Bibliographies thématiques / Drama - literary criticism

Littérature scientifique sur le sujet « Drama - literary criticism »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 28 juillet 2024

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Articles de revues sur le sujet "Drama - literary criticism"

Jabborova, Dilafruz. « Interpretation of Fitrat Dramas in Literary Criticism ». International Journal for Research in Applied Science and Engineering Technology 9, n^o 12 (31 décembre 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 octobre 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 juin 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 juin 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 (décembre 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 octobre 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 et 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 juillet 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 décembre 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 Abstract: 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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Thèses sur le sujet "Drama - literary criticism"

Kelly, Catriona. « Innokenty Fedorovich Annensky and the classical ideal : poetry, translations, drama and literary essays ». Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:402cf752-742c-4447-ae0c-ffeace85f95c.

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Innokenty Annensky (1855-1909) was better known to his contemporaries as a classics teacher and translator than as a poet; but, with the exception of two or three obituary articles, nothing has been written on his work as a classicist. His work has often been misconstrued and he has been described as an outstanding scholar. It has not been generally appreciated that his interest in the scholarly world was not really academic; he saw classical texts as models for his own literary works, and as inspiration for the 'Slavonic renaissance' he looked forward to with F.F. Zelinsky. This thesis covers Annensky's classical education, the essays he wrote on classical literature, and his translations of classical texts. Particular attention is given to the essays and translations which were intended to be published in Teatr Evripida, the first complete Russian version of Euripides. Annensky wrote no essay explicitly devoted to the subject of classicism. But from his essays on classical literature and the remarks on classical literature in his essays on modern literature it is possible to extrapolate his views on the nature of the classical tradition and on how he thought classical literature should be imitated. I show that Annensky's attitude to the classics was idiosyncratic and paradoxical. On the one hand, the classical world was viewed elegaically as an ideal of lost perfection; on the other, it was one of many cultural traditions on which he drew in his literary works and which was adapted in accordance with Modernist poetics. The discussion of Annensky's views on classicism is accompanied by information about the system of classical education in Russia 1870-1910, and about the history of classical scholarship and of literary classicism in Russia. Annensky's essays are compared with those of a representative scholar, Zelinsky, and a representative Symbolist, Vyacheslav Ivanov.

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Rivetti, Ugo Urbano Casares. « Crítica e modernidade em Raymond Williams ». Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-27012016-123033/.

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Esta dissertação tem como objetivo examinar a obra do crítico Raymond Williams a partir do ponto de vista da crítica da modernidade levada a cabo pelo autor em um período específico de sua trajetória: entre Cultura e sociedade (1958) e O campo e a cidade (1973). Para tanto, parte-se da reconstrução da forma assumida por essa crítica nos esquemas interpretativos daquelas que foram as duas grandes influências formativas do pensamento de Williams, e que figuraram como as duas grandes correntes teóricas no cenário intelectual inglês do século XX: a crítica literária e o marxismo. Pretende-se oferecer, com isso, uma leitura alternativa da obra do autor, repensando o peso de cada um de seus principais textos, as linhas de continuidade e as rupturas atravessando-a e, por fim, o próprio sentido do desenvolvimento teórico percorrido por Williams no período considerado, notadamente, destacando-se o impacto que o marxismo exerceu na conformação do seu projeto teórico.
This dissertation aims to analyze Raymond Williams work from the point of view of the critique of modernity undertaken by him in a specific period of his trajectory: from Culture and Society (1958) to The Country and the City (1973). Therefore, we begin by reconstructing the forms assumed by this critique in the interpretative schemes of the two greatest formative influences in Williams thought, and which became the two greatest theoretical currents in the English intellectual scenario in the 20th century: literary criticism and Marxism. Hence, we plan to offer an alternative interpretation of his oeuvre, reconsidering the importance of each of his main texts, the continuities and ruptures crossing it and, finally, the sense of the theoretical development covered by Williams in the period here considered, notably, focusing the impact that Marxism produced in the shaping of his theoretical project.

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Wright, Elizabeth Helena. « Virginia Woolf and the dramatic imagination ». Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.

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Hirsch, Brett Daniel. « Werewolves and women with whiskers : figures of estrangement in early modern English drama and culture ». University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0175.

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Each chapter of Werewolves and Women with Whiskers: Figures of Estrangement in Early Modern English Drama and Culture explores a particular figure of fascination and fear in the early modern English imagination: in one it is owls, in another bearded women, in a third werewolves, and in yet another Jews. Drawing on instances from drama and other cultural forms, this thesis seeks to examine each of these phenomena in terms of their estrangement. There is a symbolic appositeness in each of these figures, whether in estranged and estranging minority groups, such as Catholics, Jesuits, Jews, Puritans, Italians, the Irish, and the Scots; or in transgressive behaviours, such as cross-dressing and gender trouble, infidelity and apostasy, intemperate passion and unnatural desire. Essentially unfixed and unstable, these emblematic figures are indicative of cultural uncertainty and therefore are easily adapted to suit changing political, religious, and social climates. However, adaptability and fluidity come at a price, since figures of difference have an uncomfortable way of transforming themselves into figures of resemblance. Thus, this thesis argues, each of these figuresowls, bearded women, werewolves, Jewsoccupies an undefined and undefinable space on the precarious boundary between the usual and the unusual, between the strange and the strangely familiar, and, most strangely and paradoxically of all, between us and them.

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Loberg, Harmonie. « Hamlet Haven : An Online, Annotated Bibliography ». Scholar Commons, 2002. https://scholarcommons.usf.edu/etd/1524.

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The Challenge: Today a daunting quantity of scholarship relating to Hamlet exists. While databases and electronic catalogues aid research, these directories present a virtual wall of minimal bibliographic data. Sorting through lists still takes eons. Meanwhile, new publications are constantly added to the academic stacks that ever threaten to tumble over. The Solution: A web site that groups together scholarly publications using similar approaches and treating similar subjects will translate the overwhelming into the maneuverable. The online medium will provide accessibility to everyone--student, research assistant, instructor, scholar--and will guarantee the opportunity to update this resource on a regular basis. Scope: Listings will span materials published between 1991and 2001. The bibliography will exclude notes, reviews, abstracts, and treatments of theatre and film performances as well as certain forums (e.g., newsletters, bulletins, electronic journals). Scholarship focusing on the Folio/Quartos debate seems relevant but requires specific and technical specialization and will thus be omitted. Pedagogical studies and comparisons of Hamlet to other literary works will also be excluded. Research: IAC Expanded Academic Index, 1982-1995, IAC Expanded Academic Index, 1996-, and MLA Bibliography databases, as well as Dr. Sara Deats?private bibliography on Hamlet, will be combed for applicable scholarship. Organization: The bibliography will categorize publications by theoretical approach (e.g., feminism, new historicism) and subject focus (e.g., characters, themes). It will arrange individual works alphabetically by author within each subsection, using the MLA format.

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Costa, Lilian Nunes da 1985. « Gêneros poéticos na comédia de Plauto = traços de uma poética plautina imanente ». [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270793.

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Orientador: Isabella Tardin Cardoso
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-26T06:53:49Z (GMT). No. of bitstreams: 1 Costa_LilianNunesda_D.pdf: 2914692 bytes, checksum: 7790a7f30cd6441d68b56c4fb18a7cf8 (MD5) Previous issue date: 2014
Resumo: A obra do comediógrafo romano Tito Mácio Plauto (c. 254 ¿ 184 a.C.) é marcada pela presença dos gêneros trágico, épico e mesmo lírico em determinadas passagens, que têm sido identificadas por diversos critérios, como menção, alusão e associação por paralelos formais. Estudos teóricos sobre "mescla" ou "cruzamento de gêneros" vêm se desenvolvendo ao menos desde a proposição do conceito de "Kreuzung der Gattungen" por W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). No entanto, estudiosos como A. Barchiesi ("The crossing", 2001) passam a questionar premissas do trabalho do filólogo alemão, que tomava a "miscigenação" como "decadência" da cultura literária helenística e romana. Em nossa pesquisa sobre as mesclas genéricas na comédia plautina, também nos afastamos da perspectiva de W. Kroll e não propomos, como ponto de partida, que as peças que abrigam outros gêneros resultem necessariamente em híbridos. Na verdade, preferimos uma abordagem como a de S. J. Harrison, que lida com a noção de "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). A sistematização da presença de outros gêneros poéticos no corpus de Plauto selecionado (a peça Cativos, bem como passagens de Báquides, O cabo, O soldado fanfarrão, dentre outras) nos interessa no sentido de explorar o quanto a comédia é enriquecida precisamente por meio de elementos perceptíveis pelo público plautino como "alheios" a esse gênero. Assim, nosso método envolve a identificação de aspectos (temáticos e formais) sob os quais esses gêneros aparecem ou transparecem, bem como uma reflexão sobre a possibilidade de, a partir da observação das convenções poéticas com que ele brinca em seus textos, pensar em uma poética imanente em Plauto
Abstract: The presence of the tragic, the epic, and even the lyric genre in the work of the Roman comic poet Titus Maccius Plautus (c. 254 ¿ 184 BC) has been already noted in the field of classical studies. Among the various criteria used in the identification of those poetic genres there is not only direct mention of elements of the works pertaining to them, but also (thematic or formal) allusion to such elements. Theoretical studies about "genres miscellany" or "genres crossing" have been developed at least since the proposition of the concept of "Kreuzung der Gattungen" by W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). However, scholars such as A. Barchiesi ("The crossing", 2001) now question premises from Kroll¿s work, which considered the "miscegenation" as a "decadence" on the Hellenistic and Roman literary cultures. The present research does not assume Kroll¿s perspective, i.e. it does not presuppose that the plays in which the presence of other genres is evinced are necessarily hybrids. Rather, it favors an approach like that of S. J. Harrison, which deals with the notion of "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). While systematizing such a presence of different poetic genres in the selected Plautine corpus (the play Captiui, as well as passages from Bacchides, Miles gloriosus, Rudens, among others) this study intends to appreciate to what extent comedy is enriched precisely by the elements perceived by the plautine public as extraneous to this genre. The method is based on the identification of (thematic and formal) aspects under which such genres emerge as the play goes on. The observation of the poetic conventions with which the Roman dramatist plays in his texts may also provide a reflexion on an imanent poetics in Plautus
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Jenson, DeAnna Faye. « Shakespeare's Bolingbroke : Rhetoric and stylistics from Richard II to Henry IV, part 2 ». CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2536.

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In order to contribute to the body of work on Bolingbroke and on Shakespeare's development of character, this thesis examines various rhetorical and stylistic methods used by Shakespeare in his creation of the character of Henry Bolingbroke.

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Loberg, Harmonie Anne Haag. « Hamlet haven : an online, annotated bibliography ». University of South Florida, 2002. http://purl.fcla.edu/fcla/etd/SFE0000036.

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Hamman, Frans Josias. « Sarah Kane en die liriek as literêr-musikale interteks ». Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6475.

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Thesis (MDram)--University of Stellenbosch, 2011.
AFRIKAANSE OPSOMMING: Die literêre interteks staan sentraal tot die teks-analitiese proses en die gevolglike ontsluiting van betekenis binne die oeuvre van Sarah Kane, maar in die huidige besprekings van haar werk, word hierdie interteks alleenlik tot literatuur soos die roman, die gedig en die teaterteks beperk. Die gevolg is dat daar ‘n totale verontagsaming van die neerslag van die liriek as nóg ‘n tipe literêre interteks is. Beide James Macdonald (in Fisher 2001b) en Iain Fisher (2001b) dui daarop dat lirieke van heelparty orkeste - o.a. Joy Division, Radiohead, Nirvana en die Beatles - in Kane se werk nagespeur kan word, maar geeneen blyk ondersoek na die moontlike redes vir die ontlening daarvan óf hoe dit die betekeniswaarde van haar werk informeer, in te stel nie. Deur op Still en Worton (1990:1-2) se teorie dat die leser van ‘n teks sy/haar eie intertekste op daardie teks van toepassing kan maak in ‘n poging om die betekenis daarvan te ontsluit (selfs al word betrokke intertekste nie noodwendig deur die skrywer erken nie), te trek, word daarop gedui waar en hoe verskeie lirieke van voorgenoemde vier orkeste hul neerslag in vier van Kane se dramas, Phaedra’s Love, Cleansed, Crave en 4.48 Psychosis vind. Na gelang van Michael Riffaterre (1990:58) se teorie omtrent “connectives” (in hierdie geval die lirieke wat Kane se tekste met liedjies uit die populêre kultuur verbind) en hoe ‘n deeglike voorkennis daaromtrent die leser daartoe in staat stel om te bepaal of betrokke “connective” wel die teenwoordigheid van ‘n interteks daarstel al dan nie, word ‘n deeglike studie van elkeen van die lirieke gedoen. Daarna word verskeie raakpunte tussen hierdie lirieke en Kane se tekste uitgewys, hetsy dit met onderwerpmateriaal of tematiek verband hou, sodat ge-argumenteer word dat hierdie lirieke wel as intertekste beskou kan word. Vervolgens word die betekenisse van die onderskeie lirieke op Kane se dramas (spesifiek die tematiek daarvan) van toepassing gemaak en daar word ge-argumenteer dat hierdie intertekste óf bestaande beskouings daarvan ondersteun en moontlik daarop uitbrei óf dat dit tot radikaal nuwe insigte omtrent haar werk aanleiding gee, sodat nuwe en oorspronklike benaderings tot tematiek en karakters in die toekoms gevolg sou kon word. Uiteindelik illustreer ek aan die hand van my meestersproduksie empty (2010) hoe ek my benadering tot die neerslag van die liriek as interteks in Kane se werk op genoemde produksie van toepassing gemaak het, sodat die betekenis daarvan ook na gelang van die liriek as interteks duidelik word.
ENGLISH ABSTRACT: The intertextual relationship between Kane’s own work and those literary sources she derives ideas and adopts words from, plays a vital part in the textual analysis of her oeuvre. However, current discussions about and analyses of this intertextual relationship only focus on the novel, the poem and the play as literary intertexts and their subsequent influence on the interpretation of her work. This results in a complete disregard for the lyric’s use as another type of literary intertext (where the lyric is to be understood as the written and not the sung word). James Macdonald (in Fisher 2001b) and Iain Fisher (2001b) both refer to the presence of lyrics from various bands - among them Joy Division, Radiohead, Nirvana and The Beatles - in Kane’s work, but neither of them preoccupy themselves with the further investigation as to why these lyrics have been borrowed or how they inform the interpretation of her work. Drawing on Still and Worton’s (1990:1-2) theory that “the reader’s experience of some practice or theory unknown to the author may lead to a fresh interpretation” of any given text he/she reads (i.e. where the reader applies the knowledge about his/her own intertexts in an attempt to decipher the meaning of the text he/she is currently reading or studying), a clear indication of where and how various lyrics from aforementioned bands can be found in four of Kane’s dramas: Phaedra’s Love, Cleansed, Crave and 4.48 Psychosis. Based on Michael Riffaterre’s (1990:58) theory of “connectives” (in this case those lyrics which establish a connection between Kane’s plays and songs from popular culture) and how proper foreknowledge about these “connectives” can help in determining whether they do establish an intertextual relationship between the play and the song(s) or not, a thorough study of every lyric is undertaken and various similarities between them and Kane’s plays are highlighted. Based on these similarities (whether it be with regard to themes, subject matter or characterization), arguments are made that these lyrics should be viewed as intertexts, and the meanings and analyses of these lyrics are subsequently applied to Kane’s work. In the end these literary intertexts either support existing views and interpretations of her work, or they lead to radically new insights about the work, so that new, innovative and original approaches can henceforth be followed with regard to themes and characterization in her work. Finally I use my own master’s production, empty (2010), as an example to illustrate how I applied the research I have done about the lyric as an intertext in Kane’s work, on my own work and how these various lyrics help to give a better understanding of the play.

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Leyicka, Bissanga Gisèle. « Michel Butor : du roman à l'effet romanesque ». Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30010/document.

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L’œuvre de Michel Butor se singularise par la traversée des genres dont elle dévoile les limites. Se référant à la classification générique héritée du XIXème siècle, la critique littéraire divise souvent cette œuvre en poèmes, romans et textes inclassables, tout en affirmant l’idée d’un abandon de la forme romanesque après 1960. Pourtant, c’est le choix de la forme englobante d’un texte hybride, qui va désormais déterminer le genre.La première partie de la thèse étudie la mutation des formes littéraires dans l’œuvre de Michel Butor. Il s’agit d’examiner la question du choix du genre romanesque par l’écrivain. L’hybridisation générique sera un mode d’expression artistique privilégié, dans la mesure où la recherche de nouveaux aspects de la poétique butorienne montre qu’elle est contaminée par la métaphore théâtrale. Nous verrons donc l’interaction entre roman et théâtre radiophonique à travers la lecture de Mobile. Étude pour une représentation des États-Unis, Réseau aérien. Texte radiophonique et 6 810 000 litres d’eau par seconde. Étude stéréophonique.La deuxième partie traite de la dramaturgie et met en lumière les aspects radiophoniques de l’œuvre postromanesque à travers les différents niveaux de lecture dégagés par Patrice Pavis (Discursif, Narratif, Actantiel, Idéologique et Inconscient), et le système de la mise en scène en rapport avec le studio d’enregistrement. La notion d’ « effet romanesque » sera ainsi le résultat d’une hantise de la forme romanesque produite par la lecture.La troisième partie étudie la prose poétique du théâtre radiophonique et les structures inconscientes et idéologiques, en s’appuyant sur l’importance du discours oral qui dévoile l’ambiguïté entre la forme (le théâtre radiophonique) et l’attitude de l’individu et du groupe, marquée par l’incapacité de transmettre une perception cohérente du monde à cause de leurs préjugés
Michel Butor’s work is different from the others by its crossing genres which it shows the limits of. Referring to the generic classification inherited from the nineteenth century, literary criticism often divides the work in poems, novels, and unclassifiable texts, while maintaining the idea that he had neglected the novelistic form after 1960. Still, the choice of the work that includes several forms of a hybrid text will now determine the genre.The first part deals with the mutation of the literary forms in the work of Michel Butor. We will examine the question of the choice of novelistic form by the author. Generic hybridization will be Butor’s favorite means of artistic expression, because the search of new aspects of Butor’s poetics reveals that it is corrupted by dramatic metaphor. So, we will see the interaction between the novel and radio drama through the reading of Mobile: study for a representation of the United States, Airline Network and Niagara.The second part is about the drama and shows radiophonic aspects of the postnovelistic work through different levels of reading set up by Patrice Pavis (Discursive, Narrative, Actantial, Ideological and Unconscious), and the production system in relation with the recording studio. The notion of “novelistic effect” will therefore be the result of an obsession of novelistic form produced by reading.The third part analyses poetic prose of radio drama and the unconscious and ideological structures of the work, based on the importance of oral discourse which reveals the ambiguity between the form (radio drama) and the individual attitude and the group, marked by the inability to pass on a coherent perception of the world because of their prejudices

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Livres sur le sujet "Drama - literary criticism"

Hunter, Jeffrey W. Contemporary literary criticism. Detroit, Mich : Gale, 2010.

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Group, Gale, dir. Contemporary literary criticism. Detroit, Mich : Gale Group, 2001.

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Draper, James P., et Jennifer Allison Brostrom. Contemporary literary criticism. Detroit, Mich : Gale Research, 1994.

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Votteler, Thomas. Contemporary literary criticism. Sous la direction de Gale Group. Detroit, Mich : Gale Research, 1993.

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Trudeau, Lawrence J. Twentieth-century literary criticism. Detroit, Mich : Gale, 2010.

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Trudeau, Lawrence J. Twentieth-century literary criticism. Detroit, Mich : Gale, 2010.

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Trudeau, Lawrence J., et Thomas J. Schoenberg. Twentieth-century literary criticism. Detroit, Mich : Gale, 2009.

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Trudeau, Lawrence J. Twentieth-century literary criticism. Detroit, Mich : Gale, 2011.

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Schoenberg, Thomas J., et Lawrence J. Trudeau. Twentieth-century literary criticism. Detroit, Mich : Gale, 2010.

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Trudeau, Lawrence J. Twentieth-century literary criticism. Detroit, Mich : Gale, 2010.

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Chapitres de livres sur le sujet "Drama - literary criticism"

Peck, John, et Martin Coyle. « Drama ». Dans Literary Terms and Criticism, 78–106. London : Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-13155-6_3.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey et Valerie Sanders. « The new drama ». Dans Literary and Cultural Criticism from the Nineteenth Century, 351–75. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-64.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey et Valerie Sanders. « William Bodham Donne, ‘The Drama’ ». Dans Literary and Cultural Criticism from the Nineteenth Century, 273–77. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-53.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey et Valerie Sanders. « Edward Lytton Bulwer, ‘The Drama’ ». Dans Literary and Cultural Criticism from the Nineteenth Century, 81–85. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-14.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey et Valerie Sanders. « A. B. W., ‘The Drama’ ». Dans Literary and Cultural Criticism from the Nineteenth Century, 373–75. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-72.

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Saber, Fathieh Hussam. « Shellyseer : A Literary Evolution ». Dans Gulf Studies, 365–80. Singapore : Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-7796-1_22.

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AbstractThe dramatic elements that are in Shellyseer have traveled for a long period of time and have been affected by dramatic elements from different cultures, which means that Shellyseer is a result of the evolution of drama. This chapter draws attention to the effect that the East and the West have on each other, by pointing out the effect that Aristotle’s Poetics—Western Theory—had on Ghanem Al-Suliti’s Shellyseer—Eastern Literature. This chapter combines comparative literature with literary theory and criticism in order to give an example of a globalized view of how drama evolves where there are no borders that limit influence. This chapter traces back drama back to its oldest documented sources to show how it evolved throughout history and offers deeper knowledge of Middle Eastern drama, the importance, and strength of political satire, and how strong of a mutual influence Eastern and Western literature have on each other.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey et Valerie Sanders. « Henry Arthur Jones, ‘The Future of English Drama’ ». Dans Literary and Cultural Criticism from the Nineteenth Century, 122–25. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-23.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey et Valerie Sanders. « W. A. Lewis Bettany, ‘Criticism and the Renascent Drama’ ». Dans Literary and Cultural Criticism from the Nineteenth Century, 357–63. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-66.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey et Valerie Sanders. « Walter Scott, extract from ‘An Essay on the Drama’ ». Dans Literary and Cultural Criticism from the Nineteenth Century, 53–59. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-10.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey et Valerie Sanders. « The decline of the drama, and the national theatre ». Dans Literary and Cultural Criticism from the Nineteenth Century, 75–125. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-13.

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Actes de conférences sur le sujet "Drama - literary criticism"

Magiru, Anca, et Ionel Magiru. « SUGGESTOPEDIA, A SERIOUS COMPETITIVE GAME ». Dans eLSE 2012. Editura Universitara, 2012. http://dx.doi.org/10.12753/2066-026x-12-146.

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The paper aims to show how suggestopedia, a dynamic, full of life class game, can become a way of delivering advanced conversational competence quickly. What makes this game interesting and attractive is that learning occurs through suggestion while the students are in a deeply relaxed state which is induced by music. The instructor should choose what kind of music he/she considers suitable for the topic which is introduced. Although the goal is understanding and not memorisation, the students are required to master prodigious vocabulary lists. This type of game implies initiatives, questions and answers, role play, listening exercises under deep relaxation. From the psychological point of view, and related to the ways of learning, the game matches perfectly with two of the four types of learners, namely: the Player and the Feeler. The Player is the student who likes being with people and enjoys variety and change, prefers listening and speaking to reading and writing, prefers playing games and working in groups to writing exercises, prefers competition and excitement to practice and homework, prefers trying lots of different activities to doing long projects, enjoys participating and performing, hates doing the same thing lesson after lesson, would like to do different things all the time. He/she enjoys vocabulary race. The Feeler is a good language learner who loves interacting and group and pair work and is interested in talking about emotions and personal topics. He/she enjoys being with people and learns through cooperation, prefers taking part in discussions to studying rules and doing exercises, like reading, role play and drama, is very sensitive to criticism and needs individual feedback and prefers speaking to writing. Suggestopedia must maintain a passive state among the students and also allow the materials to work on them rather than vice-versa. The instructor’s role is to create situations in which the students are most suggestible and present materials in a way most likely to encourage positive reception and retention. The instructor must emanate authority and confidence. The texts used should have force, literary quality and interesting characters. What we are going to do is to offer two sample lesson plans, one based on a literay text, the other one on a detective short story in order to prove how suggestopedia works like a way of learning.

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