Bibliografías temáticas / Law, Literature, Drama

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Literatura académica sobre el tema "Law, Literature, Drama"

Autor: Grafiati
Publicado: 11 de marzo de 2023

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Artículos de revistas sobre el tema "Law, Literature, Drama"

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Turobiddinovna Komilova, Shaxnoza. "The Development of Drama as a Genre in Chinese Literature". International Journal of Multicultural and Multireligious Understanding 8, n.º 4 (3 de abril de 2021): 99. http://dx.doi.org/10.18415/ijmmu.v8i4.2565.

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The article discusses the emergence and development factors of the drama genre in Chinese literature. There is also information about the genre of drama and its development in Uzbek and world literature. In Chinese literature, the first drama genres in the development of the drama genre were called "siven" (戏文) or "nansiven" (南戏). During the Yuan Dynasty in the 13th and 14th centuries, a genre based on strict law, zaju (杂剧), flourished. In the XIII-XIV centuries, playwrights Guan Han Qing (关汉卿), Wang Shi Fu (王实甫), Bai Pu (白朴), Ma Zhi Yuan (马致远) played a role in the development of the above-mentioned dramatic genres. By the seventeenth and eighteenth centuries, the Chuanzi genre had emerged in dramaturgy. This article also discusses in detail the creative work of playwrights such as writers Li Yu, Hong Shen, Kun Shan Jen in the development of this genre.
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Chernaik, Warren y Richard A. McCabe. "Incest, Drama and Nature's Law: 1550-1700". Modern Language Review 92, n.º 1 (enero de 1997): 176. http://dx.doi.org/10.2307/3734718.

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Park, Noh-Hyun. "The Journal of Korean Drama and Theatre and Television Drama: Focusing on Quotation of Lines/Scenes in Research on Television Drama". Korean Society of Culture and Convergence 44, n.º 10 (31 de octubre de 2022): 1119–33. http://dx.doi.org/10.33645/cnc.2022.10.44.10.1119.

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The Journal of Korean Drama and Theatre published by the Learned Society of Korean Drama and Theatre is the most representative journal for research on Korean television dramas as a kind of drama act. The number of theses that have been gathered by a total of 75 journal series is as many as 615, which have been issued until 2020, since 1991 when it was launched. Of them, the theses on television dramas began to be initially published by the 21th series issued in 2005, and then 76 theses investigated by 35 researchers are currently published. The scenes beyond/post sheet, which appear in television dramas as image literature, become main texts, due to the genre characteristics. Lines and scenes in screens are naturally mobilized for any quotations. The current research on television dramas, however, do not give any academic guidelines regarding the quotation of lines and scenes. This paper, therefore, attempts to provide a direction of examining the current conditions of the lines and scenes quoted by research on television dramas based on 76 theses gathered in The Journal of Korean Drama and Theatre and helping both the society and the journal improve them. The measure may be largely specified as five proposals. The key point of them lies in the essence of the quotation properly certified by research, in other words, the practice of it, which make it possible to realize scholarly conversations with academic value.
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Sokol, B. J. "SUBHA MUKHERJI. Law and Representation in Early Modern Drama." Review of English Studies 58, n.º 235 (14 de junio de 2007): 406–8. http://dx.doi.org/10.1093/res/hgm050.

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Umam, Khothibul. "DOR dan Drama Keadilan (Analisis Sosiologi Sastra)". Nusa: Jurnal Ilmu Bahasa dan Sastra 14, n.º 4 (11 de noviembre de 2019): 477. http://dx.doi.org/10.14710/nusa.14.4.476-485.

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The study of play scripts is one of the rare literary studies. One reason is because the object is very rare. The highly productive Indonesian play script writer is Putu Wijaya. Putu Wijaya wrote many stories with many themes, one of which was titled DOR, which raised social and justice themes. The theory used to analyze DOR is the sociology of literature with the help of psychology and law science through literature study with the method of reading, listening and note taking. In DOR, there are various kinds of character clashes between characters in responding to a case. Justice that tries to be sought in the narrative of this play always collides with various problems, where the premise becomes a kind of reflection on social phenomena that occur in the real world. Even though it was written decades ago, DOR still feels relevant to the condition of society, especially its relation to the world of law enforcement and the search for justice, which is increasingly bleak and unclear. As a work of art, DOR is capable of photographing various kinds of legal world phenomena with all its cross-clashes. The clash of character or character really represents all the complexities of legal problems in Indonesia. Where various interests take part in determining the results of justice seeking.
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Herawati, Novia, Silvie Alvionita Safitri y Desderia Cindy Tandiayu. "Drama Korea Dan Penggunaan Media Ilegal Di Kalangan Remaja". Jurnal Sosial-Politika 2, n.º 2 (2 de diciembre de 2021): 109–17. http://dx.doi.org/10.54144/jsp.v2i2.38.

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The purpose of this study was to find out how the Korean drama phenomenon to the use of illegal media among Indonesian teenagers. The study used a qualitative approach by using the methods of collecting observations, interviews, and literature review. Korean dramas are the belle of Korean Wave products that have been loved by Indonesian teenagers since the 2000s. The emergence of streaming media and downloading Korean dramas such as Netflix, Viu, and Iflix is evidence of the rapid development of digitalization technology. The limitations of legal media that are difficult to access by all circles of society make teenagers look for alternative ways to still be able to watch their favorite Korean dramas, namely through streaming media and illegal downloads. A media is said to be illegal when the platform circulates a film product without the knowledge of the producer or an official contract. The factors that encourage teenagers to access illegal media as a means of watching Korean dramas are; (1) without subscription fees, (2) freedom in accessing content, (3) habits or habits, (4) internet network access. In addition to the legal sanctions already listed in Law no. 28 of 2014 concerning Copyright, various impacts are caused when teenagers misuse illegal media, such as: the user's device will be exposed to viruses, the leaking of user's personal data, and several other terrible things.
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Hart, Jonathan Locke. "Geng, Penelope. Communal Justice in Shakespeare’s England: Drama, Law, and Emotion." Renaissance and Reformation 44, n.º 3 (24 de enero de 2022): 286–89. http://dx.doi.org/10.33137/rr.v44i3.38024.

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Anthony DiMatteo. "The Invention of Suspicion: Law and Mimesis in Shakespeare and Renaissance Drama (review)". College Literature 36, n.º 1 (2009): 154–56. http://dx.doi.org/10.1353/lit.0.0031.

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Hillier, Russell M. "The Good Communicated: Milton's "Drama of the Fall and the Law of Charity"". Modern Language Review 103, n.º 1 (2008): 1–21. http://dx.doi.org/10.1353/mlr.2008.0240.

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RAHAYU, Rahayu, Ismail ANAS, Waode Ade Sarasmita UKE y Risma A. Azis GENISA. "Teaching English to Law Students: Interview with Suman Luhach, School of Law, Bennett University, India". Research and Innovation in Applied Linguistics-Electronic Journal 1, n.º 1 (15 de febrero de 2023): 49. http://dx.doi.org/10.31963/rial-ej.v1i1.3675.

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She received her Ph.D. from BITS Pilani, Pilani Campus, in 2017. Her observations on college students’ endeavors to pen down their ideas led her to choose Scaffolding Writing Skills for Indian College Students as her doctoral research topic. The work has contributed to understanding the importance of learning management systems to maximally impact classroom instruction of writing skills through a learner-centric, collaborative approach. After being awarded the institutional fellowship in 2011, She taught courses like Technical Communication, Technical Report Writing, and Effective Public Speaking at BITS Pilani to UG and PG students. Before this, She did M. Phil. in English Literature from MGS University, Bikaner, in 2009 and wrote a dissertation on the works of V S Naipaul from a Postcolonial perspective. She qualified for UGC NET (English - Language and Literature) in 2012. While doing a short-term course with RELO, US Embassy, in 2012, She was awarded Outstanding Achievement in Exploring Web 2.0: Tools for classroom teaching and professional development. During her Master (in English Literature), She received Prof. SBL Rawat Memorial Trust Award for achieving the second rank at the University level. She also wrote a dissertation on comparative analysis of G B Shaw’s Caesar and Cleopatra and William Shakespeare’s Antony and Cleopatra in MA. Her research areas are Teaching of Writing Skills in Language Classrooms at Tertiary Level, Online Collaborative Language Learning, literary theories, and Contemporary Drama. She has also served as the co-convenor of Departmental seminars in the Department of Humanities and Social Sciences, BITS Pilani in 2013-14. She was a member of the editorial committee of BITS CAN- a biannual BITS Pilani magazine, and the organizing committee for the International Conference Interfacing Language, Culture and Technology.
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Tesis sobre el tema "Law, Literature, Drama"

1

Lubin, Cheryl Beth. "Courting the stage law, drama, and the performance of law /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1621833951&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Holmes, Rachel E. "Casos de honra : honouring clandestine contracts and Italian novelle in early modern English and Spanish drama". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6318.

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This thesis argues that the popularity of the clandestine marriage plot in English and Spanish drama following the Reformation corresponds closely to developments and emerging conflicts in European matrimonial law. My title, ‘casos de honra,' or ‘honour cases', unites law and drama in a way that captures this argument. Taken from the Spanish playwright Lope de Vega's El arte nuevo (1609), a treatise on his dramatic practice, the phrase has been understood as a description of the honour plots so common in Spanish Golden Age drama, but ‘casos' [cases] has a further, and related, legal meaning. Casos de honra are cases touching honour, whether portrayed on stage or at law, a European rather than a strictly Spanish phenomenon, and clandestine marriages are one such example. I trace the genealogy of three casos de honra from their recognisable origins in Italian novelle, through Italian, French, Spanish, and English adaptations, until their final early modern manifestations on the English and Spanish stage. Their seeming differences, and often radical divergences in plot can be explained with reference to their distinct, but related, legal concerns.
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Dyson, Jessica. "Staging legal authority : ideas of law in Caroline drama". Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/366.

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This thesis seeks to place drama of the Caroline commercial theatre in its contemporary political and legal context; particularly, it addresses the ways in which the struggle for supremacy between the royal prerogative, common law and local custom is constructed and negotiated in plays of the period. It argues that as the reign of Charles I progresses, the divine right and absolute power of the monarchy on stage begins to lose its authority, as playwrights, particularly Massinger and Brome, present a decline from divinity into the presentation of an arbitrary man who seeks to impose and increase his authority by enforcing obedience to selfish and wilful actions and demands. This decline from divinity, I argue, allows for the rise of a competing legitimate legal authority in the form of common law. Engaging with the contemporary discourse of custom, reason and law which pervades legal tracts of the period such as Coke’s Institutes and Reports and Davies’ ‘Preface Dedicatory’ to Le Primer Report des Cases & Matters en Ley resolues & adiudges en les Courts del Roy en Ireland, drama by Brome, Jonson, Massinger and Shirley presents arbitrary absolutism as madness, and adherence to customary common law as reason which restores order. In this climate, the drama suggests, royal manipulation of the law for personal ends, of which Charles I was often accused, destabilises law and legal authority. This destabilisation of legal authority is examined in a broader context in plays set in areas outwith London, geographically distant from central authority. The thesis places these plays in the context of Charles I’s attempts to centralise local law enforcement through such publications as the Book of Orders. When maintaining order in the provinces came into conflict with central legislation, the local officials exercised what Keith Wrightson describes as ‘two concepts of order’, turning a blind eye to certain activities when strict enforcement of law would create rather than dissolve local tensions. In both attempting to insist on unity between the centre and the provinces through tighter control of local officials, and dividing the centre from the provinces in the dissolution of Parliament, Charles’s government was, the plays suggest, in danger not only of destabilising and decentralising legal authority but of fragmenting it. This thesis argues that drama provides a medium whereby the politico-legal debates of the period may be presented to, and debated by, a wider audience than the more technical contemporary legal arguments, and, during Charles I’s personal rule, the theatre became a public forum for debate when Parliament was unavailable.
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Barker, Helen Margaret. "Writing about rape : law, criticism, and drama, from Shakespeare's Titus to The Lawes Resolutions". Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6337/.

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1970s and 1980s feminist writing about rape in relation to early modern legal practice and to its representation in literary works established a paradigm of misogyny and female victimhood that has remained largely unchallenged. Two works in particular have become almost ubiquitous in modern criticism: a 1983 paper by Nazife Bashar, and the 1632 treatise, \(The\) \(Lawes\) \(Resolutions\) \(of\) \(Womens\) \(Rights\). But a scrutiny of source material revealed factual error and misreading of early modern law and commentary in Bashar’s piece. Additionally, \(The\) \(Lawes\) \(Resolutions\) is unreliable in its account of statute law, while its legal credentials are unclear. Mistaken assumptions arising from both sources have been perpetuated and compounded in modern criticism, and established as commonplace. The resulting critical paradigm constrains the scope for further investigation. The thesis attempts to set the undeniably subordinate status of women in a fuller context than that of oppositional gender politics. It reviews early modern statute law, the background to \(The\) \(Lawes\) \(Resolutions\), Bashar’s essay and its influence on subsequent criticism, the cultural context that established women’s secondary status and reinforced their vulnerability to rape, and the part of neoclassicism in the dynamic. Later chapters turn to early modern – particularly Jacobean – drama. The thesis suggests that in a fuller context of complexity and contradiction there is potential for wider and more interesting approaches to rape in literature than ideological assumptions prevalent in criticism over the past thirty years have allowed.
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Morrow, Sarah Emily. "Absent Characters as Proximate Cause in Twentieth Century American Drama". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/58.

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This thesis explores the status of a specific subset of absent characters within twentieth century American drama. By borrowing the term “proximate cause” from tort law and illuminating its intricacies through David Hume’s A Treatise of Human Nature, this thesis re-appropriates proximate cause for literary studies. Rather than focus on characters whose existence remains the subject of critical debate, this set of absent characters presumably exists but never appear onstage. Despite their non-appearance onstage, however, these absent characters nonetheless have a profound effect upon the action that occurs during their respective plays. Highlighting the various ways in which these characters serve as the proximate cause for the onstage action of a given play will expand the realm of drama and literary studies in myriad ways.
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Zolezzi, Ibárcena Lorenzo. "Law and Literature: a theoretical perspective". Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/116057.

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While most of the Law and Literature books and articles stress from the beginning the distinction between Law in Literature and Law as Literature, my approach is from the standpoint of Law teaching. A course on Law and Literature will help the students not only to write better, but it may convey the students facts that surround the work of the formal legal systemas the human condition or the legal culture, as well as a legal perspective thatis, so to speak, engraved in the human mind. The so-called didactic school is treated and criticized. The distinction between Law in Literature and Law as Literature cuts across the whole work.
Mientras en la mayoría de trabajos sobre Derecho y literatura desde el inicio se hace la distinción entre derecho en la literatura y derecho como literatura, en el presente trabajo la aproximación es desde el punto de vista de la enseñanza del derecho. Lo que se postula es que un curso sobre derecho y literatura tendrá efectos en los aspectos formales de la educación jurídica (aprender a escribir bien), pero también le mostrará al estudiante diversos aspectos de la realidad, como el conocimiento de las interioridades de la psiquis humana y la influencia del entorno en las actividades de los individuos, el entendimiento de la cultura legal y la captación de que determinadas categorías jurídicas son, en cierto modo, instintivas. También se aborda y critica la que se denomina tesis edificante. La distinción entre derecho en la literatura y derecho como literatura corta transversalmente las diversas materias tratadas.
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Santomauro, María. "Los personajes femeninos en las comedias religiosas de Calderón de la Barca". Madrid : Revista "Estudios", 1985. http://books.google.com/books?id=N3wsAAAAMAAJ.

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León, Pinto Rosario. "El juego de las representaciones y el lenguaje como máscara, arma y subversión en Los negros de Jean Genet". Tesis, Universidad de Chile, 2012. http://repositorio.uchile.cl/handle/2250/108758.

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La investigación que pretendo desarrollar en esta tesis tiene como propósito ser una aproximación a la obra dramática del autor francés Jean Genet (1910-1986), a través del estudio y análisis de Los negros, escrita en 1958 . Es una obra compleja, muy difícil de comprender en una primera instancia, debido a que en ella Genet extrema muchos de los recursos teatrales que había venido desarrollando en sus dramas precedentes. Esta misma complejidad es tal vez su mayor riqueza, en la medida en que abre la obra a diferentes dimensiones y posibilita múltiples lecturas. Como veremos, este drama exige, para abordar su análisis, considerar diferentes líneas teóricas y críticas. En esta tesis se expondrán y problematizarán algunas de estas líneas, en la medida en que son un marco indispensable para desarrollar la propuesta de análisis de esta investigación, que se centrará en el uso del lenguaje, donde se despliegan, a mi juicio, la mayoría de las problemáticas del texto, y donde se evidencian de mejor manera los efectos que busca provocar en el espectador.
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Gilabert, Gaston. "El arte dramático de Bances Candamo. Poesía y música en las comedias del ocaso del Siglo de Oro". Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/286632.

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Bances Candamo se sitúa en un punto de inflexión clave para la historia de la literatura y del teatro, entre la poética barroca y la neoclásica. El análisis de la música en sus comedias permite observar desde una óptica privilegiada la evolución de algunos recursos acústicos que venían usándose en el Siglo de Oro y que a finales del siglo XVII han llegado a un punto de barroquismo hiperbólico que busca el colapso del oído. En las comedias de Bances vemos cómo se transforma lo heredado y cómo se anuncian nuevas inquietudes, sobre todo las provenientes de la corte del Rey Sol, que se implantarán definitivamente con Felipe V, pero que ya tuvieron antecedentes en esa década de regencia de María Luisa de Orleáns, primera esposa de Carlos II, época coincidente con el cargo de dramaturgo real de Bances Candamo. Esta tesis profundiza sobre la dramaturgia del postrer gran hombre de teatro del Siglo de Oro, autor además de la última preceptiva dramática áurea. Este discípulo de Calderón, que extrema el ingrediente musical tanto en cantidad como en recursos estéticos, es uno de los protagonistas de la controversia sobre la licitud de las comedias, y su Teatro de los teatros es un documento excepcional en este sentido. A partir de este tratado y de sus comedias, este estudio analiza la música vocal, la música instrumental y los bailes dramáticos desde un punto de vista totalmente original, hecho que permite revisar las categorías clásicas y arrojar luz sobre procedimientos poético-musicales en los que hasta ahora la crítica filológica y musicológica no había reparado, ni a propósito de Bances, ni a propósito de ningún otro dramaturgo del Siglo de Oro, a los que pueden aplicarse muchas de las propuestas de esta tesis.
Bances Candamo is to be found at a key inflection point for the history of literature and drama, between the baroque and the neoclassical poetry periods. The analysis of the music in his plays allows us to observe, from a privileged point of view, the evolution of some of the acoustic techniques that were being used during the Spanish Golden Age, and which by the end of the XVIIth Century had reached a point at which hyperbolic baroque style sought the collapse of the ear. In Bances' plays we can notice how the legacy is transformed and how the new concerns present themselves, especially those coming from the court of the Sun King, which will be permanently established during the kingdom of Philip V. It is important to note that these already had its antecedents during the regency of Marie Louise of Orléans, Charles II's first wife, coinciding with Bances Candamo's status as royal playwright. This doctoral thesis delves on the drama of the ultimate playwright of the Spanish Golden Age Theatre, also author of the last essay on dramatic theory. Being one of Calderón de la Barca's disciples, he takes the musical ingredient to the limit both in terms of quantity and of aesthetic means, and it is one of the main figures of the controversy over the morality of the theatre. His Teatro de los teatros is an outstanding piece of evidence on this respect. From this essay and his comedias, this thesis analyses the vocal music, the instrumental music and the dramatic dances from an innovative perspective, which allows us to revisit the classic categories and shed some light on the poetic-musical methods that had been forgotten by the philological and musicological criticism at this time, not concerning Bances nor any other playwright of the Spanish Golden Age to whom many aspects of this thesis apply.
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Ramos, Simón. "¡Salgan como salieron del vientre de su madre!: exhortación y germinación cultural en Hechos consumados y El toro por las astas — La cotidianeidad y el lenguaje como formuladores de una nueva identidad de clase en Radrigán". Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/109868.

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Las circunstancias socio-históricas nos obligan a volver la mirada al pasado –no tan pasado- y cuestionar la forma en que se ha integrado éste al entendimiento social, en tanto procesos que condujeron hacia el Chile de hoy. Hay la creencia de que, a través del proceso que nos aleja de un primer punto histórico original, podemos gozar, a la medida del paso del tiempo, de una cada vez mejor visión con respecto a ese primer punto, y determinar a qué se le prestó atención de una forma adecuada y a qué no. Esto siempre dependerá de la perspectiva que se toma al momento de querer contar la historia, y en eso hoy se puede encontrar mucho eso de hacer la vista gorda, pero también ideas que se enclaustran y se convierten en una especie de persistencia del desliz. En este sentido, la derrota política y en todo terreno que las izquierdas viven hoy en Chile también puede entenderse como parte de un error metodológico principal en la práctica del marxismo: el considerar que la conciencia de clase, su cultura e identidad derivan mecánicamente de las relaciones de producción. La lectura que queremos proponer de la dramaturgia de Radrigán apunta a esto. Además de ser una respuesta urgente a una realidad inmediata, a una situación extrema, Radrigán, como ya se ha dicho y contradicho, trasciende esta realidad para instalarse en un ámbito humano. También trasciende en tanto trascienden las condiciones de los personajes que se están representando (se extiende en el tiempo como marginalidad). Pero Radrigán también hace un traspaso histórico en el sentido de ser un aporte para el pensamiento de las izquierdas a partir de una complejización de la relación de la cultura, el lenguaje, la cotidianeidad y la emancipación.
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Libros sobre el tema "Law, Literature, Drama"

1

1960-, Dolan Frances E., ed. Renaissance drama and the law. Evanston: Northwestern University Press and the Newberry Library Center for Renaissance Studies, 1996.

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Amely-Pauleikhoff, Petra. Recht und Drama: Analyse und Strukturvergleich. [Münster?: s.n.], 1988.

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McCabe, Richard A. Incest, drama, and nature's law, 1550-1700. Cambridge [England]: Cambridge University Press, 1993.

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Treason by words: Literature, law, and rebellion in Shakespeare's England. Ithaca, N.Y: Cornell University Press, 2006.

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Lemon, Rebecca. Treason by words: Literature, law, and rebellion in Shakespeare's England. Ithaca, NY: Cornell University Press, 2006.

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Theaters of intention: Drama and the law in early modern England. Stanford, Calif: Stanford University Press, 2000.

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Hutson, Lorna. The invention of suspicion: Law and mimesis in Shakespeare and Renaissance drama. Oxford: Oxford University Press, 2007.

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Hutson, Lorna. The invention of suspicion: Law and mimesis in Shakespeare and Renaissance drama. Oxford: Oxford University Press, 2007.

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1946-, Hanes Richard Clay y Valentine Rebecca, eds. Supreme Court drama: Cases that changed America. 2a ed. Farmington Hills, MI: UXL, 2011.

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Macpherson, Heidi Slettedahl. Courting failure: Women and the law in twentieth-century literature. Akron, Ohio: University of Akron Press, 2007.

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Capítulos de libros sobre el tema "Law, Literature, Drama"

1

Habermann, Ina. "‘She has that in her belly will dry up your ink’: Femininity as Challenge in the ‘Equitable Drama’ of John Webster". En Literature, Politics and Law in Renaissance England, 100–120. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230597662_5.

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Tietz, Manfred. "El teatro del Siglo de Oro y su paulatina presencia en la cultura y la literatura teatrales en los países de habla alemana durante los siglos XVII y XVIII". En Studi e saggi, 77–114. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.7.

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The presence of the theatre of the Spanish Siglo de Oro in the theatre and literary culture of Germany (or the German-speaking countries) in the 17th and 18th centuries is a multifaceted one, and was influenced by many factors. We have to take in account that in the second half of the 17th century and in a large part of the 18th century Spain had been a terra incognita for the Germanic world. This long lack of basic knowledge led to a decontextualization of the Golden Age theatre and sometimes to an unconditional enthusiasm that was not based on historical realities. The protagonists of the ‘construction’ of a ‘Spanish national theatre’ included Lessing, Herder, Goethe, the Schlegel brothers and the philosopher Schelling, the most prominent German intellectuals of the time. Within this ‘construction’ Lope de Vega, Rojas Zorrilla and, above all, Calderón de la Barca are the three icons that will guide both the theory and the practice of drama during the ‘two most Spanish decades’ of German literary history (1790-1810), even reaching - in the secularized world of the classics and the first generation of German Romantics - the ‘deification’ of Calderón as perfect poet and author of modern tragedies (without paying much attention to his comedias in a stricter sense and without taking account of his autos sacramentales).
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"Drama". En Law and Literature, 167–80. Routledge, 2015. http://dx.doi.org/10.4324/9781315864266-14.

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"Drama". En Law and Literature, 241–66. Routledge, 2015. http://dx.doi.org/10.4324/9781315864266-19.

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"Drama". En Law and Literature, 487–98. Routledge, 2015. http://dx.doi.org/10.4324/9781315864266-38.

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"Drama". En Law and Literature, 451–58. Routledge, 2015. http://dx.doi.org/10.4324/9781315864266-33.

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"Drama". En Law and Literature, 369–92. Routledge, 2015. http://dx.doi.org/10.4324/9781315864266-28.

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"Drama". En Law and Literature, 313–26. Routledge, 2015. http://dx.doi.org/10.4324/9781315864266-24.

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"Metaphor and Allegory in Historical Drama and International Law". En Recht und Literatur im Zwischenraum / Law and Literature In-Between, 207–22. transcript-Verlag, 2015. http://dx.doi.org/10.14361/9783839428443-010.

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Deutschmann, Peter. "Metaphor and Allegory in Historical Drama and International Law". En Recht und Literatur im Zwischenraum / Law and Literature In-Between, 207–22. transcript Verlag, 2015. http://dx.doi.org/10.1515/9783839428443-010.

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Actas de conferencias sobre el tema "Law, Literature, Drama"

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Apetri, Dumitru. "Caragiale în spaţiul culturii ruse: interpretări critice şi evocări beletristice". En Ion Luca Caragiale și personajele sale emblematice (170 de ani de la naștere). “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/ilc.170.2022.04.

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În a doua jumătate a secolului al XX-lea spațiul cultural rusesc a manifestat un interes sporit pentru opera marilor clasici români: Eminescu, Creangă, Slavici și Caragiale. Procesul de receptare s-a produs, în linii mari, pe două căi – traducerea artistică și interpretarea critică. Cât privește creația lui I. L. Caragiale putem spune următoarele: au fost traduse în limba rusă cele mai importante opere caragialiene; cititorul de limba rusă a dispus, pe parcursul anilor, de un șir de materiale de ordin informativ, precum și de veritabile interpretări critice. Printre lucrările de ordin exegetic se impun studiile semnate de Lev Cezza Творчество Караўиале (Kishinev, 1961)) și S. Sadovnik Ion Luka Karadzhale (Leningrad-Moskva, 1964). Ca lucrare de dimensiuni impunătoare se prezintă și volumul lui Ilia Konstantinovski Karadzhale (Moskva, 1970), care face parte din cunoscutul și înalt apreciatul de cititori serial „Zhizn’ zamechatel’nyh ljudej”. În aceste lucrări este reflectată calea de creație a comediografului, mesajul și măiestria artistică a operelor caragialiene (drame, comedii, nuvele și schițe), precum și circulația lor în contextul literaturii naționale și universale.
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