrha Now: Reimagining Classic Myth and Mary Zimmerman's Metamorphoses in the #metoo Era“. Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1374.
Der volle Inhalt der Quelle„台灣布袋戲: 北管聲部音樂的硏究“. 李麗虹], 1996. http://library.cuhk.edu.hk/record=b5895690.
Der volle Inhalt der Quelle論文(碩士) -- 香港中文大學硏究院音樂學部, 1996.
參考文献 : leaves 131-137.
Li Lihong.
Chapter 第一章 --- 前言 --- p.6-12
Chapter 第一節 --- 硏究地區之選擇
Chapter 第二節 --- 過去及當前之硏究
Chapter 第三節 --- 硏究目標
Chapter 第四節 --- 資料來源
Chapter 第二章 --- 台灣布袋戲的源流、發展及布袋戲名稱的由來 --- p.13-28
Chapter 第一節 --- 布袋戲名稱的由來
Chapter 第二節 --- 台灣布袋戲的源流及發展
Chapter 第三章 --- 布袋戲班的構成因素及《小西園》布袋戲班的介紹 --- p.29-49
Chapter 第一節 --- 布袋戲班的構成因素
Chapter 第二節 --- 小西園布袋戲班建團歷史及內部組織的硏究
Chapter 第四章 --- 布袋戲音樂在台灣的發展、演變及北管音樂的使用 --- p.50-72
Chapter 第一節 --- 布袋戲音樂的發展與演變
Chapter 第二節 --- 北管的範圍與分類
Chapter 第三節 --- 北管的演出形式
Chapter 第四節 --- 布袋戲伴奏的樂器
Chapter 第五章 --- 布袋戲北管聲部音樂的分析 --- p.73-104
Chapter 第一節 --- 艾倫´Ø洛馬克斯,歌唱測定體系(Alan Lomax Cantometrics)方法的說明
Chapter 第二節 --- 十首歌曲的分析硏究
Chapter 第三節 --- 十首歌曲聲響效果的總結
Chapter 第六章 --- 結論 --- p.105-107
附錄一 譜例 --- p.108-119
附錄二圖片說明 --- p.120-130
參考書目 --- p.131-138
„The environment of Hong Kong theatrical performance: foreign dramatic texts in local performance“. 2008. http://library.cuhk.edu.hk/record=b5893535.
Der volle Inhalt der QuelleThesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 146-152).
Abstracts in English and Chinese.
Chapter Introduction: --- Definitions and Dimensions of Key Issues --- p.5-14
Chapter Chapter One: --- An Analytical Review of Translated Drama in Hong Kong --- p.15-26
Chapter Chapter Two: --- Authenticity and Text-based Theatre in Hong Kong --- p.27-78
Chapter Chapter Three: --- The Global Stage: the Performance of Other Modernities --- p.79-104
Chapter Chapter Four: --- Code-switching in Performance Contexts --- p.105-38
Chapter Conclusion: --- "Adaptation, Transformation and Future Directions" --- p.139-45
Bibliography --- p.146-51
Appendix I --- p.152-54
Appendix II --- p.155-72
Von, Hoff Bonnie E. „Vocal health and repertoire for the dramatic mezzo-soprano : a suggested course of study“. 2013. http://liblink.bsu.edu/uhtbin/catkey/1709343.
Der volle Inhalt der QuelleReview of literature -- Design and method -- Mignon Dunn, Dolora Zajick and the Institute for Young Dramatic Voices -- Curriculum guide -- Summary and recommendations.
School of Music
Hedley, Jocelyn School of English Media & Performing Arts UNSW. „The unpublished plays of Miles Franklin“. 2007. http://handle.unsw.edu.au/1959.4/40895.
Der volle Inhalt der QuelleEdelman, Charles. „The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare / Charles Edelman“. Thesis, 1988. http://hdl.handle.net/2440/18714.
Der volle Inhalt der QuelleMamdoohi, Nikoo. „Adapting for a New Audience: Ta'zieh-Between Two Rivers“. 2018. https://scholarworks.umass.edu/masters_theses_2/732.
Der volle Inhalt der QuelleBopape, M. L. (Malekutu Levy). „Northern Sotho historical dramas : a historical-biographical analysis“. Thesis, 1998. http://hdl.handle.net/10500/15524.
Der volle Inhalt der QuelleAfrican Languages
D.Litt. et Phil. (African Languages)
Van, de Ruit John. „On the inside writing out : the dramatic represention of the private boys' boarding school on the South African stage“. Thesis, 2001. http://hdl.handle.net/10413/9050.
Der volle Inhalt der QuelleThesis (M.A.)-University of Natal, Durban, 2001.
Bhatti, Manjit Singh. „A Study of the Social and Political Implication of Friedrich Schlegel’s ‘Comedy of Freude’“. 2009. http://trace.tennessee.edu/utk_gradthes/510.
Der volle Inhalt der QuellePellegrini, Christina. „On the Contrary: Subverting the Canon with Ibsen's Hedda Gabler“. 2017. https://scholarworks.umass.edu/masters_theses_2/530.
Der volle Inhalt der QuelleLunga, Majahana John Chonsi. „A critical analysis of Wole Soyinka as a dramatist, with special reference to his engagement in contemporary issues“. Diss., 1994. http://hdl.handle.net/10500/17262.
Der volle Inhalt der QuelleEnglish Studies
M.A. (English)
Brew, Sarah A. „"Speak to me in vernacular, doctor": Translating and Adapting Tirso de Molina's El Amor Médico for the Stage“. 2012. https://scholarworks.umass.edu/theses/806.
Der volle Inhalt der QuelleBrooks, Amy. „Cat on a Hot Tin Roof: 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family“. 2016. https://scholarworks.umass.edu/masters_theses_2/316.
Der volle Inhalt der QuelleMiller, Mary-Corinne. „Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play“. 2018. https://scholarworks.umass.edu/masters_theses_2/730.
Der volle Inhalt der QuelleBowie, Alison Jane. „We Are French. Et Anglais Nous Restons“. 2014. https://scholarworks.umass.edu/masters_theses_2/4.
Der volle Inhalt der QuelleMaungedzo, Avhurengwi Edward. „The detective story in Venda : an analysis with special reference to Bono la mboni and Nwana wa mme anga“. Thesis, 1999. http://hdl.handle.net/10500/23246.
Der volle Inhalt der QuelleThe purpose of this research is to make a literary appreciation of the detective story in Tshivenda. Chapter 1 is the introductory chapter which discusses the aim of study, the definition of detective story, methodology, detective noels in Tshivenda, background information regarding the authors, summaries regarding selected novels and the scope of research. Chapter 2 is devoted to the plot structure of the two detective novels, and outlines the diegetic and meta-diegetic stories. The elements of mystery and dramatic irony are also discussed. Chapter 3 concentrates mainly on the setting of the two selected detective novels and its influence on the crimes committed, the lives of the characters and the tools that are used. Chapter 4 deals with the depiction of the victims, suspects and detectives in the selected detective stories. Chapter 5 concludes the study and summarises the main findings of the appraisal.
African Languages
M. A. (African Languages)
Tsambo, T. L. (Theriso Louisa). „The theme of protest and its expression in S. F. Motlhake's poetry“. Diss., 1999. http://hdl.handle.net/10500/16225.
Der volle Inhalt der QuelleAfrican Languages
M.A. (African Languages)
Hollows, Emma. „Kofifi/Covfefe: How the Costumes of "Sophiatown" Bring 1950s South Africa to Western Massachusetts in 2020“. 2020. https://scholarworks.umass.edu/masters_theses_2/933.
Der volle Inhalt der Quelle