Academic literature on the topic 'Wayang plays History and criticism'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Wayang plays History and criticism.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Wayang plays History and criticism"
1
Yunita, Yuyun. "WAYANG IN ISLAMIC PHILOSOPHY." Ri'ayah: Jurnal Sosial dan Keagamaan 5, no. 01 (August 7, 2020): 83. http://dx.doi.org/10.32332/riayah.v5i01.2330.
Full textAbstract:
Wayang kulit is named after Javanese wayang which means shadow or taken meaning that wayang is a depiction of life or a reflection of the various human traits found in various souls of the human conscience itself. The universe itself is divided into various types into two basic traits such as wrath and kindness. The history of the story of Dewa Ruci as one of the puppet plays is a cousin of the many ways and rich in philosophical values of religious diversity that is so profound. The history of this story depicts a man or man who has a lot of strong will to find the best ways that can be considered to bring people to happiness. In the search for happiness, it is not easy to do because it will be many and there are obstacles or prevention that may be faced by many. This is where the aesthetic value or beauty is packaged and wrapped up in the history of the gods of Ruci and becomes the first and foremost doctrine of the conception of the divine, humanity, and respect of the human beings with the creator or than. the story of the goddess Ruci outlines or philosophically symbolizes how human beings must go through and make an inner journey to find their true identity or look for paraning dumadi the origin and purpose of life in human beings or tackle the human gusti, the conception of God and how humans lead to God, the wayang kulit is very much, the art of wayang puppets cannot be retracted from history, which the bags are retold through wayang.
2
Muflihatul Salma, Nitri Anhari, and Tarpin Tarpin. "Pelestarian Wayang Golek di Padepokan Giri Harja Jelekong Kabupaten Bandung Jawa Barat 2009-2018." Historia Madania: Jurnal Ilmu Sejarah 3, no. 2 (July 29, 2020): 201–13. http://dx.doi.org/10.15575/hm.v3i2.9176.
Full textAbstract:
This study discusses Padepokan Giri Harja in wayang golek in West Java. The selection of Padepokan to be studied is very important because it has influence and role in the preservation of puppet shows in Jelekong village, West Java. The purpose of this study is the first to: find out the history and development of Padepokan Giri Harja, know Gait Asep Sunadar Sunarya in the development of Padepokan Giri Harja, and know Padepokan Giri Harja in preserving Wayang Golek The method used in this study is the historical method, which is a method that reconstructs history by studying events in the past. There are four stages in this method, the first stage of Heuristics is the search for sources, the second stage of criticism namely internal criticism and external criticism, the third stage of interpretation, i and the fourth stage of historiography. The results of this study indicate that the founder of Padepokan Pusaka Giri Harja was Abah Sunarya. This Padepokan is a place for puppet puppet puppetry course. This Padepokan is located in Jelekong village, Ciparay Subdistrict, Bandung Regency, West Java. Many of his students later became successful puppeteers, including his own children. Abeng Sunarya was once a member of the management of the Bandung Regency Pedalangan and Pepadi Foundation. After Abah Sunarya died, the heritage of Giri Harja was continued by her son, Asep Sunandar Sunarya, better known as Giri Harja 3 or Abah Asep. Abah Asep developed this Heritage of Giri Harja so well that he had the desire to build a hermitage to make it easier for people who wanted to practice puppet show. The presence of Padepokan Seni Padalangan Giri Harja is one of the icons of the art village. The permanent building with the shape of a typical gunungan roof of wayang golek stands majestically on Jalan Raya Laswi, across the Bandung-Majalaya region, West Java, which is equipped with a large parking lot. The famous puppeteer Asep Sunandar Sunarya (deceased) planned the building to become the Padepokan Seni Boarding School Padalangan that scored reliable puppeteers as well as a form of preservation and inheritance of puppet show art to the younger generation.
3
Sari, Afrilia Puspita. "Filosofi Karakter Tokoh Kesatria dalam Lakon Wayang Purwa Mahabarata." Piwulang : Jurnal Pendidikan Bahasa Jawa 9, no. 1 (June 1, 2021): 13–25. http://dx.doi.org/10.15294/piwulang.v9i1.41231.
Full textAbstract:
This article describes the analysis of the "true knight" character. A true knight is a perspective symbol of glory or victory in the event of a war. This study shows that the strength of a true knight greatly determines the recognition of the power of a particular region. True knights have inherent character and become symbols of wisdom, strength, glory, responsibility, and sacrifice. The hero character appears at the climax point which plays an important role in the effort to solve a problem in the storyline. The purpose of the emergence of a true knight figure has great strength and responsibility and to get support from the people, to fight for victory and gain glory.
Keywords: true knight figures, heroic characters
4
Emerson, Caryl. "Pretenders to History: Four Plays for Undoing Pushkin's Boris Godunov." Slavic Review 44, no. 2 (1985): 257–79. http://dx.doi.org/10.2307/2497750.
Full textAbstract:
Among the problematic works of great writers, Pushkin's Boris Godunov occupies a special place. This strange hybrid of history, drama, narrative poetry, and prose Pushkin called a “romantic tragedy,” and he considered it his masterpiece. Yet the play's publication in 1831 was met with surprise and dismay. By consensus of a baffled public, Boris Godunov was a failure—neither romantic, nor feasible on the tragic stage.Since that time, generations of critics, playwrights, and producers have tried to come to terms with this troublesome text. Tolstoi's famous comment—that all great nineteenth-century Russian works defy clear generic classification1—has been invoked in defense of many irregular texts, but not this one. Boris remains stubbornly, inexplicably “undramatic.” Criticism has in fact tended to redefine the play rather than to investigate it. Boundaries are routinely blurred between the historical Tsar Boris, the historical period when his tale is retold, and the world of the fictional creation itself.
5
Lampert, Nick. "Social criticism in Soviet drama: The plays of Aleksandr Gel'man." Soviet Studies 39, no. 1 (January 1987): 101–15. http://dx.doi.org/10.1080/09668138708411676.
Full text
6
Malone, Bethany J. Collier. "Power Plays: Wayang Golek Puppet Theater of West Java. By Andrew N. Weintraub. Athens: Ohio University Press, 2004. 295 pp. $30.00 (paper)." Journal of Asian Studies 67, no. 1 (February 2008): 355–57. http://dx.doi.org/10.1017/s0021911808000582.
Full text
7
Dale, James. "‘How can you say to me I am a King?’: New Historicism and its (Re)interpretations of the Design of Kingly Figures in Shakespeare’s History Plays." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 143–58. http://dx.doi.org/10.18778/2083-8530.23.09.
Full textAbstract:
The 1980’s saw the emergence of New Historicist criticism, particularly through Stephen Greenblatt’s work. Its legacy remains influential, particularly on Shakespearean Studies. I wish to outline New Historicist methodological insights, comment on some of its criticisms and provide analytical comments on the changing approach to historical plays, asking “What has New Historicism brought into our understanding of historical plays and the way(s) of designing kingly power?” Examining Shakespeare’s second tetralogy, I will review Greenblatt’s contention that these plays largely focus on kingly power and its relationship to “subversion” and “containment”. I intend to focus on aspects of the plays that I believe have not received enough attention through New Historicism; particularly the design of the kingly figures.
8
Korostichenko, Ekaterina. "Christian view on treating animals: theological criticism of P. Singer." St. Tikhons' University Review 104 (December 29, 2022): 46–67. http://dx.doi.org/10.15382/sturi2022104.46-67.
Full textAbstract:
P. Singer is called one of the most influential living philosophers in the world, and one of the most controversial. The author of "Animal Liberation", "Practical Ethics", "Famine, Affluence, and Morality" created his own project of preference utilitarianism, in which he placed animals as moral subjects equal to man. In this, he questions Christian anthropocentrism: a human in his system of ethics is intrinsically no better than a chimpanzee or a dog. He recognizes the uniqueness of all species, speaking out against speciesism (discrimination on grounds of species). Singer's ethics is completely independent of religion. Raising issues related to abortion, euthanasia, animal rights, etc., the philosopher inevitably arrived to confrontation with Christian ethics and religious worldview in general. Religion, especially Christianity, plays a significant role in his works, since he considers many of the provisions of Christianity: the special position of humans in the natural world, the attitude to the sanctity of life - to be morally problematic. The article analyzes Peter Singer's critical theses on the Christian religion, including Christian ethics. The second section considers the responses of a number of modern religious thinkers to Singer's criticism of Christianity. In conclusion, the arguments of both sides are analyzed, their strengths and weaknesses are outlined, involving a broader tradition of secular-religious dispute. Conclusions are made about the validity of P. Singer's criticism of religion. Although said criticism is broadly integrated into the works of the philosopher, it is hardly a focus point - rather a tool to solidify Singer's position on practical questions like abortion, euthanasia, animal rights, etc. The negative attitude to religion has roots in Singer's early acquaintance with the Bible and the unhappy past of his family (two of the philosopher's grandparents died in concentration camps). The question of the meaninglessness of suffering largely determines the philosophy and practical ethics of P. Singer. Arguing with theologians, he most often resorts to the classical argument from evil. Singer's criticism of Christian religion is limited, reduced to the problem of the meaninglessness of suffering, the Euthyphron dilemma, criticism of the sanctity of human life, the "dominion" of man over nature. With the exception of a detailed analysis of the bias of Christianity against animals, the criticism is not original.
9
CAVADOVA, Vüsalə. "CRITERIA SEARCHES OF NATIONAL LITERARY CRITICISM." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 8, no. 3 (May 25, 2021): 32–37. http://dx.doi.org/10.38064/eurssh.190.
Full textAbstract:
Azerbaijani literary criticism has its own specific traditions. The article examines the ideological and aesthetic values of a particular stage of literary criticism. The positive tendencies manifested in literary criticism in the 40s and 50s of the twentieth century, the principles of valuing classical and modern literary heritage are revealed. The role of individual literary critics in the literary process of the 40s and 50s is analyzed from an objective historical point of view. Literary-aesthetic thought is dynamic, lively and changeable. It changes in accordance with the socio- political conditions of the time and takes on a new form and content, trying to express the new currents of thought of the time. This change and development is especially important when it manifests itself in the approach to the subject of literary criticism, social events, philosophical and methodological directions are determined. These changes in literary criticism are a phenomenon of thinking, in accordance with the principles of worldview. The history of literary-theoretical thought is one of the basic humanities, which occupies a very important place and plays an active and influential role in the spiritual life of society. As a result, we can say that, as in all periods, the 40s and 50s of our history of criticism and literary criticism are dynamic, lively and changeable. Like in different periods, literary criticism has also played three important roles in the 40s and 50s: First, to explain the literary process, to assess it, to find the regularities of the literary process out, second, to disclose the aesthetic and ethical frameworks created by art, to trigger deep love in readers for them; third, to solve the necessary philosophical, sociological, ethical and aesthetic issues of life by the analysis of art events. Of course, if we evaluate the scientific-theoretical level of our aesthetic thought in the 40’s and 50’s with these three criteria, we can state that literary criticism and literary science have fulfilled their tasks in the literary process dignifiedly. As the foundation of the process leading to democratization in the 60s has started in the late 50’s, the renewal in literary criticism and literary science also occurred a while ago. We can also state that the breath of a new era in literary criticism and literary science has came with “Literary Thoughts” (1958) by M.J.Jafarov .
10
Verma, Kripashankar. "The Family in Four Shakespearean Plays: A Short Analysis." Indian Journal of Gender Studies 28, no. 1 (January 20, 2021): 104–12. http://dx.doi.org/10.1177/0971521520974877.
Full textAbstract:
Gender study is one of the most select areas of modern research in nearly all branches of knowledge, that is, politics, history, sociology and of course literature. Feminist criticism has been phenomenal in closely studying works of literature. The modern era, which tries to usher in a world of equality for all, is highly concerned with the political, economic and social equality and freedom of women. In this article, four plays ( Twelfth Night, The Taming of the Shrew, The Winter’s Tale and Cymbeline) of William Shakespeare have been selected for the purpose of gender analysis. The article tries to explore the family in Shakespeare’s times, the status of women and the social hierarchy in Elizabethan times. Shakespeare’s plays highlight many more issues of gender and identity that are of universal importance. This article also explores how gender roles were predetermined in the Elizabethan society and how a woman was expected to behave accordingly.
Dissertations / Theses on the topic "Wayang plays History and criticism"
1
Bokwe, Goliath Dumezweni. "Sarcasm, conflict and style in Mtywaku's plays." Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1002169.
Full text
2
Staton, Maria S. "Christianity in American Indian plays, 1760s-1850s." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1364944.
Full textAbstract:
The main purpose of this study is to prove that the view on the American Indians, as it is presented in the plays, is determined by two dissimilar sets of values: those related to Christianity and those associated with democracy. The Christian ideals of mercy and benevolence are counterbalanced by the democratic values of freedom and patriotism in such a way that secular ideals in many cases supersede the religious ones. To achieve the purpose of the dissertation, I sifted the plays for a list of notions related to Christianity and, using textual evidence, demonstrated that these notions were not confined to particular pieces but systematically appeared in a significant number of plays. This method allowed me to make a claim that the motif of Christianity was one of the leading ones, yet it was systematically set against another major recurrent subject—the values of democracy. I also established the types of clerical characters in the plays and discovered their common characteristic—the ultimate bankruptcy of their ideals. This finding supported the main conclusion of this study: in the plays under discussion, Christianity was presented as no longer the only valid system of beliefs and was strongly contested by the outlook of democracy.I discovered that the motif of Christianity in the American Indian plays reveals itself in three ways: in the superiority of Christian civilization over Indian lifestyle, in the characterization of Indians within the framework of Christian morality, and in the importance of Christian clergy in the plays. None of these three topics, however, gets an unequivocal interpretation. First, the notion of Christian corruption is distinctly manifest. Second, the Indian heroes and heroines demonstrate important civic virtues: desire for freedom and willingness to sacrifice themselves for their land. Third, since the representation of the clerics varies from saintliness to villainy, the only thing they have in common is the impracticability and incredulity of the ideas they preach. More fundamental truths, it is suggested, should be sought outside of Christianity, and the newly found values should be not so much of a "Christian" as of "democratic" quality.Department of English
3
利幗勤 and Kwok-kan Gloria Lee. "Chinese translations of Wilde's plays and fairy tales: a reappraisal." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31222961.
Full text
4
Weiss, Katherine. "The Plays of Samuel Beckett." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.
Full textAbstract:
Beckett remains one of the most important writers of the twentieth century whose radical experimentations in form and content won him the Nobel Prize for Literature in 1969. This Critical Companion encompasses his plays for the stage, radio and television, and will be indispensable to students of his work.
Challenging and at times perplexing, Beckett's work is represented on almost every literature, theatre and Irish studies curriculum in universities in North America, Europe and Australia. Katherine Weiss' admirably clear study of his work provides the perfect companion, illuminating each play and Beckett's vision, and investigating his experiments with the body, voice and technology. It includes in-depth studies of the major works Waiting for Godot, Endgame and Krapp's Last Tape, and as with other volumes in Methuen Drama's Critical Companions series it features too a series of essays by other scholars and practitioners offering different critical perspectives on Beckett in performance that will inform students' own critical thinking. Together with a series of resources including a chronology and a list of further reading, this is ideal for all students and readers of Beckett's work.https://dc.etsu.edu/etsu_books/1072/thumbnail.jpg
5
Turner, Irene. "Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.
Full text
6
Boguszak, Jakub. "Actors' parts in the plays of Ben Jonson." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:7732f887-5a9d-4fc6-afce-9bc4242265f9.
Full textAbstract:
The thesis continues the work undertaken in recent years by (in alphabetical order) James J. Marino, Scott McMillin, Paul Menzer, Simon Palfrey, Tiffany Stern, Evelyn Tribble, and others to put to use what is now known about the purpose, distribution, and usage of early modern actors' parts. The thesis applies the new methodology of reading 'in parts', or reconstituting early modern plays 'in parts', to the body of plays written by Ben Jonson. The aim of the project is to offer a reconsideration of Jonson as a man of theatre, interested not only in the presentation of his works in print, but also in their production at the Globe and at Blackfriars. By reconstructing and examining the parts through which the actors performing in Jonson's plays accessed their characters, the thesis proposes answers to the questions: how can we read and analyse Jonson's plays differently when looking at them in terms of actors' parts; did Jonson write with parts in mind; what did Jonsonian parts have to offer actors by way of challenge and guidance; what can we learn from parts about Jonson's assumptions and demands with regard to the actors; and how did actors themselves respond to those demands. These questions are significant because they engage critically with the tradition of seeing Jonson as a playwright dismissive of actors and distrustful of the theatre; they seek to establish a perspective that allows us to assess Jonson's abilities to instruct and challenge his actors through staging documents. More generally, the research contributes to the studies of the early modern rehearsal and staging practices and invites consideration of Shakespeare's part-writing techniques in contrast with those of his major rival. With no surviving early modern parts from Jonson's plays (indeed with only a handful of surviving parts from the period), the first task is to determine the level of accuracy with which the parts can be reconstructed from Jonson's printed plays. Stephen Orgel was by no means the first critic who used the example of Sejanus to assert that Jonson habitually doctored his plays before they were published, but his view has become a critical commonplace. This thesis re-examines the case of Jonson's revisions and concludes that, far from being representative, the 1605 Sejanus quarto is an anomaly which Jonson himself needed to account for in his address to the reader. It is true that Jonson cultivated a distinct style of presentation of printed material, but the evidence that he extensively tampered with the texts themselves after they were performed is scarce (again, the revisions found in the Folio versions of Every Man in His Humour and Cynthia's Revels are addressed and found to be exceptional, rather than typical), while the evidence of his pride in the original compositions and performances is much stronger. Since such enhancements as dedicatory poems, arguments (i.e. plot summaries), character sketches, or marginalia have no bearing on the shapes of actor's parts, they do not in any way compromise the reliability of the printed texts as sources from which Jonson's parts can, argues the thesis, be reconstructed with reasonable accuracy. Jonson, himself an actor and apparently a friend and admirer of a number of great actors of his age (Edward Alleyn, Nathan Field, Richard Robinson, Salomon Pavy, Richard Burbage), knew from personal experience how much depended on actors mastering, or, in their terminology, being 'perfect' in, their parts. By granting the actor access only to select portions of the complete play-text (i.e. his own lines and cues), the part effectively regulated the performance in cases when the actor had only limited knowledge of the rest of the play. Such cases seem to have been very common: documentary evidence suggests that actors had to learn their parts on their own over the course of a few weeks, and only then attended group rehearsals, most of which were concerned with 'business', not text which had already been learned. While some might have attended a reading of the play (if one was arranged for the benefit of the sharers, for instance), or gained more information about the play from their fellow actors, the parts remained their chief means of internalising their text and acquiring a sense of the play they were in. Jonson, who was not a resident playwright with any company performing in London and thus probably did not always have easy and regular access to the actors, could sometimes have taken advantage of the actors' dependence on their parts and crafted the parts as a means of exercising control over the performances of his plays. Building on this premise, the thesis examines various features of actors' parts that would have made a difference to an actor's performance. It draws on recent advancements in the studies of textual cohesion (linguistic features such as reference, substitution, ellipsis, etc.) to point out how the high and low frequency of cohesive ties (pairs of cohesively related words or phrases) in various sections of the part would have given an actor a good idea of how prominent his part was at any given moment. It examines Jonson's use of cues and patterns of cueing: like Shakespeare, Jonson was fond of using repeated cues to open up a space for improvisation, and he seems to have been aware of the need to provide the apprentices in the company with parts cued by a limited number of actors so as to allow for easier private rehearsals with their masters. The thesis also examines the common feature of Jonson's 'split jokes' - jokes that are divided across multiple parts - and asks whether any kind of comic effect can be achieved by excluding the punch line of a joke from the part that contains its setup, and the setup from the part that delivers the punch line, offering a fresh look at the nature of early modern comedy. In structural terms, the thesis considers how a narrative constituted solely by the lines present on an actor's part can diverge from the narrative of the play as a whole and how an understanding of a play as a text composed of actors' parts, as well as of acts and scenes, can help to refine arguments about Jonson's assumptions about the strengths of the companies for which he wrote. What emerges is an image of Jonson who, far from concerned only with readership, consciously developed a brand of comedy that was uniquely suited to, perhaps even relying on, the solipsistic manner in which the actors received and learned their parts.
7
Pouliot, Carolle. "Le scénario : cinéma ou littérature?, suivi de Malebouge." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63846.
Full text
8
馮瑞龍 and Ruilong Feng. "A critical study of the love theme plays of the Yuan dynasty, 1279-1368." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31208599.
Full text
9
Ramukosi, Patrick Mbulaheni. "Modern tragedy : a critical analysis of the elements of tragedy with special reference to N.A. Milubi's plays." Thesis, University of Limpopo, 1999. http://hdl.handle.net/10386/2336.
Full text
10
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.
Full textAbstract:
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
Books on the topic "Wayang plays History and criticism"
1
Leather gods & wooden heroes: Java's classical wayang. Singapore: Times Editions, 1996.
Find full text
2
Walujo, Kanti W. Wayang kulit as a medium of communication. Surabaya: Faculty of Communication, University of Dr. Soetomo, 1995.
Find full text
3
Fanani, Muhamad. Struktur dan nilai budaya cerita wayang: Hikayat gelaran Pandu turunan Pandawa, Hikayat wayang Arjuna, dan Hikayat Purasara. Jakarta: Pusat Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan, 1996.
Find full text
4
Magnis-Suseno, Franz. Wayang dan panggilan manusia. Jakarta: Gramedia Pustaka Utama, 1991.
Find full text
5
E. R. Elis Novianti Mariani. Sandosa Sokrasana, sang manusia: Telaah teks-konteks. Edited by Kardiyanto Wawan editor and Nugroho Yanusa 1960-. Surakarta: Penerbit ISI Press, 2013.
Find full text
6
Walujo, Kanti W. Peranan dalang dalam menyampaikan pesan pembangunan: Analisa komprehensif peranan wayang dalam komunikasi pembangunan. [Jakarta]: Direktorat Publikasi, Ditjen Pembinaan Pers dan Grafika, Departemen Penerangan, Republik Indonesia, 1994.
Find full text
7
Soetarno. Sejarah pedalangan. [Surakarta]: Kerja sama Institut Seni Indonesia Surakarta dan Cendrawasih, 2007.
Find full text
8
Nilai-nilai etis dalam wayang. Jakarta: Pustaka Sinar Harapan, 1991.
Find full text
9
Nurgiyantoro, Burhan. Transformasi unsur pewayangan dalam fiksi Indonesia. Yogyakarta: Gadjah Mada University Press, 1998.
Find full text
10
Salmun, M. A. Padalangan. Jakarta: Departemen Pendidikan dan Kebudayaan, Proyek Penerbitan Buku Sastra Indonesia dan Daerah, 1986.
Find full textBook chapters on the topic "Wayang plays History and criticism"
1
Van Hulle, Dirk. "Genetic Criticism and Related Fields of Study." In Genetic Criticism, 3–24. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192846792.003.0001.
Full textAbstract:
Genetic criticism is not an isolated discipline. It plays a natural role in an ecosystem of related fields of study, such as bibliography, book history, archive studies, filologia d’autore, variantistica, writing studies, digital humanities, and scholarly editing. Usually ‘textual scholarship’ is employed as the umbrella term covering these fields of study, which have been compartmentalized for decades. It is time for a rapprochement, and the digital medium is a great catalyst in this process. Rather than mere pigeonholes, these fields are interconnected areas of study that can inform each other in innovative ways, especially by way of digital scholarly editing. This chapter discusses the place of genetic criticism in this ecosystem of literary and textual scholarship.
2
Lake, Peter. "Introduction." In Hamlet's Choice, 1–14. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300247817.003.0001.
Full textAbstract:
This chapter outlines the topics of power and succession in the history of plays. It describes how power and succession was being staged and performed as a series of plays before ideologically and socially mixed audiences throughout the 1590s. It also draws on the existing corpus of literary criticism, mixing and matching insights and arguments culled from a broad range of methodologically distinct schools of literary criticism. The chapter explores William Shakespeare's history plays, including plays that are conventionally regarded as tragedies or Roman plays. It argues that the plays “Julius Caesar,” “Hamlet,” and “Troilus and Cressida” were all based on what contemporaries regarded as history and are available for the same processes of application to current political thought and practice as the plays about English history.
3
"The Absurdity of Mimesis: A History of Absurdist Criticism Related to the Plays of Edward Albee." In Edward Albee and Absurdism, 6–51. BRILL, 2017. http://dx.doi.org/10.1163/9789004324961_003.
Full text
4
Hardie, Alison. "‘Out of the Profundity of His Heart’." In The Many Faces of Ruan Dacheng, 105–35. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888754076.003.0005.
Full textAbstract:
As a basis for the analysis and discussion in the following chapters, this chapter provides a summary of Ruan’s literary work: his early poetry collection Harmonising with the Flute (Hexiao ji) and the mature poetry in Poems from the Hall of Chanting What Is in My Heart (Yonghuaitang shiji), the literary criticism in Poetry Talks from Stone Nest (Shichao shihua), the virtually unknown travel journal A Trip to the Three Hills (Sanshan youji), and his plays, particularly the four surviving plays Spring Lantern Riddles (Chundengmi ji), The Sakyamuni Pearls (Mounihe), Double Examination Success (Shuang jinbang), and The Swallow Messenger (Yanzi jian); more detailed synopses of the plays are provided in Appendix 2. The sources and publication history of Ruan’s work and the opinons on it of his contemporaries and later critics are also discussed.
5
Atkins, Paul S. "Teika After Teika." In Teika. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824858506.003.0006.
Full textAbstract:
Criticisms and evaluations of Teika as a person and as a poet began during his own lifetime. The history of reception of Teika’s biography, poetry, and other works is surveyed from the thirteenth century up until modern times. Although Teika was generally regarded as an extremely skilled poet and occasionally venerated as a demigod of waka, factional battles among his descendants led to criticism of his poetry. Rumors of an illicit affair with his contemporary Princess Shokushi inspired a fifteenth-century noh play and further embellished his reputation among early modern readers. Teika’s distinctive calligraphy plays a prominent role in his posthumous fame.
6
Sizova, Irina I. "To the Problem of Editions of Folk Literature by L.N. Tolstoy in the 1880s." In Questions of Source and Text Studies of Russian Literature of the 19th Century. Collection of articles based on the materials of the International Scientific Conference, 127–40. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0687-1-127-140.
Full textAbstract:
The article discusses the distinction between the concepts of «edition» and «version» in the history of the text of L.N. Tolstoy’s stories and plays of the 1880 s, addressed to the people’s audience. The author revises the traditional approach to the textual criticism of the writer’s works, according to which the indicators of a new edition appearance are taken from the graphic features of manuscripts, such as quantitative indicators of changes in the text and the abundance of its discrepancies. The author of the article concludes that the problem of editions and versions of Tolstoy’s folk stories and plays should be solved by combining the tasks of textual and literary studies: to trace the formation of such categories as content and form of works from manuscript to manuscript, to take into account the dynamics of the artist’s worldview, his creative and aesthetic search. To create an objective picture in the research, it is necessary to cover the entire manuscript corpus of writer’s works, but not selectively published fragments in the Anniversary edition and or the volumes of the academic series «Literary Heritage».
7
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.
Full textAbstract:
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....
8
Di Summa, Laura T. "Clouds of Sils Maria." In Metacinema, 155–72. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.003.0008.
Full textAbstract:
In a way that is reminiscent of Luigi Pirandello’s take on character impersonation, Clouds of Sils Maria (2014, dir. Olivier Assayas) plays with the history of film, with the layering of performances, crossing theater and film, actors and characters. This chapter focuses on how the duo Binoche / Maria Enders encourages a reflection on metacinema by questioning what it means to be a character, to create one for ourselves, and to assess the very viability of such a creation. More narrowly, the chapter argues that Clouds of Sils Maria is capable of adding a significant contribution to the debate, within analytic aesthetics, on the advantages and the dangers of seeing our lives as narratives. For while watching the feature may prompt an agreement with Peter Lamarque’s criticism of the “narrative view,” which highlighted how a “story-like” narration of our lives might transform nonfictional, factual events into fictional ones, we are also reminded of how such a crafted and constructed rendition of facts may ultimately be inevitable.
9
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.
Full textAbstract:
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.