Bibliographies thématiques / English drama – 20th century

Littérature scientifique sur le sujet « English drama – 20th century »

Auteur : Grafiati
Publié le 25 juillet 2024

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Articles de revues sur le sujet "English drama – 20th century"

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Rose McGovern, Kathleen. « Conceptualizing Drama in the Second Language Classroom ». Scenario : A Journal of Performative Teaching, Learning, Research XI, no 1 (1 janvier 2017) : 4–16. http://dx.doi.org/10.33178/scenario.11.1.3.

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Abstract: This paper reviews key literature published in English on drama and second language (L2) pedagogy. The author explores (a) the integral role drama has played in 20th and 21st century L2 teaching methodologies; (b) commonly cited approaches to integrating drama and L2 instruction; (c) uses of drama as a means of exploring culture and power relations within society, and; (d) major definitions and categorizations developed in the existing body of literature. To conclude, the argument is made that researchers must clearly explain and define their approaches to drama in L2 instruction and ground these approaches in relevant theories of second language learning.
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Fedorova, Elizaveta Tsirina, Jose Saiz Molina et Julia Haba Osca. « Jan Kott is Dead, Long Live to the ˂“Hybrid”˃ Critic ». Multicultural Shakespeare : Translation, Appropriation and Performance 24, no 39 (15 mars 2022) : 169–90. http://dx.doi.org/10.18778/2083-8530.24.11.

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This article is a little tribute that a drama teacher, an editor and translator and a lecturer in English Literature would like to contribute to this Special Issue in Honour of Professor Dr Jan Kott, the most influential non-English speaking Shakespearean Critic in the second half of the 20th Century and early 21st Century. In the initial part of the essay we will overview Kott’s influence in the development of current Shakespearean tradition(s) in Spain from the early 1970s to the present day. In fact, his writings and critical views on William Shakespeare’s Works have been a decisive point in the development of new approaches to this playwright in some University Departments and Drama Schools in this country. The whole discussion will take the notion of hybrid and hybridization as the point of departure and we will draw some conclusions for discussing new critical thinking in Art (Science,) and Humanities.
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Brannigan, John, Marcela Santos Brigida, Thayane Verçosa et Gabriela Ribeiro Nunes. « Thinking in Archipelagic Terms : An Interview with John Brannigan ». Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no 35 (13 mai 2021) : 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.

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John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-class authors Brendan Behan (2002) and Pat Barker (2005), and the first book to investigate twentieth-century Irish literature and culture using critical race theories, Race in Modern Irish Literature and Culture (2009). His most recent book, Archipelagic Modernism: Literature in the Irish and British Isles, 1890-1970 (2014), explores new ways of understanding the relationship between literature, place and environment in 20th-century Irish and British writing. He was editor of the international peer-reviewed journal, Irish University Review, from 2010 to 2016.
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Aziz, Fakhrul Anuar, Husniza Husni, Muhamad Mat Yakim et Jasni Ahmad. « CONTENT ANALYSIS OF OLD PICTURES TO ELICITE INFORMATION ABOUT THE FASHION OF THE PAST IN THE CONTEXT OF THE KEDAH STATE ». Journal of Information System and Technology Management 8, no 33 (31 décembre 2023) : 361–68. http://dx.doi.org/10.35631/jistm.833025.

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Old photos can provide the desired information such as clothing fashion in the past. Historical photographs are important documents for obtaining information about the past. This kind of information is very important in the making of a film or drama that requires historical accuracy from a clothing point of view. This study uses images from the photographic process as a research method. Some old photographs from the collection of photo archiver have been used as research material. As a result, some important information related to fashion at the end of the 19th century and the beginning of the 20th century for the state of Kedah can be identified. For example, based on the pictures examined, we can see the influence of English, Arabic, and Indian clothing.
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Holderness, Graham. « Hamlet and the 47 Ronin ». Critical Survey 33, no 1 (1 mars 2021) : 48–58. http://dx.doi.org/10.3167/cs.2021.330104.

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The importation of Shakespeare into Japan in the late 19th century and early 20th centuries, following the opening of Japan to the outside world effected by the Meiji empire, generated a culture clash between the antiquity of the plays themselves, and the identification of Shakespeare with modern English drama. Harue Tsutsumi’s play Kanadehon Hamlet explores this conflict, dramatizing the difficulties encountered by a troupe of Japanese actors attempting to perform Hamlet, when their deeper loyalty is to the traditional Japanese revenge play Kanadehon Chushingura. Homing in on a crucial moment in the development of Japanese theatre and Japanese culture, Tsutsumi uses these cultural clashes to map out the possibilities of common ground, the emergence within Japan first of an informed and educated understanding of western drama, and subsequently the development of specifically Japanese appropriations of Shakespeare in which the two cultures can achieve a complex but dynamic engagement.
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Kladaki, Maria, et Kostantinos Mastrothanasis. « Shakespeare’s Plays at the Royal Theatre in Athens in the Early 20th Century ». European Journal of Language and Culture Studies 1, no 6 (19 décembre 2022) : 52–58. http://dx.doi.org/10.24018/ejlang.2022.1.6.53.

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In the early 20th century, the idea of creating a state theatre in Greece matured, that was responsible for establishing the foundation of a national dramatic tradition, as well as of the art of histrionics which until that time was characterized by amateurism. The Royal Theatre opened its doors to the public in 1900 and was based on the model of German Court theatres. In other words, theatre was considered a superior form of art that had to be kept away from the lower social classes. The absence of a powerful urban class and the lack of cohesion between the urban class and the lower classes favored the role of the Court, which was influenced by Drama when it comes on shaping its public guise and consolidate its dominance, by ensuring that a specific theatre style, aesthetics and ideology were preserved. Shakespeare’s performances in Greece were based on uncritical copying of practices applied in Europe in the light of the country’s agonizing struggle to build a new national and urban class identity. The audience of the Royal Theatre was seeking its own identity within that phantasmagorical ambience; that is for points of convergence with the western model, so as to receive social recognition and feel self-justified, as participation in such events were classified as “cultured persons”. The theatrical environment itself and the utilization of works of the English poet's works played a role in solidifying the idea in Greece that Shakespeare’s plays are the exclusive privilege of the urban class.
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Fatima, Sadaf. « Finding the Voice of Indian Urbanity – Through the Selected Texts of Girish Karnad and Mahesh Dattani ». International Journal of English Literature and Social Sciences 8, no 4 (2023) : 132–38. http://dx.doi.org/10.22161/ijels.84.23.

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In the present paper, I have endeavored to review the development of Indian English theatre since 20th century to emphasize the common themes and dilemmas that the Indian playwrights writing in English had to deal with special reference to the process of assimilation of Indian themes with the Western genre. The focus is upon analyzing the text from a post-colonial perspective. The aim is to show the manifestation of hybrid cultures in the urban areas as have been successfully represented by the Indian dramas by Girish Karnad and Mahesh Dattani.
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O.V., Marina. « ПІДХОДИ ДО ВИВЧЕННЯ АНГЛІЙСЬКОЇ РЕСТАВРАЦІЇ ». Scientific Bulletin of Kherson State University. Series Germanic Studies and Intercultural Communication, no 1 (2 août 2021) : 78–86. http://dx.doi.org/10.32999/ksu2663-3426/2021-1-12.

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This study applied cognitive-pragmatic, literary criticism and theory of theatre approaches to summarize findings on the dramatic discourse of English Restoration. In this article, I set out the main points of Stuart Restoration ideology, sum-marize findings on the predominant concepts of that time, substantiate that the institution of theatre became a leading ide-ological instrument during the English Restoration, and single out its two main functions: entertainment and dissemination of absolutist ideology. In this paper, the subject matter and dramatis personae of Restoration drama have been character-ized. The paper focuses on generalizing the research results of comparative studies of Restoration and Elizabethan drama which concern their scope, genres, and morality. The conclusions reached in the studies that reported on borrowings in repertoire from native, French and Spanish sources at the beginning of Restoration and the influence of English and con-tinental writers have been synthesized. Further investigation of English Restoration drama revealed an unprecedented genre variety and combination which demonstrated signs of development in different directions during the 1660s. In this article, I state that the existing studies have reported on active behaviour of Restoration audiences during the perfor-mances, describe usual patterns of their behavior, and make conclusions as to the direct influence of such behavior on the processes of drama production and perception. The existing research has demonstrated weak points in some key areas, such as Restoration audiences’ composition. Despite the fact that scholars point to various sources of information as to the theatre-goers’ personalities in the seventeenth century, there is still no consensus of opinions on this issue. Although Restoration drama research demonstrably improved over the 20th and 21st centuries, further research on Elizabethan and Restoration drama cognitive construals of the world, comparative analysis of original plays and adaptations, literary genres origin and development, interactional patterns of viewers and characters of Restoration drama is recommended.Key words: English Restoration theatre, dramatic discourse, play, ideology. У статті наведено узагальнення результатів наукових досліджень, присвячених дискурсу часів англійської Реставрації, з позицій когнітивно-прагматичного, літературного й театрального підходів. У дослідженні окреслено основні положення ідеології Реставрації Стюартів, узагальнено знахідки наукових досліджень, присвячених вивченню основних концептів того часу, обґрунтовано, що інститут театру став провідним ідеологічним інструментом за часів англійської Реставрації, та виділено дві основні його функції: розваги й розповсюдження ідеології абсолютизму. У роботі описано тематику й схарактеризовано персонажів драматичних творів часів англійської Реставрації. Наукова розвідка фокусується на узагальненні результатів наукових досліджень, присвячених порівнянню масштабів охоплення тематики, жанрів і моралі драматичних творів часів англійської Реставрації та драматургії часів королеви Єлизавети Тюдор. У дослідженні також синтезуються знахідки наукових розвідок, присвячених запозиченням у репертуарі з англійських, французьких та іспанських джерел на початку епохи англійської Реставрації, а також впливу власне англійських та європейських авторів. Подальше вивчення драматургії часів англійської Реставрації демонструє безпрецедентне розмаїття та поєднання жанрів, що демонструють ознаки розвитку в різних напрямах у 1660 роки. У статті стверджується, що наукові дослідження повідомляють про активну поведінку глядачів на виставах часів англійської Реставрації та робиться висновок про те, що така поведінка безпосередньо вплинула на процеси створення та сприйняття драматичних творів. Наявні дослідження демонструють прогалини в основних сферах, таких як контингент глядацької аудиторії вистав часів англійської Реставрації. Не зважаючи на той факт, що вчені вказують на різні джерела інформації щодо складу театральної глядацької аудиторії в сімнадцятому столітті, досі не існує єдності поглядів на це питання. Хоча дослідження драматургії часів англійської Реставрації значно покращилися у XX і XXI століттях, рекомендовано вивчення концептуальної картини світу в драматичних творах часів англійської Реставрації та королеви Єлизавети, порівняльний аналіз оригінальних п’єс та адаптацій, виникнення та розвитку літературних жанрів, моделі взаємодії глядачів і персонажів у п’єсах часів англійської Реставрації.Ключові слова: театр часів англійської Реставрації, драматичний дискурс, п’єса, ідеологія.
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Srika, M. « A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle ». SMART MOVES JOURNAL IJELLH 7, no 10 (31 octobre 2019) : 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.

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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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Shaheen Qamar et Dr. (Smt.) Aruna Sharma. « Reassertions of Class Consciousness and Tragic Vision in John Galsworthy’s Strife ». Creative Launcher 7, no 6 (30 décembre 2022) : 125–33. http://dx.doi.org/10.53032/tcl.2022.7.6.13.

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John Galsworthy, a contemporary playwright of G. B. Shaw, established realism in drama in the early 20th century England. Through his plays, he exposed the socio-economic, socio-political, socio-cultural, and socio-legal problems in a realistic, sincere and impartial way, providing implied solutions to those problems as an objective observer of the contemporary English life. With objective impartiality, he exposed the wrong-headedness of some traditional beliefs and advocated social reform. The objective of the present paper is to expose the metaphors of tragic vision on account of class consciousness in John Galsworthy’s Strife followed by some implied solutions. The reasons of tragic vision are pride, lack of human insight, extreme and fanatical approach, rigidity, class consciousness, uncompromising stands, warring faction, obstinacy, and desire to win and dominate, etc. Through this play the playwright wishes to establish the notion that human beings should be ruled by logic and reason and his testimony lies in portraying the futility and stupidity of quarrelling over conceptual differences, which might have been settled by compromise or arbitration.
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Thèses sur le sujet "English drama – 20th century"

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Wong, Chi-keung Frederick, et 黃志強. « Postmodernism, drama, language : Waiting for Godot and Inadmissible evidence revisited ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31951053.

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Turner, Irene. « Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.

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Ingham, Michael Anthony. « Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama / ». Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.

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Macbeth, Georgia School of Theatre Film &amp Dance UNSW. « A Plurality of Identities : Ulster Protestantism in Contemporary Northern Irish Drama ». Awarded by:University of New South Wales. School of Theatre, Film and Dance, 1999. http://handle.unsw.edu.au/1959.4/33257.

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This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 1960s and early 1970s, so did notions of this singular Ulster Protestant identity. With the onset of the Troubles in 1969 came a parallel questioning and subversion of this identity in Northern Irish drama. This was a process which started with Sam Thompson???s Over the Bridge in 1960, but which began in earnest with Stewart Parker???s Spokesong in 1975. This thesis examines Parker???s approach and subsequent approaches by other dramatists to the question of Ulster Protestant identity. It begins with the antithetical pronouncements of Field Day Theatre Company, which were based in an inherently Northern Nationalist ideology. Here, the Ulster Protestant community was largely ignored or essentialised. Against this Northern Nationalist ideology represented by Field Day have come broadly revisionist approaches, reflecting the broader cultural context of this thesis. Ulster Protestant identity has been explored through issues of history and myth, ethnicity, class, gender and sexuality. More recent explorations of Ulster Protestantism have also added to this diversity by presenting the little acknowledged viewpoint of extreme loyalism. Dramatists examined in this thesis include Stewart Parker, Christina Reid, Frank McGuinness, Bill Morrison, Ron Hutchinson, Marie Jones, Graham Reid, Robin Glendinning and Gary Mitchell. The work of Charabanc Theatre Company is also discussed. What results from their efforts is a diverse and complex Ulster Protestant community. This thesis argues that the concept of a singular Ulster Protestant identity, defined by its loyalty and Britishness, is fragmented, leading to a plurality of Ulster Protestant identities.
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Lau, Yuk-wah Margaret, et 劉玉華. « The role of English in Hong Kong theatre and dance productions ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26852792.

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Berlando, Maria Elena, et University of Lethbridge Faculty of Arts and Science. « De-colonizing bodies : the treatment of gender in contemporary drama and film ». Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2007, 2007. http://hdl.handle.net/10133/648.

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Dramatic literature and film are often political and work to deconstruct and dismantle some of the assumptions of a dominant ideology. Tomson Highway’s Dry Lips Oughta Move to Kapuskasing, Caryl Churchill’s Cloud Nine, and Neil Jordan’s The Crying Game, show how gender roles are used in oppression and show that other social categories like race, class, and sexuality are interrelated and constructed. This shows the hollowness of the so-called inherent categories that cause “naturalized” divisions between people and groups. Through exploring these works I hope to draw attention to how these artists use theater and film to educate their audiences, as well as challenge them to take control over complicated issues surrounding power and oppression. These writers encourage their audiences to employ social criticism and to re-evaluate the social order that is often naturalized through dominant ideology and discourse.
v, 104 leaves ; 29 cm.
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Percival, Gary William. « Developments towards a theatre of the absurd in England, 1956-1964 ». Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14879.

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In 1961 Martin Esslin created the term 'Theatre of the Absurd' as a working hypothesis, a device with which to make fundamental traits present in the plays of a number of France-based dramatists accessible to discussion by tracing the features they had in common. Despite the popularity of Esslin's study, there has been no comparable discussion of England-based absurdism. An explanation for this lack of critical attention may be found in the dogged insistence amongst scholars that there are only two absurd playwrights in the English theatre before 1967. My first aim in this thesis is to redress the imbalance in critical literature, to demonstrate that there existed in England, in the late 1950s and early 1960s, an indigenous expression of absurdism far broader and significantly more complex than that which has been recognised by theatrical reviewers during the past thirty years. Having identified an indigenous absurdism, I go on to challenge the generalisations and over-simplifications surrounding the English 'absurd', which are a product of its critical marginalisation and neglect. I discuss the complexities of the evolution of the English 'absurd', and the ramifications of its development, paying due regard to the theatrical, historical and social factors which shaped its early growth. The playwrights who represent the genre are examined in tum, and attention is devoted to the details of the development of an absurd dynamic within their works. The study falls into three parts. Part I attempts to explain why the English 'absurd' had such a limited impact within its own country up until the late 1960s. It is revealed that many of the writers of the English 'absurd' were incapable of divorcing their plays from the social-orientated drama which dominated English theatre in the late 1950s. The cross-fertilization of an overtly social theatre and absurdism resulted in an expression of the genre which was modified and, to an extent, compromised by its adherence to external, political realities. The focus shifts, in the second part, to accommodate those neglected writers of the English 'absurd' who managed to avoid such compromises and who created a more abstract theatre, the aesthetic and epistemological intentions of which resemble those of the French absurd. Part III explains why, despite the relative obscurity of the English 'absurd', a fragmented absurdism managed to be absorbed into the permanent vocabulary of dramatic expression in England in the 1960s. This final section examines the works of a number of non-absurd writers who took on isolated absurd devices as part of an experiment with the parameters of drama, thereby bringing those techniques into mainstream theatre.
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Duncan, Dawn E. (Dawn Elaine). « Language and Identity in Post-1800 Irish Drama ». Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.

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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
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Idrissi, 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.

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This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Reel, Irem Secil. « Translation/Adaptation, Direction and Production of Ambling Riders, a Turkish Play by Özen Yula ». Fogler Library, University of Maine, 2010. http://www.library.umaine.edu/theses/pdf/ReelIS2010.pdf.

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Livres sur le sujet "English drama – 20th century"

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1864-1918, Wedekind Frank, Horváth Ödön von 1901-1938, Fleisser Marieluise 1901-1974 et Herzfeld-Sander Margaret, dir. Early 20th-century German plays. New York : Continuum, 1998.

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Hersh, Zeifman, et Zimmerman Cynthia, dir. Contemporary British drama, 1970-90 : Essays from Modern drama. Toronto : University of Toronto Press, 1993.

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1934-, Cornish Roger, et Ketels Violet, dir. Landmarks of modern British drama. London : Methuen, 1985.

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Graham, Whybrow, dir. The Methuen book of modern drama. London : Methuen, 2001.

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Pamela, Edwardes, dir. Frontline intelligence 3 : New plays for the nineties. London : Methuen Drama, 1995.

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Pamela, Edwardes, dir. Frontline intelligence : New plays for the nineties. London : Methuen, 1993.

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Cairns, Craig, et Stevenson Randall, dir. Twentieth-century Scottish drama : An anthology. Edinburgh : Canongate, 2001.

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Wiszniowska, Marta. Studies in 20th century literary-cultural Britain. Warszawa : Wydawn. Uniwersytetu Kardynała Stefana Wyszyńskiego, 2011.

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Modern British drama : The twentieth century. Cambridge, U.K : Cambridge University Press, 2002.

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Drama + theory : Critical approaches to modern British drama. Manchester : Manchester University Press, 2001.

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Chapitres de livres sur le sujet "English drama – 20th century"

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Hertel, Ralf, et Peter Hühn. « Early 20th Century : Modernism ». Dans English Poetry in Context : From the 16th to the 21st Century, 237–324. Berlin : Erich Schmidt Verlag GmbH & Co. KG, 2022. http://dx.doi.org/10.37307/b.978-3-503-20511-0.05.

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Jin, Fu, et Zhang Qiang. « Modern drama and “feudalism, capitalism and revisionism” ». Dans A History of Chinese Theatre in the 20th Century IV, 3–35. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-2.

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Chen, John Z. Ming, et Yuhua Ji. « Theorizing English-Canadian Social Realism ». Dans Marxism and 20th-Century English-Canadian Novels, 101–33. Berlin, Heidelberg : Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46350-5_4.

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Chen, John Z. Ming, et Yuhua Ji. « Introduction : Reality, Realism and (Neo-)Marxist Definitions and Paradigms ». Dans Marxism and 20th-Century English-Canadian Novels, 3–34. Berlin, Heidelberg : Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46350-5_1.

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Chen, John Z. Ming, et Yuhua Ji. « Reinterpreting History from a (Neo-)Marxist Perspective : Social, Intellectual and Literary Background ». Dans Marxism and 20th-Century English-Canadian Novels, 35–68. Berlin, Heidelberg : Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46350-5_2.

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Chen, John Z. Ming, et Yuhua Ji. « Early Beginnings of “Violent Duality” : From Prairie Realism to Urban Social Realism in Durkin’s The Magpie ». Dans Marxism and 20th-Century English-Canadian Novels, 69–98. Berlin, Heidelberg : Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46350-5_3.

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Chen, John Z. Ming, et Yuhua Ji. « Metropolis in Contrast with Cabbagetown : Callaghan’s They Shall Inherit the Earth and Garner’s Cabbagetown ». Dans Marxism and 20th-Century English-Canadian Novels, 135–69. Berlin, Heidelberg : Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46350-5_5.

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Chen, John Z. Ming, et Yuhua Ji. « Revolution or Reform : Baird’s Waste Heritage Versus Birney’s Down the Long Table ». Dans Marxism and 20th-Century English-Canadian Novels, 171–99. Berlin, Heidelberg : Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46350-5_6.

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Chen, John Z. Ming, et Yuhua Ji. « From Vision and Ideal to Strategy and Reality : Grove’s The Master of the Mill and Carter’s Fatherless Sons ». Dans Marxism and 20th-Century English-Canadian Novels, 203–34. Berlin, Heidelberg : Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46350-5_7.

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Chen, John Z. Ming, et Yuhua Ji. « Class, Capital, and the Case of CanLit Par Excellence : A (Neo-)Marxist Study of Margaret Laurence’s The Diviners ». Dans Marxism and 20th-Century English-Canadian Novels, 235–48. Berlin, Heidelberg : Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46350-5_8.

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Actes de conférences sur le sujet "English drama – 20th century"

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Cui, Chao. « Text Mining Of English Grammar Books In 19th ~ 20th Century ». Dans 2022 International Conference on Machine Learning and Knowledge Engineering (MLKE). IEEE, 2022. http://dx.doi.org/10.1109/mlke55170.2022.00064.

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Hou, Yulu. « Bridging Chinese and English Names : Educational Journey of a Chinese-American Architect in the Early 20th Century ». Dans 2024 AERA Annual Meeting. Washington DC : AERA, 2024. http://dx.doi.org/10.3102/2104066.

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Gao, Chen, Xiatong Li et Peiyun Wu. « Linguistic Patterns in English Versions of Tao Te Ching Reflect British Politics from 19th to 20th Century ». Dans 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France : Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.157.

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Dong, Xiao. « POPULARITY OF STANISLAVSKY IN CHINA ». Dans 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.26.

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Konstantin Sergeevich Stanislavsky is the most influential theater director of the Soviet era in the first half of the 20th century. The system he created, which is based on the “art of experiencing”, had a profound impact on the performing arts of the 20th century. Since it was introduced into China in the 1940s, it has played a very important role in the development of contemporary Chinese drama performance art in the 1950–1960 years. In the 1960–1970, Stanislavsky was criticized in China. Since the late 1970s, although Stanislavsky has been vindicated in China, his importance has correspondingly weakened with the popularity of Brecht. It can be said that the encounter of Stanislavsky in China is a typical example, reflecting acceptance and interpretation of Russian Soviet literature and art in China. To some extent, this tendency obscures the real value of Russian Soviet literature and art. It is a problem worthy of reflection.
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DOSPINESCU, Liviu. « Present-Day Trends in the Research and Creation of Living Arts in the Academia : A North American Model ». Dans The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0011.

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This paper tackles several aspects of the ‟opening towards the Other” that has marked an emancipation trend in the arts of the stage for more than a century; I will name them living arts because, of all the arts, they are distinctly characterized by this essential quality. It also finds its meaning in the institutional decompartmentalization and the opening of disciplinary practices towards the others. Under the sign of the inherent human living presence, the living arts refer to experiences in the whole spectre of the stage arts, coming under a polymorphous subject of research as early as the former half of the 20th century. It includes the most diverse disciplinary aspects, which are no longer just those of the drama, dance and choreography, performance or music, because the disciplinary practices of the other field and also practices from more remote fields like the visual arts, the cinema or those of the languages of new technologies connected, for instance, with the complex projections on the stage or its augmentation through Virtual Reality etc. can be added to it any time. Thus, we can notice how, in an intermedial process, in the meeting of drama and film, drama, as an art of the unmediated and of the living presence, tends to leave a mark (i.e. of the living) on the spectre of the delayed presence of the film in an inter- or even transdiciplinary relation. Therefore, the paper explores phenomena around the meeting of distinct entities under the interdisciplinary and intercultural aspects that mark the strong current interest in alterity and hybridity in the stage act but also in the new modes of perception in which the spectator is invited to engage or in the new interpretation grids demanded of the researcher. I will enrich this perspective by offering a few present-day reserach and creation trends in the living arts in the academia. They are extracted from my experience of both research-creation and doctoral project coordination. I share this experience in order to reveal a distinctiveness of research and creation at University of Laval, Québec and, at a larger scale, a trend or maybe even a model for the North American space. Apart from its descriptive aspects, my paper aims at raising new questions, inspire new possibilities and reinforcing new contributions in the research and creation of living arts.
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Zhitin, R., et A. Topil'skiy. « “Manor libraries of the Tambov province of the late 18th – early 20th centuries” : a method of creating an information resource ». Dans Historical research in the context of data science : Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1805.978-5-317-06529-4/166-172.

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The article analyzes the main approaches to creating an information resource “Estate libraries of the Tambov province of the late XVIII – early XX century. The author analyzes the source base, identifies ways to systematize book collections of Tambov nobles of the XVIII–XIX centuries in Russian, French, Greek, Latin, English and German, and their significance for the study of book culture in the region
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Zhitin, R., et A. Topil'skiy. « “Manor libraries of the Tambov province of the late 18th – early 20th centuries” : a method of creating an information resource ». Dans Historical research in the context of data science : Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1805.978-5-317-06529-4/166-172.

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The article analyzes the main approaches to creating an information resource “Estate libraries of the Tambov province of the late XVIII – early XX century. The author analyzes the source base, identifies ways to systematize book collections of Tambov nobles of the XVIII–XIX centuries in Russian, French, Greek, Latin, English and German, and their significance for the study of book culture in the region
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Magiru, Anca, et Ionel Magiru. « ENGLISH FOR LAW STUDENTS : THE CASE STUDY METHOD ». Dans eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-125.

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The paper intends to prove that the English lesson for the law students of English should be special, productive and also fun in order to get good results and personal satisfaction, to exercise the students' minds and their reasoning powers. Taken into account these purposes, the paper will focus on the case study method which has got an emphatic active-participatory and formative effect, being a dynamic way of learning which wants special conditions for an efficient solving of the case. What we really should do in the class is to select cases from the 20th century which are the subjects of appeal to a higher court indicating that the point of law involved is difficult and causes reasonable jurists to disagree over the result. On appeal, many of the judgments are not unanimous, this further showing that the legal issues are not easy. The cases should be consistent with the general current of the law in the United States of America and in the other common law countries. The results in the cases should not be arbitrary.The method, with a bilateral, interactive and reciprocal character, will make students love ruling as judges and/or jury on true courtroom cases that give them a chance to defend the accused. The method will help students develop and improve: a. their legal conscience and thinking, b.their legal principles, feelings and attitudes, c. and their legal ability, practice and usage. It will motivate the students to love the truth and be honest and correct people.
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Lahodová, Marie. « Speech acts of request and apology realised by Czech students of English as a foreign language : Selected findings of a pilot study ». Dans Eighth Brno Conference on Linguistics Studies in English. Brno : Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9767-2020-6.

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During the second half of the 20th century, there was a shift in focus in second-language-acquisition research from linguistic competence to communicative and pragmatic competence (Hymes 1972, Canale & Swain 1980, Bachman 1990, Bachman & Palmer 1996, Usó-Juan & Martínez-Flor 2006). This resulted in a growing number of studies on speech acts in general. Motivated by a lack of studies on the speech acts of apology in conversations of Czech learners of English as a foreign language, my study aims to shed light on request and apology strategies used by Czech university students. The aim of this paper is to present the findings of a pilot investigation into the speech acts of apology and request. The first aim of the study is to compare two data collection techniques: the open-ended written discourse completion task (DCT) and the oral production task (OPT). The second aim is to investigate the use of request and apology strategies by Czech learners of English. The findings suggest that both of the data collection techniques produced very similar data. In terms of requests, most respondents opted for a conventional indirect strategy. In terms of apologies, respondents opted for statements of remorse, offers of repair and account.
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LIAO, QINSI, et RONG HU. « ON THE TEACHING DESIGN AND TEACHING PRACTICE OF IDEOLOGICAL AND POLITICAL EDUCATION IN COLLEGE ENGLISH COURSE BASED ON “STUDENT-CENTERED” ». Dans 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT (AEIM 2021). Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35962.

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Abstract. Education is a human activity and a social activity with human as its object. This “People-oriented” educational philosophy is a trend of thought that has influenced the world since modern times, especially since the middle and late 20th century. Students are the foundation of university, but also the object of university education and the center of university development. The paper, adhering to the “Student-centered learning” approach, designs and practices the ideological and political education in College English curriculum from a multi-dimensional perspective, and discusses how to promote the ideological and political education in College English course.
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Rapports d'organisations sur le sujet "English drama – 20th century"

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Paradox and Coexistence : Latin American Artists, 1980 - 2000. Inter-American Development Bank, janvier 2002. http://dx.doi.org/10.18235/0005931.

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The show represents a number of artistic trends developed by Latin American artists during the last two decades of the 20th Century. An assortment of works in different media¿oil on canvas, acrylics, rusted steel, photography, video, photography collage, ceramic, cedar wood and ropes, and paper sculpture¿provides a general view of the latest art trends in Latin America. The exhibit complements the book ¿Art of Latin America, 1981-2000¿ by Colombian Professor Germán Rubiano Caballero, which was launched in English and Spanish. Galleries and artists from Latin America and the United States collaborated with the exhibit.
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