Artículos de revistas sobre el tema "Drama - literary criticism"
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Jabborova, Dilafruz. "Interpretation of Fitrat Dramas in Literary Criticism". International Journal for Research in Applied Science and Engineering Technology 9, n.º 12 (31 de diciembre de 2021): 2437–40. http://dx.doi.org/10.22214/ijraset.2021.39332.
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Abstract: This article examines the fact that after the independence of Uzbekistan, the works of modern literature began to be reevaluated on the basis of new approaches. Literary scholar Ilhom Ganiev's monograph "Poetics of Fitrat dramas" is analyzed and the poetic world of the playwright is covered. The article is based on the analysis of the physicist's focus on Fitrat's character creation skills, the symbolic and figurative motives used in dramas, and the use of artistic language. Keywords and word expressions: drama, jadid literature, criticism, natural science, jadid studies, jadid writers, playwright, drama, symbolism, theater, tragedy, soviet ideology, “Abulfayzkhan”, confection, “Hindu ihtilotonzhon”, conflict, independence ideas, poetic thought, hermeneutic thinking, vulgar-sociological approach, principle, reassessment, new scientific and aesthetic thinking, systematic approach, analysis and interpretation, hermeneutics, synergetics, structuralism, historical-biographical approach, historical-cultural approach, modernism, absurdity, existentialism.
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Zhang, Jinsong. "Discussion on Raymond Williams’ Methodology of Drama Criticism". Journal of Contemporary Educational Research 5, n.º 10 (29 de octubre de 2021): 153–57. http://dx.doi.org/10.26689/jcer.v5i10.2635.
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Raymond Williams is one of the representative figures of British cultural Marxism and British cultural research. His cultural research, especially mass culture research, focuses on literary criticism. Among them, drama criticism is one of Williams’ most important forms of cultural criticism methodology. Williams’ drama criticism is based on drama history criticism. Through the historical analysis of drama content and form as well as the synchronic analysis of modern drama in different historical periods, including the ongoing drama history, Williams proposed the notion of “structures of feeling.” The emergence of this concept opened up the social critical dimension of Williams’ drama criticism. Drama criticism has become a window for examining, analyzing, and grasping the current social emotional structure or social culture. Furthermore, by implanting tragic plots in the drama, a potential practical strategy of social and cultural revolution can be realized.
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Wahyuni, Neneng. "Kritik Sosial dalam Karya Sastra Bentuk Nyata Protes Sastrawan". Jurnal Kajian Bahasa, Sastra dan Pengajaran (KIBASP) 2, n.º 2 (4 de junio de 2019): 144–57. http://dx.doi.org/10.31539/kibasp.v2i2.619.
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The purpose of this study is to describe social criticism, a real form of man of letters protest against social problems throughher/his literary media. The method used is descriptive method. The results of this study found that Wisran Hadi and Athur S. Nalan conveyed their dislike of social phenomena through drama scripts. This is what is meant by the real form of literary protests through his work. Wisran Hadi through the drama drama"Jalan Lurus"describes his criticisms ranging from individual problems to his own character, to government issues. Whereas Artur S. Nalan through his draft text entitled Sobrat outlined which criticized the depravity of morals and a mindset that did not develop from humans, who were more interested in other regions even though in his area he could live better. In addition, moral problems are the actions of humans who no longer know what is good and what is bad. Conclusion, in general they describe their dislike of human habits in carrying out their lives.
Keywords: Criticims,Drama, Protest.
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Barry, P. "Feminist Literary Criticism; Modernism/Postmodernism; New Historicism and Renaissance Drama; Contemporary Marxist Literary Criticism". English 42, n.º 173 (1 de junio de 1993): 182–88. http://dx.doi.org/10.1093/english/42.173.182.
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Ackerman, Alan. "The Prompter's Box: Modern Drama and Literary Criticism". Modern Drama 50, n.º 4 (diciembre de 2007): 475–86. http://dx.doi.org/10.3138/md.50.4.475.
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Ackerman, Alan. "The Prompter’s Box: Modern Drama and Literary Criticism". Modern Drama 50, n.º 4 (2007): 475–86. http://dx.doi.org/10.1353/mdr.0.0000.
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Saverchanka, I. V. "Achievements of literary science, textology and criticism". Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, n.º 4 (31 de octubre de 2018): 490–96. http://dx.doi.org/10.29235/2524-2369-2018-63-4-490-496.
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In the article the main achievements of modern Belarusian theory of literature, textology and literary criticism are presented. The author draws attention to the results of scientific research by leading scientists of the Yanka Kupala Institute of Literary Studies – Yevgeny Gorodnitsky, Vladimir Gnilamiedov, Mikhail Tychino and others. The high scientific level of preparation of the Collected Works of Ivan Shamyakin and Ivan Naumenko is noted. The positive influence of critics who work in the Institute of Literary Studies on the development of modern Belarusian prose, poetry, drama and publicism is determined.
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Alamsyah, Devy Kurnia, Widya Husein y Yenni Hayati. "Kritik Sosial dalam Naskah Drama West Side Story karya Arthur Laurents: Kajian Sosiologi Sastra". Jurnal Bahasa dan Sastra 10, n.º 2 (3 de julio de 2022): 200. http://dx.doi.org/10.24036/jbs.v10i2.117410.
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Literary works are often used as a medium to criticize and explain social problems experienced by society. One of these literary works is the drama script West Side Story by Arthur Laurenst. This study focuses on the criticism of several social problems described in the play West Side Story. This study uses the method of content analysis of literary texts which are then interpreted by researchers. Research data sourced from the play West Side Story was collected using the library research method. Through analysis with the Sociology of Literature approach which focuses on sociological aspects in a work, it is found that there is a critique of social problems described in the play West Wide Story. The criticism is related to the problem of poverty which leads to violence and deprivation; juvenile delinquency in the form of immoral acts as a result of family disharmony; wars that cause damage to the natural environment; and degrading and harassing women.
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Pejčić, Aleksandar. "The dramas of Manojlo Đorđević Prizrenac on the Serbian stage". Zbornik radova Filozofskog fakulteta u Pristini 54, n.º 2 (2024): 113–32. http://dx.doi.org/10.5937/zrffp54-50364.
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The paper interprets and evaluates the dramas performed by Manojlo Đorđević Prizrenac: Slobodarka, Zlatna grivna, and Jasmina and Irena. The first part of the paper focuses on the key poetic, dramaturgical, and genre features of these dramas, demonstrating that Prizrenac was a good playwright who mastered this demanding form very early on. The dominant meaning layers of each drama were interpreted separately (action, plot, space, and conception of characters) from a structural, semiological, and cultural point of view. The final part of the paper examines the reception of criticism as well as the place of Prizrenac's drama opus in the history of Serbian theater from a literary-historical and theatrical perspective. His dramas were performed with nice scenic success in the National Theaters in Belgrade and Novi Sad, as well as Nikšić and Niš.
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Seba, Nur. "Membaca Indonesia dalam Orang-Orang Bawah Tanah: Kumpulan Naskah Drama". ATAVISME 12, n.º 2 (31 de diciembre de 2009): 181–92. http://dx.doi.org/10.24257/atavisme.v12i2.169.181-192.
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Sebagai institusi sosial, karya sastra menghadirkan kehidupan dan masalah-masalah realitas sosial dalam rnasyarakat yang memengaruhi kehidupannya. Itulah sebabnya mengapa karya sastra memiliki fungsi sosial sebagai reaksi, penerimaan, kritik, atau ilustrasi tentang keadaan tertentu sebagaimana llham Zoebazary menggambarkan Indonesia sejak Orde Baru hingga reformasi dalam kumpulan naskah dramanya. Kritik yang diketengahkan berhubungan dengan pelayanan pemerintah, perilaku aparat pemerintah, kehidupan rakyat kecil, dan persoalan- persoalan sosial lainnya
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As a social institution, a literary work presents a life and consists of-mostly-social realities that influence life. That is why literary works have social functions as a reaction, conception, criticism, or illustration about certain situation. As llham Zoebazary describes Indonesia since new era government until reformation period in his collection of drama texts. Criticisms that are presented interrelated with governments service, behavior and attitude of government official, proletariat's life, and so on.
Keywords: the collection of drama, underground people. and proletariat
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Putri, Intan Listyaning, Andayani Andayani y Nugraheni Eko Wardani. "Social Criticism and Morality in "Subversif!" Drama by Faiza Mardzoeki as Literature Teaching Materials". Journal of Languages and Language Teaching 12, n.º 1 (9 de enero de 2024): 487. http://dx.doi.org/10.33394/jollt.v12i1.8828.
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The overarching goal of education extends beyond the mere attainment of competencies and academic standards; it encompasses a broader responsibility to cultivate students' awareness of their societal roles, obligations, and rights. This research, undertaken with the specific focus on the drama script "Subversive!" by Faiza Mardzoeki, aims to elucidate the manifestations of social criticism and morality within this literary work. Employing a qualitative research approach, this study hinges on document analysis as its primary methodological framework. Qualitative research, distinguished by its departure from statistical procedures and quantitative calculations, relies on the exploration of assumptions, broad perspectives, theoretical lenses, and a thorough examination of research problems. The research findings primarily unveil instances of social criticism embedded in political contexts and discernible moral dynamics between individuals. Notably, these insights derived from the drama script "Subversive!" serve as valuable material for the pedagogical realm, contributing to the understanding of literary texts in educational settings. This research contends that the implications of its findings extend to the realm of high school literature education, providing a foundation for educators to consider various aspects, types, and impacts of literary works. By delving into the social and moral criticisms encapsulated within these texts, educators can enhance the learning experience, prompting thoughtful reflection on societal constructs and the multifaceted roles literature plays. Additionally, the research underscores the pivotal role of teachers in facilitating this process, thereby emphasizing the broader educational significance of integrating critical perspectives into the study of literature.
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya". Journal of Practical Studies in Education 2, n.º 5 (6 de agosto de 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Zhilichev, P. E. "Absurdist Drama and Its Academical Reception in Russian and Western Literary Criticism". Bulletin of Kemerovo State University 24, n.º 5 (7 de noviembre de 2022): 626–34. http://dx.doi.org/10.21603/2078-8975-2022-24-5-626-634.
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This paper attempts to identify and systematize the main approaches to the theater of absurd and absurdist drama in Western and Russian literary studies. The term theater of the absurd was originally introduced by Martin Esslin. This concept has become a common denominator and refers to the dramatic work of such famous authors as Samuel Beckett, Eugène Ionesco, Harold Pinter, Arthur Adamov, and Jean Genet. Martin Esslin and his followers brought in several important features into the absurdist drama, i.e., alogism, disjointed communication, wordplay (Patrice Pavis), etc. They attempted to conceptualize the theater of the absurd as a part of a broader typological unit, e.g., Michael Bennett’s theater of parabola. Russian scholars and critics have developed a range of important concepts as well. They see absurd as a violation of basic rules of communication (Olga Revzina, Isaac Revzin). The Union of Real Art (Mikhail Yampolskiy, Dmitry Tokarev) focuses on the principle of serialized eventfulness. Others concentrate on the meta-descriptive nature of absurd (Evgenyi Kluev) and develop the concept of absurdity as a picture of the world (Olga Burenina-Petrova). Both in Western and Russian studies, the conceptualization of the theater of the absurd follows two opposite poles: absurd can be interpreted as either a linguistic phenomenon (deconstruction of communication), or as a certain way of human existence. During the 1980–2000s, post-structuralist philosophy played a major role in the re-thinking of the absurd, while the interaction of philosophical and literary approaches determined the principles of historical aesthetics. As suggested by contemporary researchers, the discourse of the absurdist drama has the following features: deconstruction of cultural codes; actualization of the archaic basis of theater; parodying literal and theatrical conventions; problematization of the semiotic linkage (sign and its referent); depiction of mosaic consciousness and unstable cosmos.
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Iyengar. "Race Thinking in Margaret Cavendish's Drama". Criticism 63, n.º 1-2 (2021): 95. http://dx.doi.org/10.13110/criticism.63.1-2.0095.
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Hapsari, Indah y Wika Soviana Devi. "KRITIK SASTRA: KEKERASAN DALAM NOVEL 00.00 SEPASANG LUKA YANG BERAKHIR DUKA KARYA AMEYLIA FALENSIA". Matapena: Jurnal Keilmuan Bahasa, Sastra, dan Pengajarannya 5, n.º 2 (21 de diciembre de 2022): 218–28. http://dx.doi.org/10.36815/matapena.v5i02.1998.
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Literary works have several types such as novels, prose (fiction), poetry, drama, romance, and short stories or better known as poetry. In this research, the writer will examine the novel. Novel is a work of prose fiction written in writing, containing elements of imagination and fantasy. Literary criticism is an analysis that examines elements that contain errors. In literary criticism, it is usually more focused on the author's writing in his writings. Literary criticism is a field of literary science and usually applies to the evaluation of literary works. This study uses a qualitative descriptive method with library techniques. In this case, the author uses the novel 00.00 A Pair of Luka that Ends Grief by Ameylia Falensia as research data. By reading it over and over again and determining the results of the research. There is a lot of violence in the novel. Both physical and non-physical violence. We never know someone's mentality, more precisely someone has a different mentality. Victims of violence usually experience trauma and fear in their daily lives and can even do things beyond reason, the perpetrator often ends in death, namely suicide because of the pressures of life that continue to be experienced. Keywords: literary criticism, novel, violence.
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Ermolaeva, Nina L. "RUSSIAN CRITICISM AND SOVIET LITERARY STUDIES ON EPIC DRAMA BY A.N. OSTROVSKY". Vestnik of Kostroma State University 29, S (15 de noviembre de 2023): 85–96. http://dx.doi.org/10.34216/1998-0817-2023-29-s-85-96.
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The article overviews the wide range of Russian criticism of the XIXth century and the Soviet literary research to define the ways A.N. Ostrovsky’s talent was understood. The article focuses on the epic character of his plays that has become for the critics a stumbling block on the way of acknowledging the greatness of the playwright’s talent. The article analyses the opinion on the matter by A.A. Grigoriev, E.N. Edelson, A.V. Druzhinin, P.V. Annenkov, N.A. Dobrolyubov, N.N. Strakhov, A.M. Skabichevsky, N.V. Shelgunov, I.S. Turgenev, N.P. Nekrasov, N.S. Nazarov, P.D. Boborykin and some other critics as well as the Soviet researches E.G. Kholodov, A.L. Shtein, N.N. Skatov, Y.V. Lebedev, A.I. Zhuravleva et al. The article starts with the introduction of the problem of epic thinking in the literary studies.
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Kenkel, Karen J. "Monstrous Women, Sublime Pleasure, and the Perils of Reception in Lessing's Aesthetics". PMLA/Publications of the Modern Language Association of America 116, n.º 3 (mayo de 2001): 545–61. http://dx.doi.org/10.1632/pmla.2001.116.3.545.
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Enlightenment intellectuals viewed the moral cultivation of the individual through aesthetic pleasure to be a crucial means for regulating social relations in bourgeois civil society. G. E. Lessing's drama criticism and plays reveal how important reshaping women's social identity was to the definition of morally productive aesthetic pleasure in the Enlightenment. Drawing on contemporary feminist theory, this essay explores how and why the tension between aesthetic pleasure and morality that runs through Lessing's work centers on developing bourgeois norms of femininity and on their violation in French classical and epic dramas. The essay reveals how the gender-specific moral demands placed on cultural pleasure in Lessing's drama criticism helped lay the foundation for a cultural crisis in the late eighteenth century, as well as for a divided public sphere. Lessing's plays, however, offer a more complex vision of the audience's interests and needs and a more open vision of women's possible social roles.
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Kenkel, Karen J. "Monstrous Women, Sublime Pleasure, and the Perils of Reception in Lessing's Aesthetics". Publications of the Modern Language Association of America 116, n.º 3 (mayo de 2001): 545–61. http://dx.doi.org/10.1632/s0030812900112660.
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Enlightenment intellectuals viewed the moral cultivation of the individual through aesthetic pleasure to be a crucial means for regulating social relations in bourgeois civil society. G. E. Lessing's drama criticism and plays reveal how important reshaping women's social identity was to the definition of morally productive aesthetic pleasure in the Enlightenment. Drawing on contemporary feminist theory, this essay explores how and why the tension between aesthetic pleasure and morality that runs through Lessing's work centers on developing bourgeois norms of femininity and on their violation in French classical and epic dramas. The essay reveals how the gender-specific moral demands placed on cultural pleasure in Lessing's drama criticism helped lay the foundation for a cultural crisis in the late eighteenth century, as well as for a divided public sphere. Lessing's plays, however, offer a more complex vision of the audience's interests and needs and a more open vision of women's possible social roles.
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Sokolovska, S. F. "ART SPACE OF CONTEMPORARY DRAMA". Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, n.º 1(94) (7 de julio de 2021): 49–57. http://dx.doi.org/10.35433/philology.1(94).2021.49-57.
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Sokolovska S. F.The study of the modern literary situation, in particular, new trends in drama, is a relevant task for literary criticism. The work of playwrights of the 90s of the twentieth century deserves special attention since the literary practice of this generation of artists caused a number of significant shifts in various formally substantive areas of drama. Indicative in this respect are the works of the modern German author R. Schimmelpfennig. In the process of literary study of the play «The Golden Dragon», an analytical model of a literary text has been built, which is correlated with the interpretation model of a literary work. The chronotope and structure of the narrative reflect the artistic picture of the world and the concept of personality. Creating these aspects of artistic reality, the playwright turns to the aesthetics of B. Brecht’s epic theater. First of all, this is the alienation effect, which occurs through seventeen roles that are distributed among five actors. However, the characters are not puppet heroes, human beings without identity, they play the role of storytellers, report events, addressing directly to the audience. The author’s presence is being augmented, which is realized in the epization of a dramatic text, in the author’s direct description of the characters, in the spatio-temporal organization of the work. The reality that the world of a multi-storey building reproduces in the play does not allow a person to realize themselves. Such a manifestation becomes possible in an imaginary world, in human consciousness. The acquisition of personal uniqueness, the establishment of deep, essential connections with other people occurs in an open, unlimited mental space.
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Sulistyorini, Haryati. "PEMBELAJARAN BERBASIS PROJEK (PROJECT BASED LEARNING) PADA PENGAJARAN ENGLISH DRAMA APPRECIATION DENGAN MENGGUNAKAN MEDIA PEMENTASAN DRAMA BERBAHASA INGGRIS ‘SANGKURIANG’". LITE: Jurnal Bahasa, Sastra, dan Budaya 16, n.º 1 (31 de marzo de 2020): 1–21. http://dx.doi.org/10.33633/lite.v1i1.3424.
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 Abstract: This paper entitled Wisata Sastra pada Pengajaran English Drama Appreciation dengan menggunakan Media Pementasan Drama ‘Sangkuriang, has a purpose for learners dan teachers in literature to give an assumption that literary criticism could be done not only by using reception theory but also used another model in teaching like Project Based Learning. The Project Based Learning in Engish Drama Appreiation with a play perform, Sangkuriang also has the main purpose to introduce and promote the toursm object of Tangkuban Perahu as the popular tourism object in Indonesia especially in West of Java. This is usually called by travelling literature which also has a function to promote and popular the tourism object. Descriptive qualitative is used to describe the data which is acquired in the project based learning.The result shows that teaching learning in English Drama Appreciation which is done by the project based learning is able to give students in the interpretation on a literary work in a play perform like Sangkuring.  Key words: Tourism, Literature, Drama, Sangkuriang  Â
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Naumov, Aleksandr V. "From Criticism to Practice: Music in the Early Literary Heritage of V.I. Nemirovich-Danchenko". Observatory of Culture 19, n.º 2 (13 de abril de 2022): 182–92. http://dx.doi.org/10.25281/2072-3156-2022-19-2-182-192.
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The article examines the relationship between the literary work of V.I. Nemirovich-Danchenko that preceded the opening of the Moscow Art Theater, and his directorial activity. For him, journalism, fiction and drama formed a unity that had a serious impact on his pedagogical and staging practice. The main issues related to the topic of the work have been repeatedly raised by researchers of theater and literature, but have not yet come to the attention of musicologists, which determines the main parameter of the study’s novelty. In this context, the article aims at pinpointing the actual musical textual details, and its main methodology is based on the interpretation of statements and their comparison with the factual theater history. The article attempts to review the “favorite repertoire” of V.I. Nemirovich-Danchenko as a writer — the musical works mentioned in his novels, stories and plays. There is also identified the “projections” of such sympathies on the design of performances. The article reveals fundamental differences in V.I. Nemirovich-Danchenko’s attitude to vocal and instrumental music, the special role of opera in his perception of the world. There is noted the tendency to attach special semantic and moral-ethical meaning to sound components, as well as the affordance, opened in dramas of the late 1890s, of maximum avoidance of noise elements for the sake of relief identification of a word. The article ends with an attempt to substantiate from a musical standpoint the failure of the drama “In Dreams” at its first and only staging at the Moscow Art Theater (1901). The conclusion contains a number of findings characterizing the musicality of V.I. Nemirovich-Danchenko in 1898, at the time of the opening of his theater. There are partially highlighted the stages of his evolution not mentioned before, which led the director to experiments in the genre of tragedy at the turn of the 1910s and 1920s, the foundation of his own opera studio and the revision of literary positions that remained relevant for the last decades of his life and work.
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Kocherga, Svitlana y Oleksandra Visych. "The antitheatrical discourse in Ukrainian metadrama in the early twentieth century". Przegląd Wschodnioeuropejski 11, n.º 1 (30 de junio de 2020): 251–59. http://dx.doi.org/10.31648/pw.5985.
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The article analyzes methods of implementing antitheatrical discourse in Ukrainian dramaturgy. Different types of antitheatricality in literary texts are distinguished on the basis of plays by M. Starytskyi, I. Karpenko-Karyi, A. Krushelnytskyi, V. Vynnychenko, Ya. Mamontiv, V. Cherednychenko, and M. Kulish. The authors define key vectors that the antitheatrical discourse follows: criticism of theater as an institution, criticism of the drama school / method, criticism of theatricality and acting, including in offstage situations. It is arguably reasonable to examine the phenomenon of antitheatrical prejudice in the context of the theory of metadrama as one of its factors. Artistic interpretation of the theater in an ironic or farcical vein, discussions over the repertoire that is no longer relevant, the aesthetic nature of stage technique, and discredit of acting as an occupation all generally encourage dramatic conventionality to double. Most common metadramatic devices used to implement antitheatricality in Ukrainian drama are believed to include a play within a play, adaptation of spectator’s reception for stage, and intertextual references.
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Merriman, Victor. ""Besides the Obvious": Postcolonial Criticism, Drama, and Civil Society". Modern Drama 47, n.º 4 (diciembre de 2004): 624–35. http://dx.doi.org/10.3138/md.47.4.624.
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D'cruz, Glenn. ""Stepford" Criticism: "Subversive Acts" and Resistance in PostColonial Drama". Journal of Commonwealth Literature 33, n.º 2 (junio de 1998): 1–14. http://dx.doi.org/10.1177/002198949803300202.
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DiCenzo, Maria. "Feminism, Theatre Criticism, and the Modern Drama". South Central Review 25, n.º 1 (2008): 36–55. http://dx.doi.org/10.1353/scr.2008.0010.
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Dadaş qızı Hüseynova, Əsmər. "The main stages of Masud Aliyoglu's critical activity". SCIENTIFIC WORK 65, n.º 04 (21 de abril de 2021): 101–5. http://dx.doi.org/10.36719/2663-4619/65/101-105.
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The stages of development of Azerbaijani literary criticism in the twentieth century coincided with the period of political and ideological principles. It is substantial influence on aesthetic approaches is confirmed by existing research. In this sense, the study of the individual facts of criticism and the scientific and theoretical heritage of individual critics in stages creates a favorable basis for concrete conclusions. A step-by-step study of Masud Alieglu's 25-year career as a critic reveals interesting scientific and theoretical truths. The main priority goal of the article is to study the general activities of the critic and the directions of research in a unified way. Based on articles and opinions written in a short period of time from the late 1940s to the 1950s, he chose Masud Aliyoglu as a leading field for his literary criticism. In the later stages of development, the literary-aesthetic factors that led to the continuation and development of research on the creative problems of poetry, prose, drama and literary criticism in the 50s and 60 s and 70s were focused on the analysis of facts. Key words: critical individuality, literary process, scientific-theoretical generalization, criterion of modernity, aesthetic evaluation, critical thinking, new trends
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Murphy, Brenda. "THE DAWNING OF AMERICAN DRAMA: AMERICAN DRAMATIC CRITICISM, 1746–1915". Resources for American Literary Study 23, n.º 2 (1 de enero de 1997): 267–68. http://dx.doi.org/10.5325/resoamerlitestud.23.2.0267.
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Ананьева, S. V. "WORLD LITERARY STUDIES AS A FIELD OF SCIENTIFIC KNOWLEDGE: TRADITIONS AND TRENDS". Keruen 82, n.º 1 (25 de marzo de 2024): 28–35. http://dx.doi.org/10.53871/2078-8134.2024.1-02.
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Literature and art are continuously in search of new means of expression, and communication. In the process of renewal, artistic culture acquires new aesthetic principles, an artistic fusion of the objective and the subjective. The idea of a work in a realistic narrative sounds gradually, naturally. The plot develops around a fact that reveals the meaning of the work. The aesthetic assimilation of reality proceeds in several directions, in different genres of prose and poetry, drama and journalism, in a diverse creative manner, which is unique for each author of a work of art. The relevance of this article lies in the fact that it traces the evolution of the basic concepts of world literary criticism, which has its own scientific principles, systems of methods and terminology. Literary criticism and critical thought create a special associative field, confirming the importance of the transition in the literary process from ideology to issues of personal existence. Domestic and world literary studies are included in the research field of the humanities, but there are frequent attempts to absorb them into intensively developing interdisciplinary research. The scientific novelty of this research is seen in the generalization of the theoretical views on modern world literary criticism of major literary scholars and critics in Europe, the USA, the CIS countries, authors of sections of collective monographs of the Auezov Institute of Literature and Art «The latest foreign literature», «The world literary process of the 21st century», «Kazakh-American literary connections: current state and prospects», the textbook «The world literary process: content, directions, trends». The basis for the research is the scientific concepts of literary text analysis, theories of critical discourse analysis of literary works, existential criticism and others. Based on the analysis, review of the current state of the leading theoretical schools of world literary criticism (with cultural studies, literary criticism, structural poetics, the concept of semiosphere, theory of cultural transfer and others). It has been established that the science of literature has its own object of study, a special essence, which distinguishes it from the exact and natural sciences.
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Kurdi, Mária. "Samuel Beckett’s Drama in Hungarian Theatre History and Criticism before 1990". Theatron 16, n.º 4 (2022): 54–69. http://dx.doi.org/10.55502/the.2022.4.54.
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The international and intercultural aspects of Samuel Beckett’s theatre have been widely recognised by an increasing number of scholarly works in the last few decades. This article offers a study of the pre-1990 reception of Beckett’s drama and theatre in Hungarian criticism and literary and theatre histories. Its focus is on critical and theoretical investigations of three of Beckett’s masterpieces for the stage, Waiting for Godot (1953), Endgame (1957), and Happy Days (1961), provided by Hungarian authors in Hungary or in Hungarian-language forums of the neighbouring countries. While mentioning all the premieres of the three masterpieces in Hungary during the given period, the article surveys and compares only those ideas across the various theatre reviews, which contribute to the Hungarian critical reception of Beckett and the selected works. To place the addressed pre-1990 Hungarian studies and reviews in the broader field, the article is framed by references to some relevant writings of international Beckett scholars.
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Maver, Igor. "American 'committed' drama in Slovene theatres". Acta Neophilologica 27 (1 de diciembre de 1994): 57–65. http://dx.doi.org/10.4312/an.27.0.57-65.
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The purpose of this study is essentially to demonstrate that the delayed stagings of American 'committed' plays, written in the thirties and produced in Slovene theatres immediately after World War Two in the late forties and fifties, were often miscontextualized and partly misinterpreted by the literary critics of the period. This was only in the early post-war years largely due to the need to serve the then ruling ideology and to comply with the criteria of Marxist aesthetisc, especially that of a radical social criticism. However, the later stagings particularly of Arthur Miller's and also Tennessee Williams's plays, did not see the same phenomenon, for it was they that assured the popularity of the American post-war drama on Slovene stages and, even more importantly, helped Slovene theatre to come off age in the sixties.
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Maver, Igor. "American 'committed' drama in Slovene theatres". Acta Neophilologica 27 (1 de diciembre de 1994): 57–65. http://dx.doi.org/10.4312/an.27.1.57-65.
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The purpose of this study is essentially to demonstrate that the delayed stagings of American 'committed' plays, written in the thirties and produced in Slovene theatres immediately after World War Two in the late forties and fifties, were often miscontextualized and partly misinterpreted by the literary critics of the period. This was only in the early post-war years largely due to the need to serve the then ruling ideology and to comply with the criteria of Marxist aesthetisc, especially that of a radical social criticism. However, the later stagings particularly of Arthur Miller's and also Tennessee Williams's plays, did not see the same phenomenon, for it was they that assured the popularity of the American post-war drama on Slovene stages and, even more importantly, helped Slovene theatre to come off age in the sixties.
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Baba, Maria C., Febe F. I. Wanggai y Maksimilianus Doi. "COURAGE IN HARPER LEE’S NOVEL TO KILL A MOCKINGBIRD". Lantern: Journal of Language and Literature 8, n.º 2 (1 de septiembre de 2022): 119–27. http://dx.doi.org/10.37478/lantern.v8i2.3960.
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Creswell, J. (2014). Research design: qualitative, quantitative and mixed methods approaches. Los Angeles: University of Nebraska-Lincoln. Elmes. G. (2012). Research methods in psychology. Canada: Nelson Education. Klarer, M. (2013). An introduction to literary studies. New York: Routledge. Larrson, L. & Woolf, V. (2017). Walking Virginia Woolf’s London: An investigation in literary geography. London: Palgrave Macmillan. Mays, K. J. (2015). The Norton introduction to literature. New York: W. W. Norton & Co. Putman, D. (2010). The psychology of courage: modern research on an ancient virtue. Washington, DC: American Psychological Association. Turco, L. (2020). The book of literary terms: the genres of fiction, drama, nonfiction, literary criticism, and scholarship. Albuquerque: University of New Mexico Press.
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Erickson, Jon. "The Ghost of the Literary in Recent Theories of Text and Performance". Theatre Survey 47, n.º 2 (12 de septiembre de 2006): 245–51. http://dx.doi.org/10.1017/s0040557406000226.
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In Book 3 of Plato's Republic, Socrates refers to the beginning of the Iliad in order to take Homer to task for switching from a purely narrative voice to actually “speaking” in the voice of a character—the Trojan priest Chryses—who is attempting to get Agamemnon to return his daughter. Socrates then demonstrates in his own third-person narrative of that same story how it could have been told without the imitation provided by the priest's speech. Socrates also makes the point that it is in tragic drama where the opposite condition obtains: tragic drama is comprised entirely of direct, imitative speech instead of a distanced, third-person narration. The distinction being made between diegesis (narrative) and mimesis (imitation) marks the beginning of the concept of theatricality, a concept still hotly debated today. Interestingly enough, as is often the case with concepts, it is born in a negative fashion, from antitheatrical criticism.
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VOLODINA, NATAL'IA V. "LITERARY CRITICISM OF N. D. AKHSHARUMOV: THE EXPERIENCE OF INDEPENDENCE". Cherepovets State University Bulletin 3, n.º 108 (2022): 90–110. http://dx.doi.org/10.23859/1994-0637-2022-3-108-7.
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The article considers the literary works of N. D. Akhsharumov - a critic little noticed by his contemporaries. The peculiarity of his approach is that he assessed fictional works not only as a critic, but also as a writer, having appropriate experience; and considered them in terms of understanding the logic of the fiction process, as well as in relation with the mastery of thought expression. The main internal laws of the work, followed by the critic, are integrity and the presence of a fictional idea (as opposed to the “forced” idea). This paper presents an overview of the main articles by N. D. Akhsharumov, analysis of the drama “A Protégée of the Mistress” by A. N. Ostrovsky, “The Bitter Fate” by A. F. Pisemsky, as well as the novels “One Thousand Souls” by A. F. Pisemsky, “Home of the Gentry” by I. S. Turgenev, “Oblomov” by I. A. Goncharov, “Crime and Punishment” by F. M. Dostoevsky, “War and Peace” by L. N. Tolstoy. The choice of these works was based solely on the author's interest. It is concluded that the literary criticism of N. D. Akhsharumov as a whole “fits” into the context of literary and critical thought in the 1860s, but at the same time it is distinguished by a special individual approach and maximalism of the free art requirements.
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Tariq, Sana y Bahramand Shah. "Environment and Literary Landscape: An Ecological Criticism of Louise Erdrich’s Novel Tracks". Global Social Sciences Review IV, n.º I (30 de marzo de 2019): 158–63. http://dx.doi.org/10.31703/gssr.2019(iv-i).21.
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Connecting the environment with societies’ cultures through literature has created a new awareness of environmental issues. The current environmental crisis is a product of modern human culture. The thought of using land as a commodity and disregard for environmental ethics has worsened the ecological crisis. The paper focuses issues of environment highlighted in Native American literature. The anthropocentric behavior of Euro-Americans is contrary to Native American idea of biocentrism. For American Indians, land is considered not merely a stage on which the act is played but also as an active participant in the drama with major role to play in the lives of the characters. This article applies Ecocriticism theory on Louise Erdrich’s fiction Tracks to generate an ecological criticism of the text. This paper highlights new ways of treating the natural world, putting responsibility on humans to see how their cultures are affecting environment.
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GUL, Sinan. "Dinçer Sümer'in Eski Fotoğraflar Adlı Oyunu Üzerinden Kimlik Krizi ve Türk Tiyatro Eleştiri Anlayışının Analizi". Türkiye Araştırmaları Literatür Dergisi 20, n.º 39 (7 de julio de 2022): 0. http://dx.doi.org/10.55842/talid.980637.
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Dinçer Sümer’s play Old Photographs is often dismissed by scholars as the story of a prostitute although it contains lingual and social elements about the politics of identity that pursues the dilemmas and conflicts Turkey experienced in the 1970s. First part of this article highlights how the fractures and unification of narratives in Old Photographs manifest an opposition to conventional structure of characters and plot, and refuse the fixity and formula of traditional drama. Thus, characters in the play are unique as they defy categorization and resist conceptualization. By disturbing grand narratives and focusing on identity crisis, Old Photographs deserves more textual scrutiny. The article also focuses on scholarly works that analyze Old Photographs and displays the problem in Turkish literary theory which focuses on drawing categories rather than scrutinizing textual merits of individual works. This problem in critical theory results in an impartial and inaccurate portrayal of Turkish drama.
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Kulic, Milena. "SLOBODAN SELENIĆ I SRPSKA DRAMA (UVOD U PROUČAVANjE POZORIŠNE KRITIKE SLOBODANA SELENIĆA". Lipar, n.º 72 (2020): 203–13. http://dx.doi.org/10.46793/lipar72.203k.
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Slobodan Selenić’s theatre criticism, although he had been writing for only sixteen years, left a significant trace about the theatrical era. This paper is an introduction to research of Selenić’s essayist discourse, with special attention to authors like Đ. Lebović, J. Sterija Popović, L. Kostić, B. Stanković, B. Nušić, M. Crnjanski, B. M. Mihiz, B. Pekić. Significant literary and theatrical elements of Selenić’s work have served as an example, and his texts about Serbian authors have been specifically studied.
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Engelberts, Matthijs. "Beckett’s Prose Fiction and Waiting for Godot". Samuel Beckett Today / Aujourd'hui 35, n.º 2 (19 de octubre de 2023): 161–76. http://dx.doi.org/10.1163/18757405-03502006.
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Abstract Waiting for Godot is not often presented as homologous with Beckett’s narrative fiction. However, a close consideration of the status of the boy(s) in the play shows that the drama text undermines the dichotomy between inner and outer world, which Beckett was addressing in comparable ways in his novels and art criticism.
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Benson, Eugene y L. W. Conolly. "English-Canadian Theatre". Canadian Theatre Review 57 (diciembre de 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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Odesskaya, Margarita M. "A QUARTER OF THE CENTURY WITHOUT CHEKHOV: RE-EVALUATION OF VALUES". Proceedings of Southern Federal University. Philology 28, n.º 1 (28 de marzo de 2024): 37–46. http://dx.doi.org/10.18522/1995-0640-2024-1-37-46.
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The article examines the reaction of the literary and theatre criticism in the USSR and Russian Diaspora on 25th Chekhov's commemoration. In the country, where socialism was being constructed, classical tradition was under attack, as well as Chekhov, who exerted his influence on the aesthetic system of dramaturgy in particular and theatre in general. In those conditions the play “The Weirdo” (1929) by Alexander Afinogenov, nurtured by the Revolution and seduced by the highest power, and his appearances and speeches at various disputes and in press, supporting “psychological realism” and best theatrical tradition of the Moscow Art Theatre, were perceived ambiguously. Key words: Chekhov, chekhovism, twenty-five years, criticism, new drama, classical traditions, MAT, Afinogenov, “The Weirdo”, revolutionary theatre
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Dharwadker, Aparna. "Authorship, Metatheatre, and Antitheatre in the Restoration". Theatre Research International 27, n.º 2 (18 de junio de 2002): 125–35. http://dx.doi.org/10.1017/s0307883302000214.
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Restoration theatre theory, polemic, and practice are closely concerned with questions of value, although they have received little attention in recent criticism that considers the formation of the English canon up to and during the eighteenth century. The main issue addressed concerns the legitimacy of dramatic form, which dominates the metatheatre of 1668–75, but also appears unexpectedly in the political drama (especially the comedy) of the early 1660s and the antitheatrical rhetoric of the 1690s. In all these instances, the complexity, integrity, and completeness of drama-in-performance are seen to determine the value of plays as well as playwriting. While the attack on heroic drama in metatheatrical plays such as Shadwell's The Sullen Lovers (1668) and Buckingham's The Rehearsal (1671) is directed by authors of one persuasion against another, Thomas Duffett's burlesque attack on the theatre of spectacle in the 1670s paradoxically is reinforced by the self-criticism of his targets. Moreover, Jeremy Collier's antitheatrical offensive in the late 1690s shows an atypical concern with specific dramatic content, especially in comedy, suggesting that both metatheatre and antitheatre in the Restoration focus their oppositional energies on the particulars of genre.
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Worth, Katharine y Charles A. Carpenter. "Modern Drama Scholarship and Criticism 1966-1980: An International Bibliography". Modern Language Review 84, n.º 3 (julio de 1989): 706. http://dx.doi.org/10.2307/3732451.
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Williams, Bronwyn. "Games People Play: Metatheatre as Performance Criticism in Plautus' Casina". Ramus 22, n.º 1 (1993): 33–59. http://dx.doi.org/10.1017/s0048671x00002538.
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Casina is one of Plautus' most metatheatrical comedies. Self-reflexive role-play, plays within plays, explicit references to theatrical context or convention are usual in Plautine drama. In Casina they constitute much or most of the dramatic action. During the prologue the audience is encouraged to sit back and enjoy the games (23ff.); whereas by Act 5 it is the play's women who have come out ‘to watch the wedding games out here on the street’ (Judos visere hue in viam nuptialis, 856). The stage-set, which the audience accepts implicitly as ‘a street’, has been turned back into a stage-set. The women converse like a regular audience: Myrrhina in particular has ‘never laughed so much in one day’ (numquam … ullo die risi adaeque, 857) and thinks theirs the equal of any play ever written (860f.). Moreover, when Olympio enters, he acknowledges the ‘real’ audience with his narrative of events inside Alcesimus' house, but seems oblivious of the on-stage audience—which is dependent for its early information concerning Olympio's wedding night on his relations to the former, real audience. What is involved here is a complete reversal of the conventions of illusionistic theatre, in which the audience finds out about off-stage action from the conversation of characters inside the drama. Pardalisca's interruption restores the conventional order: the remainder of Olympio's narrative is told, ostensibly, to her; the audience is returned to the condition of unseen eavesdroppers.
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Sobiianskyi, Viktor. "Theatre Criticism in the 1920s Ukrainian Newspapers". ARTISTIC CULTURE. TOPICAL ISSUES, n.º 19(1) (13 de junio de 2023): 31–39. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283117.
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The paper provides an outline of the 1920s Ukrainian newspapers that consistently covered theatre life, lists and characterizes their leading contributors, and analyzes a number of illustrative drama reviews. The basis for systematization and comparative analysis of the 1920s theatre journalism constituted the general scientific research methods based on empirical, descriptive principles of source studies. The method of biographical research is an attempt to recreate the biographical facts of certain critics, the formation of their aesthetic landmarks, and trace the features of their individual writing style. Developments in the field of the theory of literary and critical genres were used in the analysis and classification of reports by these theater critics. The paper addresses a genre of brief reports in the 1920s Ukrainian newspapers, as well as more detailed reviews. A quantitative increase in the number of articles on theater, their diversity, and cultural scope was noted. An attempt was made to follow the transformation of critical thought in the 1920s newspapers exemplified by the critics of different generations and aesthetic orientations.
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Ziyun, Liu y Yuefan Wang. "Unquiet Qing: The Course of Lovesickness in the Modernization of Chinese Literature". Journal of Chinese Literature and Culture 10, n.º 2 (1 de noviembre de 2023): 379–402. http://dx.doi.org/10.1215/23290048-10767870.
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Abstract Lovesickness (xiangsi bing), a disease of qing (sentiment, passion, feeling, desire, and love), emerged as a literary topos in China's medieval lyrical tradition and was developed through late imperial drama and fiction. This article examines narratives of lovesickness in popular literature—both fiction and drama—from the Song (960–1279) to the Qing (1644–1912), including some texts rarely discussed in English scholarship from the perspective of love writing. With thorough documentation, we present two classic plot patterns of the literary malady: one involving mutual affection of separated lovers, the other the one-sided passion, whether of unrequited (usually male) love or of one part of a couple longing for reunion. We argue that the notorious lovelorn figures in late Ming (sixteenth and seventeenth centuries) legal cases and Qing scholar-beauty xiaoshuo novels made lovesickness a target for criticism by literati and prompted reflection and revision of traditional narratives. With the modernization and westernization of Chinese literature, this classical literary malady was finally “cured.” The disappearance of lovesickness reflects the gradual replacement of classical ways of thinking with a modern cognitive style and, simultaneously, the transition of Chinese literature from classical to modern.
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Hikmah, Durratul y Astutik Astutik. "The Depiction of Woman's Roles in Shakespeare’s Othello". International Journal of English Education and Linguistics (IJoEEL) 4, n.º 1 (11 de julio de 2022): 40–49. http://dx.doi.org/10.33650/ijoeel.v4i1.3825.
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William Shakespeare’s Othello is a drama that tells about the woman’s femininity power in her role. Here, Desdemona as the central female character becomes the main focus in this research. This study aims to reveal woman’s roles depicted by Shakespeare in Othello and describe the factors affecting them. This study used the literary criticism with the theory of cultural feminism. This research is a type of descriptive qualitative research. From this research, two findings can be stated as the answer of the problems of the study. The first is, the roles of woman in Shakespeare’s play Othello are woman as a wife, woman as caretaker, and woman as peacemaker. From those roles, the researcher finds that the factors that affect woman’s roles in the drama are relationship and personal factors.
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Yurchenko, Tatiana. "THE OLFACTORY SPACE OF RUSSIAN LITERATURE AS A RESEARCH PROBLEM. PART 2. PROSE AND DRAMA". RZ-Literaturovedenie, n.º 4 (2021): 7–21. http://dx.doi.org/10.31249/lit/2021.04.01.
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This essay deals with the studies of olfactory imagery in literature - a new trend in literary criticism intensively developed from the beginning of the twenty first century. It concerns different ways of representation of odor perception in Russian prose and drama, particularly in the writings of Ivan Turgenev, Dmitrii Grigorovich, Ivan Goncharov, Fedor Dostoyevsky, Anton Chekhov, Ivan Bunin and Aleksandr Sukhovo-Kobylin. The essay traces the significance of odors and smells in the description of psychological portrait of the characters as well as in the plot.
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Sabakti, Sri. "RESISTENSI PEREMPUAN DALAM DRAMA “SENANDUNG DAYANG DERMA” KARYA RINA NAZARUDDIN". Madah: Jurnal Bahasa dan Sastra 5, n.º 2 (16 de agosto de 2017): 231. http://dx.doi.org/10.31503/madah.v5i2.514.
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The play script "Senandung Dayang Derma (SDD)," by Rina Nazaruddin is a literary work that has much of Malay culture. Through characterization of Dayang Derma, the play script contains the perspective of feminism. The research on the script of "SDD" aims to reveal the women resistance or attempt in Malay culture. The approach used in this drama script analysis is feminist literary criticism by applying qualitative research methods. The results showed that women suffer oppression in Malay culture caused by a customary norms that in favor of the patriarchal ideology. The oppression of women is perceived as unfair because it all leads to women inferior and showed mrn superior. Therefore, women make an effort or resistance to unfair treatment by doing resistance.AbstrakNaskah drama "Senandung Dayang Derma (SDD)," karya Rina Nazaruddin adalah sebuah karya sastra yang sarat dengan budaya Melayu. Melalui penokohan Dayang Derma naskah drama ini mengandung perspektif feminisme. Penelitian terhadap naskah "SDD" bertujuan untuk mengungkapkan resistensi atau upaya perempuan dalam budaya Melayu. Pendekatan yang dipergunakan dalam analisis naskah drama ini adalah kritik sastra feminis dengan metode penelitian kualitatif. Hasil penelitian menunjukkan bahwa perempuan mengalami ketertindasan dalam budaya masyarakat Melayu yang disebabkan norma adat yang lebih memihak kepada ideologi patriakhal. Ketertindasan itu dirasakan perempuan sebagai perbuatan yang tidak adil karena semuanya mengarah kepada inferior perempuan dan menunjukkan superior laki-laki. Oleh karena itu, perempuan melakukan upaya atau resistensi terhadap perlakuan yang tidak adil tersebut dengan cara perlawanan.
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Garrett, Don. "The literary arts in Hume's science of the fancy". Kriterion: Revista de Filosofia 44, n.º 108 (diciembre de 2003): 161–79. http://dx.doi.org/10.1590/s0100-512x2003000200002.
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Philosophers have long disagreed about whether poetry, drama, and other literary arts are important to philosophy; and among those who believe that they are important, explanations of that importance have differed greatly. This paper aims to explain and illustrate some of the reasons why Hume found literature to be an important topic for philosophy and philosophers. Philosophy, he holds, can help to explain general and specific literary phenomena, to ground the science of criticism, and to suggest and justify ";principles of art,"; while at the same time literature can provide valuable ";experiments"; for philosophical theorizing and provide it with a model for the science of morals and (in some ways) for philosophy itself. Moreover, the literary arts can not only help one to write better philosophy, in Hume's view; they can also help one to write philosophy better.
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Manuwald, Gesine. "Performance and Rhetoric in Cicero's Philippics". Antichthon 38 (2004): 51–69. http://dx.doi.org/10.1017/s0066477400001490.
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In recent years, the idea of ‘performance’ has become a more and more important concept for the analysis of literary texts, even if the notion of ‘performance’ in literary criticism still does not denote a single agreed theory, but is a collective term referring to a number of different aspects and methods. The performance approach seems obvious for some literary genres, like drama and also oratory, for which performance is an essential characteristic. In the case of orations, in antiquity already a detailed doctrine of the perfect performance was established, both in theory and practice. Building on this knowledge and trying to recover the quintessential context of a speech, people have successfully attempted to explore a Roman orator's potential and to contexrualize Roman orations by reconstructing the delivery of sample speeches.