Thèses sur le sujet « 21st century drama texts »
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Ong, Min Yen. « Kunqu in 21st century China : musical change and amateur practices ». Thesis, SOAS, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.649379.
Texte intégralTrisel, Joel B. « Small-scale Opera : History and Continuing Relevance in the 21st Century ». Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428438349.
Texte intégralLyssa, Alison. « Performing Australia's black and white history acts of danger in four Australian plays of the early 21st century / ». Thesis, Electronic version, 2006. http://hdl.handle.net/1959.14/714.
Texte intégralSubmitted in fulfilment of the requirements for the degree of Masters in English in the Division of Humanities, Dept. of English, 2006. Bibliography: p. 199-210.
Nimmo, Heather. « Three plays : The other woman, Banana split, Awa' the crow road ; and an essay, Writing the end ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/645.
Texte intégralElfyn, Menna. « Barddoniaeth Menna Elfyn : pererindod bardd ». Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683377.
Texte intégralOxley, Natasha Emma Fortescue. « Talking taboos : the personal over the political ? : contemporary Polish playwriting : theme and dramatic technique in selected modern Polish plays ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:036a5a0e-aa99-40f9-b610-4a267bc1e533.
Texte intégral王楨. « 金錢、市場與意義 : 中國「宅門」電視劇的意識形態分析 = Money, market, meaning : an ideological analysis of the Chinese Zhaimen drama ». HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/924.
Texte intégralHazel, Ruth Mary. « The mediation in late twentieth-century English theatres of selected ancient Greek tragedy texts and themes concerned with women and power ». n.p, 1998. http://ethos.bl.uk/.
Texte intégralGray, Nigel. « His story, a novel memoir (novel) ; and Fish out of water (thesis) ». University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0095.
Texte intégralGreen, Charles. « Polaris (a tragedy expansion pack) ». Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6750.
Texte intégralIdrissi, Nizar. « Stephen Poliakoff : another icon of contemporary British drama ». Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.
Texte intégralDoctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
Lumière, Émilie. « Clio en question : le théâtre métahistorique en Espagne (1980-2010) ». Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20084.
Texte intégralIn the context of postmodernism, history writing has become a crucial issue. Called “epistemological turn” by historians and “metahistorical fiction” by writers, such a tendency is the proof of a “metahistorical awareness” which arises nowadays in Western societies as a whole, inviting to consider history as a palimpsest of subjective and conflicting interpretations. Affected by recent memory conflicts, Spain is primarily concerned. This study wishes to identify the modalities and stakes of such metahistorical tendency while wondering about the place of contemporary Spanish drama within this phenomenon. After retracing the evolution of both notions of “metahistory” and “metahistorical fiction”, this dissertation opens on a first chapter sketching out a history of Western metahistory, extended to the historiographic, artistic and societal fields (choosing to limit the latter to the contemporary period). If the metahistorical phenomenon is not new, metahistorical awareness which provides it with an original strength and coherence seems to crystallize over the last part of the 20th century. Spain has its own specificities ‒ especially due to the legacy of the Spanish Civil War and Franco’s dictatorship. This chapter ends on a theoretical part offering analytic tools for metahistorical fiction and a typology (metafictional metahistorical fiction, historiographic metahistorical fiction), and also considers some particularities of the dramatic genre.The second chapter is the study of around ten Spanish dramas written over the past thirty years: El retablo de Eldorado, Naufragios de Álvar Núñez, Lope de Aguirre, traidor and El sudario de tiza by J. Sanchis Sinisterra, ¡¡¡Tierraaaa… a… laaaa… vistaaa…!!! by M. Martínez Mediero, Yo tengo un tío en América by A. Boadella, Retrato de gran almirante con perros by L. Riaza, Yo, maldita india… and El arquitecto y el relojero by J. López Mozo, El jardín quemado and La tortuga de Darwin by J. Mayorga, and Homenaje a los Malditos by E. Calonge. If it uses the metahistorical device through various dramaturgies, this corpus presents, however, a real unity: reminding of present-day historiographic and societal concerns in history writing, it becomes an original artistic manifestation of contemporary metahistorical awareness, exploring more closely the Spanish particularities. These texts also seem to reflect the progressive affirmation of metahistorical fiction which gradually parts from historical fiction and metafiction. As Clio is brought back to the humans’ stage, deconstructed and demystified, these playwrights do an “act of memory” and offer spaces of expression to traumatic memories. Contemporary metahistorical fiction, though definitely postmodern, is not nihilist: it dismantles historical discourses in order to better understand them; it deconstructs them in order to offer other evocations of the past
En el contexto de la posmodernidad, el tema de la escritura de la historia se ha vuelto esencial. “Giro epistemológico” para los historiadores, “ficción metahistórica” para los escritores: todo ello parece dar cuenta de una “consciencia metahistórica” que hoy toca a todas las sociedades occidentales, e invita a percibir la historia como un palimpsesto de interpretaciones subjetivas y contradictorias. España, afectada por recientes conflictos de memoria, no escapa a la regla. Esta tesis intenta identificar las modalidades y las implicaciones de esta tendencia metahistórica, analizando asimismo la posición del teatro español dentro de este fenómeno.Después de recordar las evoluciones de las nociones “metahistoria” y “ficción metahistórica”, este trabajo se abre con un primer capítulo que propone un esbozo de la historia de la metahistoria en Occidente, extendida a los campos de la historiografía, el arte y la sociedad –y limitada en este último aspecto a la época contemporánea. Si el fenómeno metahistórico no es nuevo, la consciencia metahistórica que le da una fuerza y una coherencia inéditas parecen cristalizarse en el último tercio del siglo XX. España tiene sus especificidades, estrechamente vinculadas con la herencia de la guerra civil y el franquismo. Este capítulo se cierra con una parte teórica que precisa unas herramientas para el análisis de la ficción metahistórica y una tipología (ficción metahistórica metaficcional; ficción metahistórica historiográfica), y enfoca algunas particularidades del género teatral. El examen, en un segundo capítulo, de doce dramas españoles escritos en las tres últimas décadas ‒El retablo de Eldorado, Naufragios de Álvar Núñez, Lope de Aguirre, traidor y El sudario de tiza de J. Sanchis Sinisterra, ¡¡¡Tierraaaa… a… laaaa… vistaaa…!!! de M. Martínez Mediero, Yo tengo un tío en América de A. Boadella, Retrato de gran almirante con perros de L. Riaza, Yo, maldita india… y El arquitecto y el relojero de J. López Mozo, El jardín quemado y La tortuga de Darwin de J. Mayorga, y Homenaje a los Malditos de E. Calonge‒ muestra que el dispositivo metahistórico puede manifestarse en obras muy diferentes. El corpus presenta sin embargo una fuerte unidad: aparece, conforme a la preocupación historiográfica y social actual para la escritura de la historia, como una manifestación artística original de la consciencia metahistórica contemporánea, ateniéndose a las particularidades españolas. Además, los textos parecen reflejar la afirmación progresiva de la ficción metahistórica, que poco a poco se independiza de la ficción histórica y la metaficción. Aunque llevan a Clío al escenario de los hombres, deconstruída y desmitificada, estos dramaturgos no dejan de realizar un acto de memoria y ofrecen unos espacios de expresión a las memorias negadas. Resueltamente posmoderna, la ficción metahistórica contemporánea no cede al nihilismo: deshace los discursos históricos para entenderlos mejor; los deconstruye para proponer otras evocaciones del pasado
Faura, Sánchez Francisco Manuel. « Juan Mayorga y el teatro de la memoria en el contexto social y literario de comienzos de milenio ». Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668078.
Texte intégralThe study of the new contemporary dramaturgical tendencies is not far from everything political and social which occurs in the western society. The changes produced in this beginning of the millennium due, in large part, to the clash of cultures between the new and the traditional, have led to struggles among all citizens who are linked to the culture world. For this reason, this study shows all these changes through a critical look at society, not just keeping skeptical of all this reality what surround this time, but treating in a extensive and rigorous way the topics that wraps up the new creators. To concretize these new tendencies in a single name and following the exposition throughout the work, the approach to his dramaturgy and the academic essays, Juan Mayorga has studied in his creation a critical and philosophical point of view of the society, as well as a distrust to the words and truths established throughout the tradition. Juan Mayorga has become an attractive author for academics because of his dramatic language and his staging. His work as a playwright and his recent inclusion in the Royal Spanish Academy give him a linguistic and philosophical merit that spreads out all his playwright work. The spectators who attend their theatrical events have to enter into the political-theatrical game that he proposes.
Flynn, Warren. « Fragments of the moon (novel) ; and ». University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0073.
Texte intégralTemperton, Barbara. « The Lighthouse keeper's wife, and other stories (novel) ; and Ceremony for ground : narrative, landscape, myth (dissertation) ». University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0005.
Texte intégralDedman, Stephen. « Techronomicon (novel) ; and The weapon shop : the relationship between American science fiction and the US military (dissertation) ». University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0093.
Texte intégralRobertson, Janice. « At the crossing-places : representations of masculinity in selected 21st century children's texts ». Thesis, 2019. http://hdl.handle.net/10500/26205.
Texte intégralLinguistics and Modern Languages
Kozul, Sergej. « The history of Serbian community theatre in Sydney ». Thesis, 2021. http://hdl.handle.net/1959.7/uws:64898.
Texte intégralGrevler, Kelly. « ‘What makes songs catchy’ : a cognitive analysis of melodic hooks in twenty-first century popular music ». Diss., 2019. http://hdl.handle.net/10500/26148.
Texte intégralPage numbering of table of contents inconsistent with dissertation. Appendix A : Full transcription only of Tip toe by Lacey May
What is it about the vocal melodies of popular music that make you want to listen again and again? This music-theoretical study applies principles of Gestalt psychology and theories of expectation to a study of melodic hooks in 21st-century popular music. The hypothesis tested here is that melodic hooks are a vital element in “catchiness”. Transcription and analysis of melodies by major recording artists is used to explore the note-to-note basis for melodic hooks. The analysis of recordings by Adele, Carly Rae Jepsen, Pharrell Williams and Robin Thicke shows how factors of repetition, familiarity, simplicity, resolution, ambiguity of key, and expectation all contribute to the sense of catchiness in music. A listener-response study was used to test the experience of catchiness in the case studies, and corroborates the hypothesis that catchiness depends principally on expectation as an overarching factor. The study also uses auto-ethnographic reflection on the practice of song-writing to give insight into strategies for creating catchy popular songs. The experience of composing a pop song, and releasing it on air, provides unique insight into the artistic process. The results of all these studies show that the perceptual principle of expectation is a crucial factor in the experience of catchiness.
Ingabe yini eyenza iminkenenezo yomculo odumile ikukhange futhi ikuhehe ufise ukuwulalela kaninginingi? Lolu cwaningo lwethiyori yomculo lusebenzisa imigomo ye-Gestalt psychology kanye namathiyori alokho okulindelekile (theories of expectation) ukucubungula nokuhlaziya amavesi eminkenenezo emnandi futhi ekhangayo yomculo odumile wekhulunyaka lama-21. Ihayiphothesisi ehlolwayo lapha wukuthi amavesi eminkenenezo emnandi futhi ekhangayo ayingxenye esemqoka kakhulu “ekukhangeni” komculo. Ukubhalwa nokuhlaziywa kweminkenenezo yabaculi abayizikhondlakhondla abaqopha umculo kuyasetshenziswa kulolu cwaningo ukucubungula inothi nenothi levesi lomnkenenezo omnandi futhi okhangayo. Ukuhlaziywa komculo oqoshiwe ka-Adele, Carly Rae Jepsen, Pharrell Williams kanye no-Robin Thicke kuyabonisa ukuthi izinto ezinjengokuphindaphinda, ukujwayeleka komculo othile, ubulula bomculo, ukuguquka kwenothi lomculo libe ngumnkenenezo ohlabahlosile (resolution), ukungaqondakali nokungaqiniseki ngokhiye womculo (ambiguity of key), kanye nalokho okulindelekile, konke kuyizinto ezilekelelayo futhi ezifaka isandla ekukhangeni komnkenenezo womculo. Ucwaningo lwendlela abazizwa ngayo abalaleli bomculo lwasetshenziswa ukuhlola ukuthi bakhangekile yini labo balaleli bomculo, kwizincwaningo-zigameko zokulalelwa komculo, futhi lolu cwaningo lwasekela lwaphinda lwaqinisekisa ihayiphothesisi ethi ukukhanga komnkenenezo womculo kuncike ikakhulukazi kulokho okulindelwe ngumlaleli womculo njengombandela-ngqangi wokuheheka nokukhangeka kwakhe. Ucwaningo lusebenzisa futhi nokuzibandakanya komcwaningi (auto-ethnographic reflection) enqubweni yokubhalwa kwamaculo ukuze athole ulwazi olunzulu futhi aqondisise kahle amaqhingasu okuqamba izingoma ezidumile ezinomnkenenezo omnandi futhi okhangayo. Ukuzibandakanya enqubweni yokuqamba ingoma yomculo we-pop, kanye nokuyikhipha ukuze idlalwe emisakazweni, kuhlinzeka ngethuba eliyingqayizivele lokuqonda ngokujulile inqubo yokwenza umculo. Imiphumela yazo zonke lezi zincwaningo iyabonisa ukuthi umgomo wendlela-kuhumusha izinto ngokwalokho okulindelekile wumgomo osemqoka kakhulu ekufikelweni komuntu ngumuzwa wokukhangwa nokuhehwa ngumnkenenezo.
Zingantoni izandi ezimnandi zokuvuma ezivakalayo zomculo odumileyo okubangela ufune ukuwuphulaphula njalo njalo? Olu phononongo lomculo ngokwenkcazelo eyingcingane lusebenzisa imigaqo-siseko yemeko yengqondo iGestalt (Gestalt psychology) kunye neengcingane (theories) zokulindelweyo kufundo lwezandi ezinomtsalane okubambayo kumculo wenkulungwane yama-21 Ulwazi oluyingcamango engenabungqina oluhlolwe apha kukuba izandi ezimnandi zokuvuma ingoma ziyinto ebalulekileyo "ekubambeni lula". Ukubhalwa kunye nohlalutyo lweengoma ezenziwa ngabaculi abaphambili bokushicilela kusetyenziselwa ukuphonononga isiseko senowuthi ukusuka kwenye ukuya kwenye inowuthi ngokwezibambo zokuvakala kwezandi. Uhlalutyo lokushicilela luka-Adele, Carly Rae Jepsen, Pharrell Williams kunye noRobin Thicke kubonisa indlela izinto eziphindaphindwayo, zokuqheleka, zobulula, ukusombulula, nobumbolombini kwikhi kunye nokulindelweyo konke kunegalelo kumba wokutsalwa ubanmbeke emculweni. Uphononongo lokusabela komphulaphuli lwasetyenziswa ukuvavanya amava okufumana ifuthe lomtsalane kwizifundo zabucala, kwaye zihambelana nengcinga yokuba ukubamba kuxhomekeka ikakhulu kulindelo njengeyona nto iphambili. Olu phononongo lukwasebenzisa imbonakalo ezenzekelayo kwinkcazo yenzululwazi ngeentlanga kumsebenzi wokubhalwa kwengoma ukunika ukuqonda ngeendlela zokuyila ingoma ezimnandi ezidumileyo. Amava okuqamba ingoma ye-pop, kunye nokuyikhupha emoyeni, inika ingqiqo eyahlukileyo kwinkqubo yobugcisa. Iziphumo zazo zonke ezi zifundo zibonisa ukuba umgaqo-siseko wengcingane yokulindelweyo luphawu olubalulekileyo kakhulu kumava okubamba.
Art History, Visual Arts and Musicology
M. Mus. (Musicology)