Academic literature on the topic 'Dramatic criticism – history'
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Journal articles on the topic "Dramatic criticism – history"
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EVANS, PETER W. "GOLDEN-AGE DRAMATIC CRITICISM NOW." Seventeenth Century 2, no. 1 (January 1987): 49–53. http://dx.doi.org/10.1080/0268117x.1987.10555260.
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Ellenzweig, Sarah. "Rhyme's Contrapuntal History in Early Dryden." ELH 91, no. 2 (June 2024): 377–404. http://dx.doi.org/10.1353/elh.2024.a929153.
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Abstract: While John Milton was disavowing "the jingling sound of like endings," John Dryden was cementing a vogue for writing rhymed couplets that would dominate the English literary landscape for the next 150 years. Seeking rhyme's lost links to pleasure and sometimes to transgression, this essay looks closely at Dryden's early considerations of couplet rhyme in his Essay of Dramatick Poesie (1668) and related critical writings contemporaneous with Paradise Lost (1667), as well as in a few examples of his early couplet practice in his plays and prologues from this period. My claim is that Dryden's schooling in dramatic couplets at the start of his career shaped his broader thinking about rhyme, opening him to rhyme's residual orality and the dissident energy always nascent in rhyme's sounds. His couplets and criticism from the mid 1660s thus alert us to how rhyme's field of play, perhaps especially in closed forms like the seventeenth-century couplet, tends to be mischievously subversive of any single authority.
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Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic." Synopsis: Text Context Media 26, no. 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.
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The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture.
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Elam Jr., Harry J. "Making History." Theatre Survey 45, no. 2 (November 2004): 219–25. http://dx.doi.org/10.1017/s0040557404000171.
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These three quotes will serve as a starting point as I enter into this discussion of the import and role of theatre history. While I make a case for theatre history generally, my examples and thesis are drawn from African American theatre history most specifically. My argument is for a critical historicism, a process that recognizes the need to historicize and situate dramatic criticism as well as the need to theorize history or, as Walter Benjamin suggests, to “rub history against the grain.” Rubbing history against the grain means that we must interrogate the past in order to inform the present, remaining cognizant of the material conditions that not only shape theatrical production but the historical interpretations of production. It implies a need to work against conventional historical narratives and the ways in which history has been told in the past.
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Knowles, Richard Paul. "CTR and Canadian Theatre Criticism: Constructing the Discipline." Canadian Theatre Review 79-80 (June 1994): 10–13. http://dx.doi.org/10.3138/ctr.79-80.002.
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In an article published in Theatre History in Canada (1990), and in his introduction to The CTR Anthology, Alan Filewod has analysed “The Canon According to CTR”, usefully examining the ways in which CTR constructed, and subsequently deconstructed, “Canadian Theatre”, and particularly Canadian drama, throughout the 1970s and 80s. Filewod was concerned primarily to explore the selection and publication of playscripts in the journal, and the ways in which the discourse of CTR has shifted over the years and over its first three editorial “regimes”, as he calls them, to become increasingly pluralistic, concerning itself less with building a national theatrical identity and dramatic canon, and more with decentring that canon.
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Catană, Elisabeta Simona. "History as Story and Parody in Julian Barnes’s the Noise of Time." Romanian Journal of English Studies 16, no. 1 (November 1, 2019): 25–31. http://dx.doi.org/10.1515/rjes-2019-0004.
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AbstractThis article analyses Julian Barnes’s The Noise of Time, a postmodernist parody of the Russian communist world, and shows that historical truth is turned into a story which is remembered with bitter irony and which offers various interpretations. Being nothing but a story, history, associated with the symbol of noise, becomes subject to parody. Emphasizing the role of irony in revealing the dramatic effects of the Russian communist past, this essay remarks that parody functions as severe criticism.
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Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (September 1, 2018): 196–204. http://dx.doi.org/10.3167/ej.2018.510226.
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Abstract Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.
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Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (September 1, 2018): 196–204. http://dx.doi.org/10.3167/ej.2017.510226.
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Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.
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Benson, Eugene, and L. W. Conolly. "English-Canadian Theatre." Canadian Theatre Review 57 (December 1988): 90–91. http://dx.doi.org/10.3138/ctr.57.020.
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English-Canadian Theatre, part of a new Oxford University Press series which surveys various aspects of Canadian literary culture, offers a scholarly overview of its topic. Written by two professors at the University of Guelph who have an ongoing concern for Canadian theatre, the book claims to be the first comprehensive work to draw together a history of our nation’s anglophone theatre and an assessment of its drama. Though there’s little doubt that dramatic criticism and theatre history are interdependent, Benson and Conolly sometimes go on seeming tangents in their literary discussions, especially given the confines of a slim volume (114 pages of text, followed by a selected bibliography and index).
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Harp, Gillis. "Hofstadter's The Age of Reform and the Crucible of the Fifties." Journal of the Gilded Age and Progressive Era 6, no. 2 (April 2007): 139–48. http://dx.doi.org/10.1017/s1537781400001973.
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In December 1954, the United States Senate voted 67-22 to censure the junior senator from Wisconsin. Joe McCarthy had been drawing increasing criticism for his bullying tactics in ferreting out alleged communists and communist sympathizers within the federal civil service and elsewhere. In the wake of the Army-McCarthy hearings of the preceding spring (and especially after the dramatic televised confrontation with Army counsel Joseph Welch), the tide of public opinion finally turned against McCarthy. Still, his demagogic campaign had ruined the careers of scores of American citizens, from civil servants to artists, and had raised disturbing questions about room for political dissent within a democracy during the height of the Cold War.
Dissertations / Theses on the topic "Dramatic criticism – history"
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Li, Siu Leung, and 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.
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Wright, Elizabeth Helena. "Virginia Woolf and the dramatic imagination." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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LaReau, Brandon. "Dramatic Themes: Active Learning and Thematic Teaching in the Theatre History Classroom." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5755.
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This thesis explores major texts dealing with pedagogical theory and active learning in the context of a theatre history class. By comparing a class which is taught in the traditional, chronological format relying heavily on lectures to a class taught in a newer, thematic format utilizing active learning the thesis defines what student-centered learning means. Active learning, its benefits, and its implementation are explained and explored, along with the advantages and benefits of teaching thematically instead of chronologically. All of this is applied to a theatre history class in the resulting syllabus in chapter three. The syllabus creates a curriculum which uses themes to teach theatre history, while incorporating active learning activities and assignments throughout, to the benefit of the student. Ultimately, student-centered learning and its importance are explained and demonstrated using research, observation, and creation.
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Allingham, 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.
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Although Dickens' familiarity with Victorian theatre has been explored with reference to his own playwrighting, amateur theatricals, style, and characterization, little work has been done on his actual
involvement with the adaptation of his works for the stage. For example, even though A Christmas Carol remains his most staged and filmed work, few critics have explored the degree of Dickens' involvement in the 'officially-sanctioned' adaptation by one of the Victorian theatre's most prolific adaptors, Edward Stirling. Dickens' letters shed some light on his involvement
in the staging of the various Christmas Books, but they do not indicate much about the adaptations
themselves.
Furthermore, neither Malcolm Morley in his series
of articles in the Dickensian nor F. Dubrez Fawcett in Dickens the Dramatist (1952) has considered the relationship between the final printed text of each novella, that of the corresponding official adaptation, and the original manuscript of the play that was submitted to the office of the Lord Chamberlain
for licensing.
While the intention of the following dissertation
is to reveal the methods employed by Dickens' stage adaptors, it occasionally reveals passages that, rejected for the final text of the novella, were retained in the drama, based as it was on early proof sheets. The most notable instance of such a phenomenon occurs in the Mark Lemon/Gilbert A'Beckett adaptation of the second of the Christmas Books, The Chimes (1844), in which Dickens seems to have modified the plot in the final stages in order to make it less controversial.
Although Dickens was not much involved in the staging of The Chimes, he appears to have worked closely with the company at the Royal Lyceum (his friends the Keeleys being both the comedic stars and managers of that theatre) and the adaptor, Albert
Smith. In the 1846 production of The Battle of Life Dickens made innovative suggestions about the staging, including the transformation scene and the use of a miniature coach advancing through the background,
climaxed by the appearance of a real carriage
on stage. Dickens' letters attest to his being the originator of these innovations; reviews in the contemporary press attest to their effectiveness.
Finally, despite their tremendous popularity in their own day, the dramatic adaptations of the Christmas Books seem to be accorded a place neither in studies of the early Victorian theatre nor in discussions of that most formative period in the literary
career of Charles Dickens, the 1840s. The Christmas Books and their theatrical progeny occupied a good deal of Dickens' time between Martin Chuzzle-wit and David Copperf ield, but only recently have the importance of the Christmas Books and the scope of Dickens' works on stage been fully recognized.
Another intention of this study is to reveal the extent of Dickens' role in the dramatisation of the Christmas Books through an examination of the texts of the sanctioned adaptations and the Christmas Books themselves. The dissertation has a two-fold structure in that it consists of a critical study of the plays and their contexts, as well as a (non-critical)
edition of Stirling's Christmas Carol and Lemon's Haunted Man, which exist only in manuscript. No previous writer on the subject of Dickens and the drama has attempted to bring together information on the adaptors, actors and actresses, theatres, play manuscripts and published texts. This dissertation provides an exhaustive study of what is known about these subjects while endeavouring to establish the extent of Dickens' involvement in the writing and staging of the officially-sanctioned plays based on the Christmas Books.
Would that Christmas lasted the whole year through, and that the prejudices and passions which deform our better nature, were never called into action among those to whom they should ever be strangers!
(Charles Dickens, Sketches By Boz, p. 210)Arts, Faculty of
English, Department of
Graduate
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Carson, Jo. "Teller Tales: Histories." Digital Commons @ East Tennessee State University, 2007. http://amzn.com/082141753.
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Recounts the story of the Overmountain Men and the battle of King's Mountain, a tide-turning battle in the American Revolution. This title includes the stories of native Americans, settlers, explorers, and revolutionaries of early America.https://dc.etsu.edu/alumni_books/1018/thumbnail.jpg
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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.
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高行健的戲劇作品與理論，兼備中西文化主題（motifs），東西方劇場的手法，最適合作比較文學的範例。本文全面分析高行健的劇作與理論，從主題與形式兩方面，審度劇作中重複出現追尋自我的主題。其劇作包括《絕對信號》、《車站》、《野人》、《彼岸》、《冥城》、《逃亡》、《山海經傳奇》、《生死界》、《對話與反詰》、《夜遊神》、《周末四重奏》、《八月雪》、《叩問死亡》；五個現代折子戲包括《模仿者》、《躲雨》、《行路難》、《喀巴拉山口》、《獨白》；一個舞劇《聲聲慢變奏》共計十八部戲劇。又整理探究理論文集《對一種戲劇的追求》、《沒有主義》、以及《文學的理由》。作者的主體意識扣緊不同時期的逃亡經驗，經一番外求與內尋的過程，不斷抗衡與否定不同的「他者」。這種抗衡，固然呈現人類本質的狀態，卻缺乏主體的自主性，也展示主題的矛盾。因為無論「他者」怎樣不斷置換為集體、強權、中國、性、慾望等對象，也不能抹殺其先於主體的實存性，反倒確立了主體的依附性。所以他的主體都一貫逃避中心、集體、缺乏實質的內涵，卻又內外交困，無法安頓。這種不斷反詰的精神，又反映在劇作的「間離」的形式上。高行健以敘事、三重角色與儀式（rituals），間離觀眾與角色。雖然他追求戲劇本質，嘗試回復中國儺戲與戲曲的傳統，也緊隨現當代劇作家如布萊希特（Bertolt Brecht）、惹奈（Jean Genet），但是難以調動觀眾的直覺感知經驗，達至娛人的目的。更有甚者，因為敘事手法的視點所限，宣揚個人主義的目的，昭然若揭。他的儀式意在增強戲劇的假定性，不在於回歸中國的佛道傳統，但效果不彰。他的「表演三重論」源於中國戲曲與布萊希特，貢獻止於為表演的監控意識命名，缺乏系統落實的方法，故難以與斯坦尼斯夫斯基（Konstantin Stanislavsky）、以及格羅多夫斯基（Jerzy Grotowski）的表演系統相提並論。本文試以高行健的劇作與理論，與現當代的國際劇作家、以及劇場理論家的成就互相發明，以鑑定其戲劇地位。
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Weiss, 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.
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Choate, 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.
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This paper details a class taught in the Virginia Commonwealth Theatre Department in Fall of 2015 on the works of William Shakespeare. Within both the class and this paper, I attempted to form the beginnings of a pedagogy of Shakespearean literature that incorporated elements of literary criticism, historical context and performance theory. Dramatic literature, including Shakespeare, is a moving target, as the text is reimagine and reinterpreted on stage again and again. My goal with this paper is to examine both how dramatic literature can be taught and the special challenges present in teaching it using Shakespeare as a case study, and to explore what is particularly meaningful about Shakespeare in the classroom.
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Ben-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.
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This thesis discusses the role of the "false Messiah" in modern Yiddish Literature.The 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.
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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.
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Thesis (MA (African Languages))--University of Stellenbosch, 2005.This 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.
Books on the topic "Dramatic criticism – history"
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Austin, Gayle. Feminist theories for dramatic criticism. Ann Arbor: University of Michigan Press, 1990.
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Cardullo, Bert. Dramatic considerations: Essays in criticism, 1977-1987. New York: P. Lang, 1991.
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University of Florida Department of Classics Comparative Drama Conference (1985). Within the dramatic spectrum. Lanham, Md: University Press of America, 1986.
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Hanbery, MacKay Carol, ed. Dramatic Dickens. Basingstoke: Macmillan, 1988.
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Byron, Glennis. Dramatic monologue. London: Routledge, 2003.
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Hanbery, MacKay Carol, ed. Dramatic Dickens. New York: St. Martin's Press, 1989.
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Lynn, Hulse, and Malone Society, eds. Dramatic works. Oxford: Published for the Malone Society by Oxford University Press, 1996.
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Nwabueze, Emeka. Studies in dramatic literature. Nigeria: ABIC Books, 2011.
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Ekstein, Nina C. Dramatic narrative: Racine's récits. New York: P. Lang, 1986.
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Jürgen, Wolter, ed. The Dawning of American drama: American dramatic criticism, 1746-1915. Westport, Conn: Greenwood Press, 1993.
Find full textBook chapters on the topic "Dramatic criticism – history"
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Cannan, Paul D. "Introduction: On Writing the History of Early English Criticism." In The Emergence of Dramatic Criticism in England, 1–17. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-03717-6_1.
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Saber, 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.
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AbstractThe dramatic elements that are in Shellyseer have traveled for a long period of time and have been affected by dramatic elements from different cultures, which means that Shellyseer is a result of the evolution of drama. This chapter draws attention to the effect that the East and the West have on each other, by pointing out the effect that Aristotle’s Poetics—Western Theory—had on Ghanem Al-Suliti’s Shellyseer—Eastern Literature. This chapter combines comparative literature with literary theory and criticism in order to give an example of a globalized view of how drama evolves where there are no borders that limit influence. This chapter traces back drama back to its oldest documented sources to show how it evolved throughout history and offers deeper knowledge of Middle Eastern drama, the importance, and strength of political satire, and how strong of a mutual influence Eastern and Western literature have on each other.
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"Criticism and Destiny: Kundera and Havel on the Legacy of 1968." In 1948 and 1968 – Dramatic Milestones in Czech and Slovak History, 193–212. Routledge, 2013. http://dx.doi.org/10.4324/9781315879413-13.
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Mitchell-Boyask, Robin N. "Dramatic Scapegoating: On the Uses and Abuses of Girard and Shakespearean Criticism." In Tragedy and the Tragic, 426–37. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198149514.003.0028.
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Abstract In recent years comparative approaches have enriched the study of Greek drama, hut the increasing congruity of Renaissance and Hellenic studies might surprise many classicists. Proponents of the ‘New Historicism’ would recognize how the stimulating collection Nothing to Do with Dionysos? also investigates what Stephen Greenblatt calls ‘the circulation of social energy’, the societal forces engaged by the text. The two fields have been adopting ever more similar interpretive strategies as part of a more general movement to recontextualize literarary studies in history. While scholars of Renaissance culture have been trying to disabuse us of reading Shakespeare with our own cultural assumptions, and thus assuming the characters are just like us, classicists might now recall with irony John Jones’s warnings thirty years ago about treating Oedipus like Hamlet, which dissolved the perceived kinship between our two major bodies of tragic drama.4 Now we discover that not only is Oedipus not Hamlet, but Hamlet isn’t Hamlet either.
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Goldhill, Simon. "Representing Democracy: Women at the Great Dionysia." In Ritual, Finance, Politics, 347–69. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198149927.003.0022.
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Abstract There are five books on my shelves which are often used as reference works, but which, when read cover to cover, changed my academic life. Three of them are Fraenkel’s edition of the Agamemnon. The other two are Pickard¬ Cambridge’s Dramatic Festivals of Athens. I say two because the second edition, revised by John Gould and David Lewis, the honorand of this volume, is really a new book. Reading this second edition along with the first provides a marvellous example of careful, scholarly criticism that is never less than instructive. It is with this remarkable volume in mind that I offer the present study, which approaches one of the thorniest and most passionately debated issues in theatrical history, namely, the presence of women at the Great Dionysia.
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Graziosi, Barbara. "Performing Epic and Reading Homer." In Epic Performances from the Middle Ages into the Twenty-First Century, 16–30. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0002.
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There are two long-recognized obstacles to dramatic performances of epic. The first is scale and the second is portrayal of the gods. This chapter argues that both these features have been important for the definition of what literature is—i.e. what is characteristic of literature as opposed to the performing arts. The first section of the chapter offers a close reading of Aristotle, because he identified scale and the gods as issues that differentiate epic from tragedy, and because his Poetics was foundational for the later development of both literary criticism and performance studies. The second section of this chapter discusses the place of Homer in relation to both literature and the performing arts—by focusing again on scale and the gods, and the history of their reception. The final section considers Simon Armitage’s versions of the Iliad and the Odyssey for the theatre and for BBC Radio.
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Hershinow, David. "Coda." In Shakespeare and the Truth-Teller, 225–28. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439572.003.0007.
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In this book, I have tried to show that it is only with the rise of dramatic realism that the figure of the Cynic truth-teller begins to provoke sustained interpretive crisis, a crisis that takes shape in the sixteenth century and that goes on to drive key developments in our literary, philosophical and political history. Through my readings of Shakespeare’s plays, I have also tried to show that literature – along with its academic offspring, literary criticism – is uniquely positioned to diagnose the interpretive errors that consequently underwrite philosophical and political ideas about the means of achieving extreme critical agency. What these two overarching aims have in common is the critical methodology I develop in order to advance them, and I conclude this book by briefly commenting on the value this method holds for early modern studies in particular and for the discipline of literary studies in general....
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Jones, Polly. "Perestroika and Post-Soviet Afterlives." In Revolution Rekindled, 229–66. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804345.003.0006.
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This chapter focusses on the dramatic changes that the ‘Fiery Revolutionaries’ series underwent over the last decade of Soviet power. It first analyses the difficult conditions for the series in the early 1980s, as official suspicion of the series and its ‘niche’ mounted, and as censorship became more oppressive. However, these conditions of the late Brezhnev, Andropov, and Chernenko periods ultimately proved easier and more productive than the Gorbachev era: glasnost and perestroika marked the peak of popular interest in Soviet history nationwide, but also a full-blown crisis for the series. It came under threat in the mid- to late 1980s, as both public and internal criticism singled out ‘Fiery Revolutionaries’ for its historical falsifications and declining literary quality; sales and popular interest went into free fall, and the series closed in 1990. The conclusion traces Politizdat’s transformation into a post-Soviet philosophical publishing house, and shows that the series itself has been selectively reimagined, from the late 1990s to the present, as a dissident and liberal project, rather than fully revived in all its diversity.
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Dailey, Alice. "Dummies and Doppelgängers." In How to Do Things with Dead People, 77–104. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501763656.003.0004.
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This chapter studies the dynamics of observation and performativity between living and dead characters in 1 Henry VI. The discussion is framed by Jeff Wall's Dead Troops Talk (1992), a staged, large-scale photo that reimagines a scene from the Soviet–Afghan war in which men blown apart in an ambush reanimate to speak to each other. Because it is a still photo, however, their speech must be supplied by the viewer. Wall's photo and the critical literature around it illustrate how the dead men's still, silent absorption in their liminal state hosts scenes of histrionic ventriloquism for viewers while attributing speech to the dead themselves. The chapter observes this fundamentally theatrical phenomenon in a series of scenes in 1 Henry VI, a play that repeatedly figures living characters ventriloquizing the dead, who act as silent, sentient onlookers to the performances of the living. Working with performance theory, art criticism, philosophy, and psychoanalysis, the chapter challenges critical truisms about both the history plays and performance phenomena by examining how living characters like Lord Talbot appropriate the dead as dramatic doppelgängers through whom they conjecture hypothetical and future actions.
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Milder, Robert. "The Broken Circle: Mardi and (Post-)Romanticism." In Exiled Royalties, 27–49. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195142327.003.0002.
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Abstract In “The Figure in the Carpet,” Henry James’s parable of authors and readers, novelist Hugh Vereker tells a young critic of a buried intention or idea that infuses his work and is responsible at once for its materials and its form. As “the very string that my pearls are strung on,” Vereker’s figure in the carpet is discoverably present in his novels, and among James’s objects in the tale is the retrospectively announced one of rebuking a criticism that “is apt to stand off from the intended sense of things, from such finely-attested matters, on the author’s part, as a spirit and a form, a bias and a logic, of his own.” Like any writer, James would have the critic defer to the pressure of meaning objectified through structure and technique, with tactful reticence toward the private springs of art and the shaping influences of history and culture. “Intention,” however, is a double-edged idea that works both for and against authorial claims for interpretive control of texts. It may refer to conscious aesthetic design, as it does for James; to a forming principle (conscious or not) that is inferably operative in a work or body of work; or to the meaning of such work within what E. D. Hirsch calls the particular “horizon” of “the author’s mental and experiential world.’’ Beyond or beneath the immanent purpose that James, like Vereker, may have inscribed in his writing are the cognitive and emotional structures that inscribed James himself and of which he could have been only partially aware. It is a commonplace that authors repeat themselves, ring changes on a constellation of themes, reenact dramatic postures, rehearse core fantasies, and refract discourses and ideologies of their times. In this they are instruments as much as creators of their recurring myths, and it would be problematic in some cases to decide whether authors are constructing their characteristic fables or the fables are constructing them.
Conference papers on the topic "Dramatic criticism – history"
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Zlotnikova, Tatyana. "Power in Russia: Modus Vivendi and Artis Imago." In Russian Man and Power in the Context of Dramatic Changes in Today’s World, the 21st Russian scientific-practical conference (with international participation) (Yekaterinburg, April 12–13, 2019). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-rmp-2019-pc02.
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Contemporary Russian socio-cultural, cultural and philosophical, socio psychological, artistic and aesthetic practices actualize the Russian tradition of rejection, criticism, undisguised hatred and fear of power. Today, however, power has ceased to be a subject of one-dimensional denial or condemnation, becoming the subject of an interdisciplinary scientific discourse that integrates cultural studies, philosophy, social psychology, semiotics, art criticism and history (history of culture). The article provides theoretical substantiation and empirical support for the two facets of notions of power. The first facet is the unique, not only political, but also mental determinant of the problem of power in Russia, a kind of reflection of modus vivendi. The second facet is the artistic and image-based determinant of problem of power in Russia designated as artis imago. Theoretical grounds for solving these problems are found in F. Nietzsche’s perceptions of the binary “potentate-mass” opposition, G. Le Bon’s of the “leader”, K.-G. Jung’s of mechanisms of human motivation for power. The paper dwells on the “semiosis of power” in the focus of thoughts by A. F. Losev, P. A. Sorokin, R. Barthes. Based on S. Freud’s views of the unconscious and G. V. Plekhanov’s and J. Maritain’s views of the totalitarian power, we substantiate the concept of “the imperial unconscious”. The paper focuses on the importance of the freedom motif in art (D. Diderot and V. G. Belinsky as theorists, S. Y. Yursky as an art practitioner). Power as a subject of influence and object of analysis by Russian creators is studied on the material of perceptions and creative experience of A. S. Pushkin (in the context of works devoted to Russian “impostors” by numerous authors). Special attention is paid to the early twenty-first century television series on Soviet rulers (Stalin, Khrushchev, Brezhnev, Furtseva). The conclusion is made on the relevance of Pushkin’s remark about “living power” “hated by the rabble” for contemporary Russia.
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Brand, Anthony. "The ChatGPT Effect: Rethinking Architectural Pedagogy in the AI Age." In 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.56.
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Can the architectural classroom harness the power of advanced text-generating tools? This paper delves into the dramatic shifts spurred by these tools in architectural pedagogy, with a particular focus on OpenAI’s ChatGPT. It underscores the pressing need to reconfigure our pedagogical strategies as we grapple with the profound implications of such technologies for traditional essay-based assessments.The advent of these text-generating tools in the academic realm presents two distinct paths for the future of architectural pedagogy. We could revert to traditional, invigilated examination methods, a choice fraught with challenges like exacerbating students’ exam anxieties and promoting rote learning. Alternatively, we could embrace progress, acknowledging the inevitable influence of these tools on student work, and pivot assessment strategies towards elements that currently elude these technologies – metacognitive and soft skills.This investigation acknowledges the ethical dilemmas of tool-assisted work, from blurred boundaries of authorship to potential inequities as students with access to superior tools gain an advantage. Yet, amidst these considerations, the study emphasises the enduring importance of a robust grounding in history, theory, criticism, in crafting socially meaningful, utilitarian, and life-enhancing architecture, even in the face of these tools’ transformative influence.Drawing on firsthand experience and empirical data from a restructured History, Theory, and Criticism course at a tertiary institution, this paper explores student feedback and how their perceptive and expectations of working with generative tools might be better aligned within an academic context within a supportive, ethical and transparent framework. This perspective offers a glimpse into the potential of a pedagogical model that incorporates these tools while preserving the primacy of critical thinking and research skills. As we navigate this evolving educational landscape, this study underscores the imperative of preparing our students not just for the architectural challenges of today but for the tool-enhanced realities of tomorrow.
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Brand, Anthony. "The ChatGPT Effect: Rethinking Architectural Pedagogy in the AI Age." In 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.55.
Full textAbstract:
Can the architectural classroom harness the power of advanced text-generating tools? This paper delves into the dramatic shifts spurred by these tools in architectural pedagogy, with a particular focus on OpenAI’s ChatGPT. It underscores the pressing need to reconfigure our pedagogical strategies as we grapple with the profound implications of such technologies for traditional essay-based assessments.The advent of these text-generating tools in the academic realm presents two distinct paths for the future of architectural pedagogy. We could revert to traditional, invigilated examination methods, a choice fraught with challenges like exacerbating students’ exam anxieties and promoting rote learning. Alternatively, we could embrace progress, acknowledging the inevitable influence of these tools on student work, and pivot assessment strategies towards elements that currently elude these technologies – metacognitive and soft skills.This investigation acknowledges the ethical dilemmas of tool-assisted work, from blurred boundaries of authorship to potential inequities as students with access to superior tools gain an advantage. Yet, amidst these considerations, the study emphasises the enduring importance of a robust grounding in history, theory, criticism, in crafting socially meaningful, utilitarian, and life-enhancing architecture, even in the face of these tools’ transformative influence.Drawing on firsthand experience and empirical data from a restructured History, Theory, and Criticism course at a tertiary institution, this paper explores student feedback and how their perceptive and expectations of working with generative tools might be better aligned within an academic context within a supportive, ethical and transparent framework. This perspective offers a glimpse into the potential of a pedagogical model that incorporates these tools while preserving the primacy of critical thinking and research skills.As we navigate this evolving educational landscape, this study underscores the imperative of preparing our students not just for the architectural challenges of today but for the tool-enhanced realities of tomorrow.