Thematische Bibliographien / Literature fiction drama british irish contemporary

Auswahl der wissenschaftlichen Literatur zum Thema „Literature fiction drama british irish contemporary“

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Veröffentlicht am 25. Juli 2024
Zuletzt aktualisiert am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Literature fiction drama british irish contemporary"

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Levay, Matthew, Francesca Bratton, Caroline Krzakowski, Andrew Keese, Sophie Corser, Catriona Livingstone, Mark West et al. „XIV Modern Literature“. Year's Work in English Studies 98, Nr. 1 (2019): 858–1020. http://dx.doi.org/10.1093/ywes/maz011.

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Abstract This chapter has eight sections 1. General. 2 British Fiction Pre-1945; 3. British Fiction 1945 to the Present; 4. Pre-1950 Drama; 5. Post-1950 Drama; 6. British Poetry 1900–1950; 7. British Poetry Post-1950; 8. Irish Poetry. Section 1 is by Matthew Levay; section 2(a) is by Francesca Bratton; section 2(b) is by Caroline Krzakowski; section 2(c) is by Sophie Corser; section 2(d) is by Andrew Keese; section 2(e) is by Catriona Livingstone; section 3(a) is by Mark West; section 3(b) is by Samuel Cooper; section 4(a) is by Rebecca D’Monte; section 4(b) is by Gustavo A. Rodríguez Martín; section 5 is by Graham Saunders and William Baker; section 6(a) is by Noreen Masud; section 6(b) is by Matthew Creasy; section 7 is by Alex Alonso; section 8 is by Karl O’Hanlon.
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Klepuszewski, Wojciech. „“Addiction is a strange bastard”: Alcohol(ism) in Irish Fiction“. Acta Universitatis Lodziensis. Folia Litteraria Polonica 61, Nr. 2 (30.06.2021): 25–37. http://dx.doi.org/10.18778/1505-9057.61.02.

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Although it is hard to challenge the claim that alcohol can be considered inherent in Irish culture, the common perception of the fact often feeds on clichés. What helps understand this question is Irish literature. On the one hand, it portrays jubilant festivity to be found in many literary works; on the other, it renders the drama behind alcohol dependency, shifting the focus from joviality towards the more murky aspects of drink consumption, mostly thematised in contemporary literature. This article takes a closer look at how Irish literature renders alcohol use and abuse, and how the literary representations offer a broader perspective, allowing to reconsider some of the stereotypical notions of the proverbial Irish propensity for drink.
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Watson, Ariel. „Cries of Fire: Psychotherapy in Contemporary British and Irish Drama“. Modern Drama 51, Nr. 2 (Juni 2008): 188–210. http://dx.doi.org/10.3138/md.51.2.188.

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Niama, Haidyr Hashim. „IMPACT OF BRITISH LITERATURE ON GLOBAL LITERATURE“. American Journal of Social Science and Education Innovations 6, Nr. 6 (01.06.2024): 176–89. http://dx.doi.org/10.37547/tajssei/volume06issue06-24.

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The influence of British literature on global literature is enormous. In so many ways, British literature has influenced world literature. The Anglo-Saxon period established the British literature tradition, which continues to influence world literature today. In this blog post, we will look at various aspects of British literature's influence on global literature. The study of literary works from the United Kingdom and other countries around the world is known as British and world literature. It includes classic and contemporary works, often translated into English, that reflect regional and historical cultural and social norms. Individuals who study British and world literature gain insights into the historical, social, and cultural contexts in which the works were written. This allows for a better understanding of human experiences and the appreciation of different points of view. British literature composition is the process of creating written works in the English language that originate in or are related to the United Kingdom. This includes works written by British authors throughout history in the genres of fiction, poetry, drama, and nonfiction. Different literary movements, such as Medieval, Renaissance, Romanticism, and Postmodernism, have shaped the evolution of British literature composition. The composition of British literature has had a significant impact on the literary world and continues to inspire many contemporary writers.
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Nolan, Val. „‘All of Ireland had been wiped out’: Irish Nuclear Anxiety and Éilís Ní Dhuibhne’s The Bray House“. Irish University Review 51, Nr. 2 (November 2021): 247–62. http://dx.doi.org/10.3366/iur.2021.0517.

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The Bray House (1990) is Éilís Ní Dhuibhne's curious and contested first novel, the story of a near-future archaeological expedition to an Ireland devastated by a British nuclear disaster. It is a book which has offered much analytical fodder to readers and critics alike, with the question of the novel's genre continually in flux since its publication. This article argues that, in The Bray House, Ní Dhuibhne consciously inverts Old Irish narrative forms to create a work of speculative writing which yokes together the seemingly contradictory concerns of the Gaelic literary tradition and contemporary Irish anxiety about vulnerabilities to the British nuclear energy industry. It examines how the author combines unease over international energy politics with native narrative structures to create a work which sits comfortably within the genre of science fiction. It considers how The Bray House brings to light what Darko Suvin calls the ‘congeneric elements in the cognitive and marvellous bias of the voyage extraordinaire’, in this case the Old Irish Echtra form. Particular attention is paid throughout to how science fiction (specifically the techno-Robinsonade model) allows Ní Dhuibhne to vividly express Irish national concerns over the presence of the Sellafield nuclear power plant in the late 1980s.
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Rees, Catherine. „The Good, the Bad, and the Ugly: the Politics of Morality in Martin McDonagh's The Lieutenant of Inishmore“. New Theatre Quarterly 21, Nr. 1 (26.01.2005): 28–33. http://dx.doi.org/10.1017/s0266464x04000314.

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The recent plays of Martin McDonagh have fascinated and repelled critics for nearly a decade. His idiosyncratic blend of rural Irish mythology and ‘in-yer-face’ aggression has both caused consternation and won high praise, but the motivations and inspirations of McDonagh's work have not been widely discussed. Here, Catherine Rees addresses some of the common critical assaults on one of his most contentious plays, The Lieutenant of Inishmore (2001), and seeks to rescue the playwright from misunderstanding and heavy-handed critical treatment. She also aims to clarify some of the issues surrounding this politically charged and controversial work, and discusses it within the wider context of British and Irish drama. An earlier version of this article was given as a paper at the ‘Contemporary Irish Literature: Diverse Voices’ conference at the University of Central Lancaster in April 2003. Rees has presented on various aspects of McDonagh's work at a joint American Conference for Irish Studies and British Association of Irish Studies conference, and is currently working on a PhD about his plays at the University of Wales, Aberystwyth.
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Hadfield, Andrew. „Grimalkin and other Shakespearean Celts“. Sederi, Nr. 25 (2015): 55–76. http://dx.doi.org/10.34136/sederi.2015.3.

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This essay examines the representation of Ireland and Celtic culture within the British Isles in Shakespeare’s works. It argues that Shakespeare was interested in ideas of colonisation and savagery and based his perceptions on contemporary events, the history of the British Isles and important literary works such as William Baldwin’s prose fiction, Beware the Cat. His plays, notably The Comedy of Errors and Macbeth, represent Protestant England as an isolated culture surrounded by hostile Celtic forces which form a threatening shadowy state. The second part of the essay explores Shakespeare’s influence on Irish culture after his death, arguing that he was absorbed into Anglo-Irish culture and played a major role in establishing Ireland’s Anglophone literary identity. Shakespeare imported the culture of the British Isles into his works – and then, as his fame spread, his plays exported what he had understood back again, an important feature of Anglo-Irish literary identity, as many subsequent writers have understood.
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Drąg, Wojciech. „The Curricular Canon of Twentieth- and Twenty-First Century British and Irish Literature at Polish Universities“. Anglica Wratislaviensia 56 (22.11.2018): 45–56. http://dx.doi.org/10.19195/0301-7966.56.4.

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In 2007 Philip Tew and Mark Addis released Final Report: Survey on Teaching Contemporary British Fiction, whose aim was to establish the most popular authors and works as taught by academics at British universities. The purpose of this article is to present the results of a similar survey, which examines the reading lists of British and Irish literature courses offered in the Eng­lish departments of chosen Polish universities in Warsaw, Gdańsk, Toruń, Poznań, Łódź, Lublin, Wrocław, Opole and Kraków. A discussion of the results — most commonly taught writers and texts — is accompanied by an analysis based on an online survey of the lecturers’ motivations behind including certain texts and omitting others. I will argue that whereas the teaching canon of modernist texts appears fixed all the reading lists include works by James Joyce, Virginia Woolf, William Butler Yeats and T.S. Eliot, the canon of post-war and contemporary literature is yet to emerge. I shall also assert the appearance of the so called “canon lag” and review the selection criteria for the inclusion of canonical texts. The article concludes with a consideration of the texts that appear most likely to join the curricular canons at Polish universities in the near future. All the discussions are set in the context of critical contributions to the study of canonicity made by Harold Bloom, Nick Bentley, Dominic Head and others.
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Green, Dani, und Angel Daniel Matos. „Right to Read: Reframing Critique: Young Adult Fiction and the Politics of Literary Censorship in Ireland“. ALAN Review 44, Nr. 3 (21.06.2017): 54–60. http://dx.doi.org/10.21061/alan.v44i3.a.6.

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If you briefly peruse the American Library Association’s annual compilation of the “Top Ten Most Frequently Challenged Books,” it would not be farfetched for you to assume that censorship is an act that is nearly exclusive to children’s and young adult (YA) literature. The complex and close relationship between informational suppression and YA fiction should come as no surprise—authority figures and institutions often want to “protect” children and adolescents from ideas and depictions of realities that they consider harmful. At times, these parental and institutional forces outright question teenagers’ competence when it comes to comprehending and thinking through difficult social and literary issues. While YA literature is often susceptible to acts of censorship, is it possible that the very literary traits of this genre might provide us with the critical tools needed to counteract the suppression of information and ideas? To what extent do YA novels articulate ideas and critiques that other genres of literature refuse (or are unable) to discuss? This issue of The ALAN Review is particularly invested in expanding our understanding of YA literature by exploring the stories that can or cannot be told in different contexts, communities, and locations. While an understanding of the acts of censorship that occur in a US context offers us a glimpse into the tensions that arise between ideas, publishers, and target audiences, an examination of censorship in non-US contexts allows us to further understand the historical and cultural foundations that lead to the institutional suppression of knowledge. Additionally, a more global understanding of these issues could push us to understand the ways in which YA fiction thwarts censorship in surprising, unexpected ways. To nuance our understanding of censorship by adopting a more global perspective, I have collaborated with my friend and colleague Dani Green, who offers us an account of contemporary acts of censorship in Ireland and the ways in which Irish YA literature is particularly suited to express ideas that are deemed unspeakable and unprintable. Dani is a scholar of 19th-century British and Irish literature with an interest in issues of modernity, space, and narrative. As an academic who specializes in both historicist and poststructuralist study, Dani is particularly suited to think through the fraught historical and literary situation of contemporary Ireland and the ways in which YA fiction escapes (and perhaps challenges) the pressures of nationalistic censorship and self-censorship. In the following column, she provides us with a brief overview of the past and present state of censorship in Ireland, focusing particularly on how contemporary Irish writers steer away from offering critiques of Ireland’s economic growth during the mid-1990s to the early 2000s. After sharing this historical context, Dani conducts a case study in which she focuses on how Kate Thompson’sYA novel The New Policeman (2005) blends elements from fantasy and Irish mythology to both communicate and critique Ireland’s economic boom. By taking advantage of elements commonly found in YA texts, she argues that Thompson’s The New Policeman enables a cultural critique that is often impossible to achieve in other forms of Irish literature. Dani ultimately highlights the potential of YA fiction to turn censorship on its head through its characteristic implementation of genre-bending, formal experimentation, and disruption of the familiar.
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Čiočytė, Dalia. „The Concept of the Demonic in Herkus Kunčius’s Novella A Most Loyal Metaphysical Friend and Marius Ivaškevičius’s Drama The Mistr“. Colloquia 39 (20.12.2017): 35–51. http://dx.doi.org/10.51554/col.2017.28719.

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There are two works of contemporary Lithuanian literature that effectively explore the theme of the demonic: Herkus Kunčius’s novella A Most Loyal Metaphysical Friend (Ištikimiausias metafizinis draugas, 2010) and the play The Mistr (Mistras, 2010), by Marius Ivaškevičius. The author of this article examines how these two works modify the traditional literary concept of the demonic – both works present the demonic not in classical, transcendental terms but as an immanent force. Considering the works from the perspective of literary theology, the author asks whether, and which kind of, theological thinking they develop.Herkus Kunčius’s novella is a postmodern metafiction (a fiction about a fiction): the central character of the narrative is the legendary Transylvanian vampire Count Dracula, the main character in Irish writer Bram Stoker’s gothic novel Dracula (1897). Kunčius’s Dracula is the creation of another character’s unhealthy consciousness – a “creation within a creation.” A parody of horror novels, films, etc. about vampires, the novella also parodies the language of psychiatrists, the characters who develop an idea about the demonic as an untreatable psychiatric illness: in the nihilistic reality of the work there simply is no one to treat it.Marius Ivaškevičius’s drama is a tragi-comical grotesque pasted together from Lithuanian historical and cultural symbols and analyzes the person of Adomas Mickevičius (1798–1855). In religious and cultural history, the prototype for Mistr in the play – Andrzej Towiański (1799–1878), a self-proclaimed prophet, “a mistr called by God” – represents the archetypical figure of the false prophet. The main meaning accorded to the demonic as represented in Ivaškevičius’s play is the demonic nature of political oppression: the work offers an original variation on the entanglement of political aggression and the demonic typically found in Lithuanian literature.
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Dissertationen zum Thema "Literature fiction drama british irish contemporary"

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Johnston, Jennifer H. „Exploring Queer Possibilities in Jeanette Winterson's The Stone Gods“. Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1383575341.

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Brinkman, Eric M. „Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production“. The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595003420023716.

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Ganguly, Avishek. „The Poetics and Politcs of Translation in Contemporary Drama, 1960s-1990s“. Thesis, 2012. https://doi.org/10.7916/D8GT5K85.

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This dissertation studies a group of twentieth-century plays from India, Ireland, Nigeria and Britain that have rarely been read together. Through close readings of dramatic texts by authors like Utpal Dutt, Brian Friel, David Edgar and Wole Soyinka and, I examine the significant place of translation figured as dramatic technique in contemporary drama and theatre. The dissertation, therefore, adopts a more formal rather than substantive logic of comparison. Translation, in drama and theatre studies, is usually invoked to either describe the transformation of a literary text from page to the stage, or by way of a more general understanding, as the literal transfer of plays from one language into another. I look at translation within rather than of a dramatic text. This approach allows me to address the insufficient attention that figurative uses of translation have received in drama and theatre studies, and make two critical interventions: first, to demonstrate how a dramatic technique figured in translation disrupts the assumptions of what appears to be a constitutive monolingualism in the writing and reception of drama and theatre. Since the ascendancy of performance studies in the nineteen sixties, critical work on drama and theatre has taken an anti-text, and by extension, anti-literary stance. By contrast, my reading is mindful of the performative aspect of these plays without necessarily privileging it at the expense of the literary in so far as such a distinction can be consistently sustained. The second critical intervention is to locate moments in the texts when acts of translation create new social collectivities and hence serve as a point of departure for a political reading. The emergence of social protest movements on the one hand, and the fall of communism at the end of the Cold War on the other frame the different imaginations of collectivity that I trace in these texts. The first and second waves of decolonization in Asia and Africa, and their subsequent postcolonial predicaments productively supplement this framework. My dissertation also relates to the category of translation as it organizes the prevalent concept of `world literature,' which in its focus on the novel has been insufficiently attentive to drama. I trouble as well as extend the logics of classification by recontextualizing the authors beyond their dominant national-literary configurations.
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Bücher zum Thema "Literature fiction drama british irish contemporary"

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Pearce, Joseph, Hrsg. Romeo and Juliet: With contemporary criticism. San Francisco, CA, USA: Ignatius Press, 2011.

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Shakespeare, William. The tragedy of King Lear: With classic and contemporary criticisms. San Francisco: Ignatius Press, 2008.

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Shakespeare, William. Hamlet: With contemporary essays. San Francisco: Ignatius Press, 2008.

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Shakespeare, William. Hamlet: With contemporary essays. San Francisco: Ignatius Press, 2008.

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P, Harrington John, Hrsg. Modern and contemporary Irish drama. 2. Aufl. New York: W. W. Norton & Company, 2009.

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1961-, Pearce Joseph, Hrsg. Merchant of Venice: With contemporary criticism. San Francisco: Ignatius Press, 2009.

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Holder, Nancy. Great expectations: A contemporary view. London: Reader's Digest, 2002.

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Shakespeare, William. A midsummer night's dream: A facing-pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.

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Shakespeare, William. The tragedy of Julius Caesar: A facing pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.

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Shakespeare, William. The Tragedy of Romeo and Juliet: A facing-pages translation into contemporary English. Herausgegeben von Jonnie Patricia Mobley. Los Angeles, USA: Lorenz Educational Publishers, 1995.

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Buchteile zum Thema "Literature fiction drama british irish contemporary"

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Puschmann-Nalenz, Barbara. „The Humble, Gender, and the Local in Contemporary British and Irish Fiction“. In The Humble in 19th- to 21st-Century British Literature and Arts, 107–23. Presses universitaires de la Méditerranée, 2017. http://dx.doi.org/10.4000/books.pulm.11948.

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Rees, Lowri Ann, Ciarán Reilly und Annie Tindley. „The Land Agent in Fiction“. In The Land Agent, 243–48. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474438865.003.0014.

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As many of the chapters have touched upon individually, the legacy and memory of the land agent in Britain and Ireland made a strong impression on both contemporary and subsequent poetry, fiction, drama and folklore. This is unsurprising, given the wide range of powers, personalities and activities of land agents in all corners of the British and Irish isles, as well as the sheer scale of their dominion. Despite the urbanisation and industrialisation overtaking much of society in this period, large sections of it remained rural and agricultural, and the power of the landed and aristocratic classes, though subject to challenge, remained strong. Ireland – Belfast, Dublin and Cork aside – remained a fundamentally rural society and agricultural economy well into the twentieth century. As such, the requirements for, and scope of activities of, land agents, remained significant and the raw materials for fictional presentations of such powerful figures prevalent, as discussed in this chapter.
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