Bibliographies thématiques / Princesses – Drama

Littérature scientifique sur le sujet « Princesses – Drama »

Auteur : Grafiati
Publié le 27 juillet 2024
Mis à jour le 29 juillet 2024

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Articles de revues sur le sujet "Princesses – Drama"

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김원. « How to Use a Drama, Single Princesses and Blind Dates as Chinese Education Materials ». 아시아문화연구 27, no ll (septembre 2012) : 251–75. http://dx.doi.org/10.34252/acsri.2012.27..010.

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Ziobro, Melissa. « “The almighty dollar will buy you, you bet/ A superior class of coronet:" Biographical Sketches of NJ's Gilded Age "Dollar Princesses" ». New Jersey Studies : An Interdisciplinary Journal 4, no 2 (20 juillet 2018) : 230. http://dx.doi.org/10.14713/njs.v4i2.131.

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Season one of the acclaimed historical drama Downton Abbey was set in 1912, but a key element of the show’s storyline, known to all dedicated viewers, occurred years earlier, off screen, when a wealthy, young American heiress named Cora Levinson of Cincinnati married the British Robert Crawley, Viscount Downton, the future Earl of Grantham. As part of their marriage contract, Cora’s fortune would be tied to the Grantham family’s failing estate to prevent it from going bankrupt. In return, Cora would eventually earn the title of Countess of Grantham. While Downton Abbey’s Granthams are fictional, the idea of wealthy American heiresses marrying impoverished European noblemen is not. There were by some counts close to 500 of these marriages in the decades between the end of the Civil War and WWI, and several of the brides had ties to NJ. Who were these women? Can we know what motivated them? Did they find happiness? And how did their “loves lives” impact social norms, transatlantic relations, and the U.S. economy?
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Zahra, Fina, et Fadli M. Athalarik. « The Paradoxality of Gender Representation in the Gender Bender Korean Drama Mr. Queen ». COMMENTATE : Journal of Communication Management 3, no 2 (31 décembre 2022) : 91. http://dx.doi.org/10.37535/103003220221.

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Korean dramas are increasingly in demand in Indonesia. Its themes related to gender and sexuality are now in great demand, because the issue of gender inequality is increasingly being voiced in South Korea and Indonesia. One of the most talked about dramas in Indonesia when broadcasted was Mr. Queen by TVN (South Korean cable TV channel) in 2020. The drama consists of twenty episodes and can be watched by global fans through video on demand platform Viu, on smartphone and pc. There is even a version that has been dubbed in Indonesian, showing that the drama is very popular within the Indonesian audience. Mr. Queen is a Saeguk (drama set in the Joseon era) and is a remake of the popular Chinese web drama Go Princess Go (2015), which is an adaptation of the novel of the same title. Mr. Queen–like Go Princess Go–can be categorized in the genre of fusion and gender bender, because it tells the story of a male chef named Jang Bong Hwan from the Modern era whose soul crosses space and time until he entered the body of the Queen in the Joseon period (Queen Cheorin), presenting a new depiction of the queen; instead of the traditional feminine queen, Queen Cheorin portrays a masculine woman. Mr. Queen overturns gender and its relation to gender discourse in South Korea. However, using Sara Mills' critical discourse analysis, it is evident that the gender representation in Mr. Queen is paradoxical; as if offering a gender discourse that breaks the dominant discourse, but in fact it still represents woman as passive subject who continues to be exploited.
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Ripoll León, Verónica. « Elfriede Jelinek y la belleza de las princesas a través del espejo = Elfriede Jelinek and the beauty of princesses through the mirror ». FEMERIS : Revista Multidisciplinar de Estudios de Género 2, no 2 (31 juillet 2017) : 167. http://dx.doi.org/10.20318/femeris.2017.3764.

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Resumen. La autora Elfriede Jelinek –ganadora del Premio Nobel de Literatura en 2004– es una incansable creadora de personajes estereotipados. Mediante el empleo de la ironía, Jelinek utiliza a los protagonistas de sus obras para reflexionar de manera crítica sobre el conjunto de acciones y comportamientos sociales que forman parte de las expectativas de lo que el género femenino y masculino deben representar dentro de una sociedad. Un año antes de la mención del Nobel, Jelinek publicaba un conjunto de textos dramáticos reunidos bajo el título La muerte y la doncella I-V. Dramas de princesas (Der Tod und das Mädchen I-V. Prinzessinendramen, 2003). En esta obra, la escritora austríaca reescribía dos de los cuentos de princesas –Blancanieves y La Bella Durmiente– y una leyenda –Rosamunda–, que forman parte de la tradición literaria occidental, para reinventar después la historia de otras mujeres reales del panorama histórico y cultural como son Jacqueline Kennedy Onassis y las escritoras Sylvia Plath e Ingeborg Bachmann. El objetivo del presente estudio es atender al problema que supone en estos Dramas de princesas la existencia de unos cánones de belleza cuando se pretende construir la imagen y la identidad de unas mujeres que han quedado sometidas a la supremacía de poder que la sociedad otorga al varón. Para ello, y siguiendo la senda del psicoanálisis, se prestará especial atención al elemento del espejo, entendido como un instrumento que brinda o niega el reconocimiento a estas princesasPalabras clave: Elfriede Jelinek, teatro posdramático, cuentos de hadas, psicoanálisis, espejo.Abstract. Elfriede Jelinek, winner of the Literature Nobel Prize in 2004, is a tireless creator of stereotyped characters. Through the application of irony, the protagonists of her works are used with the intention of exciting critical thought about the social roles and actions expected to be played by women and men within a society. A year before being awarded the Nobel Prize, Jelinek released a body of plays under the title of Death and the Maiden I-V. Princess Plays (Der Tod und das Mädchen I-V. Prinzessinendramen, 2003). In this work, the Austrian writer rewrote two of the most famous fairytales featuring princesses, such as Snow White and Sleeping Beauty, as well as a legend played by Rosamunde. These tales are part of the core of Western literary tradition. In using them, she reinvents the story of other real characters and women from our historic and cultural panorama: Jacqueline Kennedy Onassis or writers like Sylvia Plath and Ingeborg Bachmann. The main goal of the present paper is to analyse the problem posed by the existence of a beauty canon in these Princess Plays insofar as the construction and depiction of female identity is subdued by the control and supremacy of a patriarchal society. To do so, and following a psychoanalytical approach, the theme of the mirror will be the main focus as an instrument which brings or hinders the acknowledgement of these princesses.Keywords: Elfriede Jelinek, postdramatic theatre, fairytales, psychoanalysis, mirror.
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Keener, Andrew S. « From Princess to Public University : The Augusta Sophia Collection of English Drama ». Libraries : Culture, History, and Society 8, no 1 (avril 2024) : 22–44. http://dx.doi.org/10.5325/libraries.8.1.0022.

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ABSTRACT This article argues that a collection of English play-texts gathered by Princess Augusta Sophia of the United Kingdom (1768–1840), daughter of King George III (1738–1820) and Queen Charlotte (1744–1818), represents the royal family’s intergenerational tradition of women’s book collecting. Located today at the University of North Carolina at Charlotte, the collection comprises nearly eight hundred full texts of comedies, farces, and musical dramas, mostly from the long eighteenth century. Significantly, it reflects the royal family’s theatrical and book-collecting interests, particularly those of Queen Charlotte, who supervised the princess’s education and whose own books Augusta adopted after the monarch’s death. Tracing the library’s reorganization and movements toward a city named after the queen—Charlotte, North Carolina—this article additionally demonstrates how Augusta Sophia’s book-collecting legacy, and her mother’s, have been obscured by patrilineal libraries and academic research priorities, and also what steps might “reconstruct” her library for further inquiry.
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Kasyanova, Olena. « Architectonics of the "Dance of The Seven Veils "From Richard Strauss's Opera "Salome" Through the Prism of Historical Reconstruction ». Часопис Національної музичної академії України ім.П.І.Чайковського, no 3-4(52-53) (14 décembre 2021) : 160–80. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251819.

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The phenomenon of the popularity of R. Strauss's opera "Salome" is explained through the prism of a new paradigm of performing arts, which is due to the rethinking of works of the modern era in the context of postmodern aesthetics. A comprehensive intersectional integrated analysis of musicological, iconographic, culturological, theological, social, psychological and physiological components of the work has been carried out. The methodology of key aspects of the research is determined: features of musical drama — genre-stylistic; content of ancient entertainments —historical and stylistic reconstruction; creation of psychological portraits of characters — system analysis; the concept of dance in opera is an interpretive method. The libretto of the opera is compared with O. Wilde's drama highlighting differences in the image of the main character: in the drama — two "Salome lines", in the libretto — three with the addition of "Dance of the Seven Veils" as an important scene in the conflict, personifying the story of the tragic love of a young princess. The peculiarities of the musical drama of the dance scene in the opera are studied, two opposing points of view on its role and place in the score of the work, the thoughts of the composer R. Strauss on this subject are outlined. The nature of dance entertainment at the courts of ancient rulers, the specifics of the performance of dances "Almeh" and "Ghawazi", which could serve as a prototype of the "Dance of the Seven Veils" performed by princess Salome is described in the article. The stylistics of the "Almeh" dances included a demonstration of highly artistic eroticism, and the "Ghawazi" dances a Bacchic seduction. In the dance scene, it is possible to combine these opposite patterns in the context to solve the musical drama of the work. The psychological and physiological features of Salome's age are analyzed, her characteristic features are explained, which could elucidate the logic of the young princess's actions. Psychological portraits of Salome, Jochanaan, Herodes and Herodias have been made, which directly or indirectly influence the specifics of the interpretation of the dance scene. The key aspects of the architectonics of the specified scene, the content of its parts, the correspondence of the nature of the dance performance to their content are determined, which determines the scientific novelty of the research. The results of the research are compared with modern incarnations of the dance scene in the opera, their partial correspondence is revealed in four out of five parts of dance drama, except for the development of the action. In the latter, there is a loss of tempo due to the mismatch between the gradual growth and decline of the musical drama of the dance scene with its choreographic embodiment. The necessity of using the concept of different branches of knowledge to establish a holistic picture of events in this scene is proved. Prospects for research of the chosen issues through the prism of the latest achievements in the field of musical theater, the attraction of modern interpretations to neo-syncretism are predicted.
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Kaufman, Amy S. « 'His Princess' : An Arthurian Family Drama ». Arthuriana 22, no 3 (2012) : 41–56. http://dx.doi.org/10.1353/art.2012.0030.

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Kasyanova, Olena. « "Dance щf The Seven Veils" Based щn Oscar Wilde's Drama "Salome" In The Director's Interpretation щf The Modern Era ». Часопис Національної музичної академії України ім.П.І.Чайковського, no 1(50) (18 mars 2021) : 117–32. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233140.

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The urgency to address to the theme of Salome in conditions of postmodern culture is considered. Some attempts are made to read anew and rethink it in the era of current information technology. Attention is paid to the peculiarities of the interpretation of the image of Salome and the "Dance of the Seven Veils" in the iconographic sources of the 12th – early 21st centuries through the prism of the aesthetics of certain era aimed to find artistic means of expression. An overview of the reflection of the event at the feast of Tetrarch Herod in the Gospel of Matthew and Mark. The content of the young princess's fateful dance, which led to irreparable tragic consequences — the beheading of John the Baptist. The necessity of using the concept of different branches of knowledge in order to establish a holistic picture of the development of events in this scene is proved. The sources that inspired O. Wilde to create the drama "Salome" are identified. The peculiarities of artistic interpretations of the image of the princess by the writer S. Mallarme and the artist G. Moreau are reflected in the article, in addition, the author showed the difference in the interpretation in the author's concept by O. Wilde. The stage version of "Salome" of 1902, directed by M. Reinhardt, is analyzed, the master's innovative approaches to the embodiment of dance are singled out against the background of the original scenography solution of M. Krause and L. Corinth, which became an aesthetic discovery in theatrical art of the modern era. Peculiarities of interpretation of Salome's dance based on O. Wilde's drama to O. Glazunov's music, with L. Bakst's decoration, M. Fokin's choreography, which continued modern experiments on the stage embodiment of the said work, are revealed. Priorities are set by dance director M. Fokin to work with iconographic sources, artistic design of the issue over the analysis of his musical drama. The results of the choreographer's search for new, relevant to the modern era, means of stage expression, their non-standard, bold combination to create an original version of the artistic and holistic spectacle are outlined. The influence of innovative discoveries of M. Reinhardt, V. Meyerhold and M. Fokin on further dance interpretations in R. Strauss's opera "Salome"
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Edwards, Mitchell. « "Heaven save the market!" : Henry James in the Fin de Siècle Literary Field ». Henry James Review 45, no 2 (mars 2024) : 171–86. http://dx.doi.org/10.1353/hjr.2024.a926113.

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Abstract: This article situates James's late nineteenth-century career within the context of the British literary field. Taking The Princess Casamassima (1886) as an example, I recast the novel's socialist drama as an exploration of tensions between aesthetic autonomy and external commitment, especially the pressures of a commercial literary marketplace. While James vies for simultaneous critical and commercial success in mid-career novels like Princess , after its commercial failure he turns to a new "experiment": seeking these polarized incentives in separately designated experimental and marketable works.
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Avram, Cristi. « Isabelle – The Last Princess of Maurice Maeterlinck ». Theatrical Colloquia 10, no 2 (1 décembre 2020) : 166–76. http://dx.doi.org/10.2478/tco-2020-0028.

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AbstractMaurice Maeterlinck, the author of some of the plays associated with the symbolist aesthetic, in which the character is often an unseen presence associated to destiny or death, writes in the first part of his career a collection of dramas in which the heroines seem to appear each time under different guises. At the end of his career, Maeterlinck returns to the mysterious universe proposed in his first text – The Princess Maleine, finishing the circle of love dramas, the dramas of the profound self discovery. The princess Isabelle comes and claims the unfulfillment of her sisters from the previous texts, which she afterwards saves. The obsession of the water, a lethal substance for most of Maeterlinck’s heroines, becomes for Isabelle the unconscious need for purification. Being the last text published during this author’s life, it contains within its structure fragments from almost all his previous work, and thus there is a certain continuity and unity between the obscurity of this author’s beginnings and the light of revelation which precedes the great travel to the unknown.
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Thèses sur le sujet "Princesses – Drama"

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Kabeya, Mukamba Fabien Honoré. « De "La Princesse Maleine" au "Miracle des mères" : l'imprégnation religieuse dans le théâtre maeterlinckien ». Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-01011175.

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Analyser l'ensemble de l'œuvre dramatique disponible de Maurice Maeterlinck, soit trente et une pièces de théâtre, en se laissant guider par le fil rouge majeur, son rapport avec les textes sacrés du christianisme, tel est l'objet de cette thèse. Les deux premiers théâtres maeterlinckiens apparaissent nettement comme deux tablettes antithétiques d'un même dyptique représentant respectivement l'enfer et le paradis. Aussi la notion biblique du libre arbitre s'impose-t-elle comme un facteur différentiel pertinent entre le théâtre du silence et d'aliénation et le théâtre de la parole et de libération. Des principes bibliques tels que la loi de la croyance, la puissance de la confession, le contraste entre les ténèbres et la lumière, la guerre et la paix, la perdition et la rédemption, la justice humaine et la justice divine, la mort et la résurrection des morts semblent s'ériger en métaphores obsédantes et en thématiques transversales unissant les quatre principaux moments du théâtre maeterlinckien.
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Lambert, Kirsten. « More than princess girls and “grrr” heterosexual dudes : An exploration of space, text, performativity, gender and becoming in senior secondary drama classrooms ». Thesis, Lambert, Kirsten (2017) More than princess girls and “grrr” heterosexual dudes : An exploration of space, text, performativity, gender and becoming in senior secondary drama classrooms. PhD thesis, Murdoch University, 2017. https://researchrepository.murdoch.edu.au/id/eprint/37625/.

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Late adolescence is a critical time in the formation of a young person’s sense of self with studies pointing to the senior secondary drama classroom as a generative space for this to occur. What is not yet clear is the importance of context, and particularly the powerful forces of neoliberal times, in shaping and potentially delimiting young people’s explorations of gender and life trajectories. More specifically, through the texts students study and the characters they embody, personality and desires are moulded by capital in ways hidden from individual control. Drawing on 15 drama teachers and 13 of their post compulsory students from government, Catholic and independent schools in Western Australia from a variety of socio-economic backgrounds, this dissertation examines the formation of identity/ies in the context of students’ embodiment of characters from proscribed texts in the senior secondary drama classroom and asks: how does the embodiment of characters in texts in year 12 drama empower and constrain adolescent becomings in contemporary times? Year 12 is the final year of schooling for students in Australia. Framed through a critical, post-humanist ethnographic methodology, the theories of Butler, Foucault, Deleuze and Guattari are utilised to examine how these forces and “becoming,” as a process of change and resistance, interact to create something new. Second, embodiment is considered through a neoliberal culture of competitive performativity, with gender considered third. Fourth, drama education and creativity are highlighted and linked in generative ways, with consideration then given to the ways that the contemporary zeitgeist impacts on drama education itself in uncertain times. The study contributes to our understanding of neoliberal education systems, whilst focusing specifically on adolescent becomings in drama. The research revealed evidence of a culture of performativity in Western Australian drama education. This is manifest in fewer subject choices offered in schools that limit drama’s availability, “data-driven” curriculum implementation, mechanisms of surveillance of teachers, and deleterious effects on students and teachers in schools from the lowest socio-economic backgrounds. Nevertheless, despite a pervasive culture of performative neoliberalism, teachers and students find creative lines of flight from normative educational structures and gender binaries in the safe and open space of the drama classroom.
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Passalacqua, Rosalba <1991&gt. « The representation of women in Japanese dramas : “Purinsesu meizon” (Princess maison), “Hotaru no hikari”(It’s Only a Little Light In My Life), “Nigeru wa haji da ga yaku ni tatsu” (Runaway is Ashamed But Helpful) ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12568.

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The purpose of this dissertation is to provide an insight into the representation of Japanese women and their emancipation in the society today through an analysis of Japanese contemporary dramas. I have decided to focus my attention specifically on dramas considering that characters tend to be stereotyped by Euro-American societies; and my intention is to try to overcome this barrier. Throughout the centuries, women played different roles within society and, consequently, within visual media, which can be viewed as a representation of reality. In this context reality should be considered as a “fictitious reality”, so that viewers can better identify themselves with the actors. It is difficult to identify where the boundary line between reality and fiction begins, but audiences are usually intrigued by this state of uncertainty. This research is divided into five chapters. In the first one, I will focus on the different types of dramas. From the second chapter to the fourth, a detailed critical analysis of three dramas will be introduced: “Princess maison”, “Hotaru no hikari” and “Nigeru ha haji da ga yaku ni tatsu”. In the last one I aim to make a comparison between all the women characters. In each drama, the main character is a woman, and three of them come from widely different social backgrounds, and, according to their social status, have no prospect of getting out of their established roles.
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Chun, Huang Hui, et 黃惠君. « The Influence of“Trendy drama”on Fifth and Sixth Graders’Identity : Using the“Case of Romantic Princess”as an Example ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/83988715770475610950.

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碩士
國立臺北教育大學
教育傳播與科技研究所
98
This study takes Romantic Princess as an example, to exploring its influences on fifth and sixth grader’s identity. Researcher covers identity through the awareness of plot structure’s reality, character’s personal relationships, the view of money and work, and the gender-sex role identity. Eight 5th and 6th graders are participants of this study. Qualitative method was used. Researcher first edits twelve identity-related sections of Romantic Princess, then eight participants were asked to view, finally, a one-on-one in-depth interview was conducted. The conclusions are as follows: 1.The main motivation to watch trendy dramas is to discuss with friends and identify the main actors. 2.Trendy dramas are often the topic of family, and parent is deciding factor. 3.They are generally able to distinguish the drama plot from reality. 4.5th and 6th graders often imitate the behavior of identifying character, and applying in real life. 5.5th and 6th graders emphasize friendship, disapproving the testing of family members. Yet their views of money and work show evidences of identity confusion. 6.5th and 6th graders are easily attracted by the romantic love and are still stuck in sexual stereotypes. Based on the above conclusions, researcher offers suggestions: 1.Strengthening 5th and 6th graders’recognition of their views on money, work and sexual stereotype, to preventing their biased identity. 2.School and other agencies should design activities to raise school children’s awareness of trendy dramas, and teachers should watch to clarify identity confusions children might have. 3.Drama producing crew and TV station should present multiple viewpoints, avoiding exclusive love theme. 4.To expand participants and scope in order to further understand this topic.
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Livres sur le sujet "Princesses – Drama"

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Yoko, Kobayashi, dir. Prinzessin Masako--der gefangene Schmetterling : Das Drama am japanischen Kaiserhof. Freiburg : Herder, 2005.

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Shaw, Bernard. The Inca of Perusalem. Studio City, CA : Players Press, 2002.

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Millay, Edna St Vincent. Lamp and the bell. Memphis, Tenn : General Books, 2010.

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Mcabraham-Inajoh, Nath. Inikpi : The warrior princess : a reinterpretation of the legend : a play. Bloomington, IN : AuthorHouse, 2012.

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Rich, Richard, et Jared F. Brown. The swan princess and the secret of the castle. Culver City, Calif : Sony Pictures Home Entertainment, 2009.

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Clare, McManus, dir. The island princess. London : Arden Shakespeare, 2013.

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James, Odu Abi. Phew ! of Odu : "pains for love". [Nigeria] : O.A. James, 2013.

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Artists, Disney Storybook, dir. Disney's princess plays : With scenes from Walt Disney's Cinderella, Disney's Aladdin & Walt Disney's Snow White and the seven dwarfs. New York : Disney Press, 2003.

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Hinton, Peter. The Swanne : A romance in three parts. Toronto : McArthur & Co., 2004.

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D'Urfey, Thomas. The injured princess, 1682. Oxford : Pergamon Press, 1985.

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Chapitres de livres sur le sujet "Princesses – Drama"

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Thifault, Paul. « The Indian Princess (1808) by James Nelson Barker ». Dans The Routledge Introduction to American Drama, 21–30. New York : Routledge, 2022. http://dx.doi.org/10.4324/9781003142713-3.

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Killigrew, Thomas, et British Drama 1533–1642 : A Catalogue. « 2538 : The Princess ». Dans British Drama 1533–1642 : A Catalogue, Vol. 9 : 1632–1636, sous la direction de Martin Wiggins et Catherine Richardson. Oxford University Press, 2018. http://dx.doi.org/10.1093/oseo/instance.wiggins2538.

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Fletcher, John, et British Drama 1533–1642 : A Catalogue. « 1975 : The Island Princess ». Dans British Drama 1533–1642 : A Catalogue, Vol. 7 : 1617–1623, sous la direction de Martin Wiggins et Catherine Richardson. Oxford University Press, 2016. http://dx.doi.org/10.1093/oseo/instance.wiggins1975.

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« Chapter 9. Plays about Princess Ochiba ». Dans Noh Drama and "The Tale of the Genji", 166–81. Princeton : Princeton University Press, 1991. http://dx.doi.org/10.1515/9781400861811.166.

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May, Thomas, et British Drama 1533–1642 : A Catalogue. « 2219 : Antigone the Theban Princess ». Dans British Drama 1533–1642 : A Catalogue, Vol. 8 : 1624–1631, sous la direction de Martin Wiggins et Catherine Richardson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oseo/instance.wiggins2219.

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Booth, Marilyn. « Violent Romances : The Bodily Drama of Patriarchal Trauma ». Dans Classes of Ladies of Cloistered Spaces. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694860.003.0008.

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This chapter considers the presence of violence in a volume of women’s biography, linking it to a critique of patriarchy that undergirds Fawwaz’s project as a public intellectual. It assesses the volume’s use of tragic romance as a political feminist strategy, drawing on work by Joan Wallach Scott, Helene Moglen, and others and theorizing a concept of ‘patriarchal trauma’. It focuses on biographies of the Egyptian singer Almas (or Almaz), Persian Babi activist Qurrat al-‘Ayn, legendary Frenchwoman Genevieve de Brabant, Cleopatra VII, Jane Digby, a Sicilian princess named Diya’, and others.
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« Thomas Heywood and the Princess Elizabeth : disrupting diachronic history ». Dans Historiography and Ideology in Stuart Drama, 67–90. Cambridge University Press, 1997. http://dx.doi.org/10.1017/cbo9780511585586.005.

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Haywood, Eliza. « The Adventures of Eovaai Princess of Ijaveo (1736) ». Dans Selected Fiction and Drama of Eliza Haywood, sous la direction de Paula R. Backscheider, 221–42. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195108460.003.0006.

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Abstract The Kingdom of Ijaveo was once among the Number of the most rich and powerful of any that compose the sublunary Globe; almost impregnable by its Situation, and more so by the Bravery and Industry of the People.2 The Earth Produced all kinds of Fruits and Flowers: the Rivers abounded with the most delicious Fish: the Air afforded a vast Variety of the feather’d Race, no less beautiful to the Eye, than exquisite to the Taste; and to crown all, the Climate was so perfectly wholesome, that the Inhabitants lived to an extreme old Age, without being afflicted with any Pain or Disease.
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Shakespeare, Critics Theatre. « [1856], Theodor Fontane (1819-98) on Charles Kean’s production of The Winter’s Tale at the Princess’s Theatre, London, translated by Russell Jackson from Fontane’s pamphlet Die Londoner Theater, mit besondere Rii.cksicht au/ Shakespeare (1858), reprinted in his collected Causerien uber Theater, vols. 22-3, pp. 7-n7, ed. Edgar Gross and Rainer Bachmann, in collaboration with Kurt Schreinert. The appended diary entry is from vol. 17 of the same edition, pp. 556-7- ». Dans Shakespeare in the Theatre, 95–98. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711773.003.0027.

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Abstract Charles Kean (18n-68), Eton-educated, respectable, earnest, scholarly-he became a Fellow of the Society of Antiquaries in 1857-was in many ways the antithesis of his disreputable genius of a father, Edmund. Along with his wife, the actress formerly known as Ellen Tree (1805-80), he managed the Princess’s Theatre, London, from 1850 to 1859, putting on with great popular success elaborate productions of eighteen Shakespeare plays along with spectacular historical dramas that have not maintained their place in the repertoire.
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Lim, Eng-Beng. « G.A.P. Drama, or The Gay Asian Princess Goes to the United States ». Dans Brown Boys and Rice Queens, 137–66. NYU Press, 2013. http://dx.doi.org/10.18574/nyu/9780814760895.003.0004.

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