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Data publikacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Hippolyta (greek mythology) – drama"

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Showerman, Earl. "A Century of Scholarly Neglect: Shakespeare and Greek Drama". Journal of Scientific Exploration 37, nr 2 (11.08.2023): 201–17. http://dx.doi.org/10.31275/20233109.

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In the late 19th and early 20th centuries, a number of Shakespeare scholars, including Israel Gollancz (1894), H.R.D. Anders (1904), J. Churton Collins (1904), and Gilbert Murray (1914) wrote convincingly of Shakespeare’s debt to classical Greek drama. However, in the century since, most scholars and editors have repeatedly held that Shakespeare was not familiar with Greek drama. In Classical Mythology in Shakespeare (1903), Robert Kilburn Root expressed the opinion on Shakespeare’s ‘lesse Greek’ that presaged this enduring dismissal: “It is at any rate certain that he nowhere alludes to any characters or episodes of Greek drama, that they extended no influence whatsoever on his conception of mythology.” (p. 6) This century-long consensus against Attic dramatic influence was reinforced by A.D. Nutall, who wrote, “that Shakespeare was cut off from Greek poetry and drama is probably a bleak truth that we should accept.” (Nutall, 2004, p.210) Scholars have preferred to maintain that Plutarch or Ovid were Shakespeare’s surrogate literary mediators for the playwright’s adaptations from Greek myth and theatre. Other scholars, however, have questioned these assumptions, including Laurie Maguire, who observed that “invoking Shakespeare’s imagined conversations in the Mermaid tavern is not a methodology likely to convince skeptics that Shakespeare knew Greek drama.” (p. 98) This near-universal rejection of Greek drama as Shakespeare sources have profound philological implications. Indeed, this essay argues that the proscription against recognizing the Attic canon as an influence in Shakespeare has been driven by the belief that Will Shakspere of Stratford had, at most, an education that was Latin-based. The examples show that the real author had to have been exposed to both the Greek language and the Greek dramatists. Evidence for alternative candidates, including Edward de Vere, shows that many were schooled in Greek and that some even collected and supported translations of Greek works. It is my contention that Shakespeare’s dramatic imagination was actually fired by the Greeks, and Shakespeare research has clearly suffered from a century of denial.
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De Chiara-Quenzer, Deborah. "Commentary on Pappas". Proceedings of the Boston Area Colloquium of Ancient Philosophy 32, nr 1 (25.07.2017): 59–65. http://dx.doi.org/10.1163/22134417-00321p06.

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This commentary on Nicholas Pappas’s paper, “Telling Good Love from Bad in Plato’s Phaedrus,” reflects on a number of Pappas’s thoughtful observations and interpretations of features woven into the drama of the discussion (for example, Typho and Boreas, wings, left and right). However, unlike Pappas, who refrains from claiming that divinely inspired human love (good love) can be discerned by turning to the earthly, this commentary suggests that Pappas’s contrasts of wings which conceal versus wings which elevate, of left and right, and my added contrast of traditional Greek mythology versus Platonic mythology, lay the groundwork to discern the divine in the earthly, and to distinguish concomitantly bad from good human love. Additionally, the commentary discusses how Plato’s use of collection and division is used to distinguish good and bad human love.
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Aboelazm, Ingy. "Africanizing Greek Mythology: Femi Osofisan’s Retelling of Euripides’the Trojan Women". European Journal of Language and Literature 4, nr 1 (30.04.2016): 87. http://dx.doi.org/10.26417/ejls.v4i1.p87-103.

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Nigerian writer Femi Osofisan’s new version of Euripides' The Trojan Women, is an African retelling of the Greek tragedy. In Women of Owu (2004), Osofisan relocates the action of Euripides' classical drama outside the walls of the defeated Kingdom of Owu in nineteenth century Yorubaland, what is now known as Nigeria. In a “Note on the Play’s Genesis”, Osofisan refers to the correspondences between the stories of Owu and Troy. He explains that Women of Owu deals with the Owu War, which started when the allied forces of the southern Yoruba kingdoms Ijebu and Ife, together with recruited mercenaries from Oyo, attacked Owu with the pretext of liberating the flourishing market of Apomu from Owu’s control. When asked to write an adaptation of Euripides’ tragedy, in the season of the Iraqi War, Osofisan thought of the tragic Owu War. The Owu War similarly started over a woman, when Iyunloye, the favourite wife of Ife’s leader Okunade, was captured and given as a wife to one of Owu’s princes. Like Troy, Owu did not surrender easily, for it lasted out a seven-year siege until its defeat. Moreover, the fate of the people of Owu at the hands of the allied forces is similar to that of the people of Troy at the hands of the Greeks: the males were slaughtered and the women enslaved. The play sheds light on the aftermath experiences of war, the defeat and the accompanied agony of the survivors, namely the women of Owu. The aim of this study is to emphasize the play’s similarities to as well as shed light on its differences from the classical Greek text, since the understanding of Osofisan’s African play ought to be informed by the Euripidean source text.
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Kim, Gongsook. "The Archetype of Femme Fatale Character in K-drama: Focusing on the Heroine of Misty". Korean Society of Culture and Convergence 45, nr 4 (30.04.2023): 291–308. http://dx.doi.org/10.33645/cnc.2023.04.45.04.291.

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The archetype of the femme fatale character of Go Hye-ran, the heroine of the K-drama Misty, was analyzed by applying the Greek mythology archetype theory of the Jungian School of Bolen and the discussion of the femme fatale character in literature. A femme fatale is a female type that maximizes the negative aspects of the archetype of the goddess Aphrodite. Misty shows the tragedy that can happen when an goddess Aphrodite-archetypal woman rushes for her desire through the modern success-oriented femme fatale Go Hye-ran. She reproduces the archetype of femme fatale as a beautiful and menacing villainess, an unknown woman wrapped in a veil, and the incarnation of narcissistic desire. The femme fatale's counterpart is an immature and weak male type. Lee Jae-young is analyzed as the archetype of Ares, the goddess Aphrodite's lover, Myung-woo Ha as the archetype of Hephaestus, the husband chosen by Aphrodite, and Tae-wook Kang as the archetype of Apollo. Go Hye-ran can be said to be a true femme fatale in K-drama, which completed Misty as an archetypal drama by embodying femme fatale characters in myths and classics in a modern way.
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Luton, Jane Isobel, i Jacqueline Hood. "A Sisyphean task? Doing drama online with Year 9 students in a COVID-19 lockdown". Teachers and Curriculum 22, nr 1 (3.08.2022): 39–45. http://dx.doi.org/10.15663/tandc.v22i1.385.

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Using the allegory of Sisyphus from ancient Greek mythology, we examine the problems that arose while teaching Year 9 drama classes online during the COVID-19 pandemic lockdowns in Aotearoa, New Zealand. At times we have felt like Sisyphus, forced to push a boulder uphill forever. We became adept at using the school’s chosen online platform, in this case, Microsoft Teams. For all teachers, this meant that students were no longer in an actual classroom with their peers but met in a virtual space as a series of little icons on a screen. For drama, this disrupted the very essence of the praxis. Drama is, at its heart, an embodied, interactive “subject”, requiring collaboration, cooperation and participation. Like Sisyphus, we have, at times, felt the task of teaching drama cannot be truly accomplished. In this article, we focus specifically on the Year 9 drama students, the youngest year group at secondary colleges in New Zealand. They are part of the generation defined as Gen Z (Beresford Research, 2022), “digital natives who have little or no memory of the world as it existed before smartphones” (Parker & Igielnik, 2020., para. 4). We compare the expectations and interactions of a traditional drama classroom with those online. We explore the approaches we took to encourage student participation in this new forum, trying to find dramatic strategies to mitigate some of the problems that arose. We discuss the consequences and outcomes of teaching drama remotely. Unlike Sisyphus, can we learn from successes and failures, or are we as drama teachers doomed forever to roll a large rock uphill?
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Śmiechowicz, Olga. "Pure Propaganda or Great Art, Patriotism and Civic Engagement? How Aeschylus and Euripides Used Their Plots to Support Athenian Politics towards the Allies". Symbolae Philologorum Posnaniensium Graecae et Latinae 29, nr 2 (15.12.2019): 5–16. http://dx.doi.org/10.14746/sppgl.2020.xxix.2.1.

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In this article I would like to focus on one research topic: how ancient tragedians manipulated their drama plots (based on Greek mythology) so as to use them for influencing Athenian “international policies.” Those were not any mistakes or airs of nonchalance on the part of the Athenian tragedians; it was just their carefully premeditated strategy of creating persuasive messages to function as pure propaganda. I am chiefly directing my attention to the topic of how the Athenians established their relations with the allies. Meaning the closest neighbours as well as some of those who did not belong in the circle of the Hellenic civilization. I have decided to devote all of my attention to Aeschylus’ and Euripides’ works, as both of them were obvious supporters of the democratic faction. I focused my attention on the texts: Aeschylus: The Suppliants, Oresteia; Euripides: Heracleidae, Andromache, Archelaus,Temenos.
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Mostafa Hussein, Wafaa A. "Freedom as the Antithesis of Commitment in Jean-Paul Sartre’s The Flies (Les Mouches)". International Journal of Linguistics, Literature and Culture 8, nr 2 (30.06.2021): 1–17. http://dx.doi.org/10.19044/llc.v8no2a1.

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In the mid of the twentieth century, French Existentialism was a predominant doctrine that significantly enriched and influenced the literary scene in Europe during the Post-War area. Jean-Paul Sartre (1905-1980), the founder of Existentialism, is both a professional philosopher and a talented man of letters whose literary achievements represent a declarative embodiment of his Existentialist philosophy. In his 1943 drama, The Flies (Les Mouches), Sartre puts the Greek myth into a drastically innovative structure, where contemporary issues and values are presented through classical outlines. The current study aims to present a critical analysis of Sartre's depiction of the Electra/Orestes myth in The Flies through demonstrating how Greek mythology becomes an essential substructure of the play's Existentialistic framework, on the one hand, and questioning the credibility of the Sartrean concept of freedom and commitment, as illustrated in the play, on the other hand. The study utilizes the Existentialist philosophy as a theoretical framework in order to elucidate that the Sartrean conception of freedom and commitment is paradoxically antithetical. The research investigates how Orestes has been theoretically free and the extent to which he strives, throughout the drama, to transform this abstract freedom into a concrete experience by committing himself to a specific action: murdering Aegisthus and Clytemnestra. However, as the study proves, this Existentialist freedom becomes an illusion in the sense that Orestes' commitment to the Argives makes him a captive of society; by choosing commitment, he dismisses his freedom. The researcher has chosen "Freedom" and "Commitment" as the main topic of the present study in order to expose Sartre's existentialistic awareness of modern human beings' dilemma under the influence of all forms of aggression and highlight the discrepancy between theoretical philosophy and real-life experiences. The study adopts an interdisciplinary analytical approach where myth, philosophy, and drama are dovetailed and fused in order to expand the scope of the analysis.
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Kumukova, Dzhamilya. "Strindberg’s A Dream Play and Gumilyov’s Allah’s Child. A mystery plot". Scandinavian Philology 20, nr 2 (2022): 311–27. http://dx.doi.org/10.21638/11701/spbu21.2022.206.

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Тhe article explores the issue of implementation of a mystery plot in the dramaturgy of the turn of 19th–20th centuries. Within the aspect of the given topic, two plays are considered — A. Strindberg’s drama A Dream Play, and N. S. Gumilyov’s fairy tale Allah’s Child. It is an attempt to demonstrate that in these works one can find the same plotline, which can be traced back to the myth of Persephone. With various interpretations still around as to the content of the ancient Greek mystery, is can generally be acknowledged that the myth comprised the foundation of the sacred action at Eleusis; the debate only concerns its “stage” adaptation. At the turn of 19th–20th centuries, the story of Persephone is already creating its own, new myth about the trials of a wandering soul on the path of knowledge. In Strindberg’s and Gumilyov’s plays, the soul (Persephone) is played by a divine being: in A Dream Play it is the daughter of god Indra of ancient Indian mythology, and in Allah’s Child it is the daughter of a god from the mythology of peoples of Central and Minor Asia. Both heroines go through a hard path of earthly sorrows, and in the denouement return to the divine world. This plot structure, which mirrors the development of an ancient mystery, both playwrights — Swedish and Russian — introduce the Poet as a character. In both A Dream Play and Allah’s Child the Poet becomes an intermediary between the earthly and divine lives, bridging the gap between those worlds, and, in essence, acting as Dionysus. The general trend, whereby the dramaturgy of “the turn” looked back to ancient mythology, speaks to the ongoing process of myth structuring, as it acquires new meaningful layers.
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Koci, Katerina. "Whose Story? Which Sacrifice? On the Story of Jephthah’s Daughter". Open Theology 7, nr 1 (1.01.2021): 331–44. http://dx.doi.org/10.1515/opth-2020-0167.

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Abstract The story of Jephthah and his daughter (Judg. 11:29–40) is a peculiar and problematic text. This article explores the question of the accountability for the sacrificial act with which the story culminates, and which provokes sharp disapproval in certain quarters, especially because of its gender bias. Applying the hermeneutical framework of René Girard and his distinction between sacrifice in Greek mythology (divinity in charge) and sacrifice in Judeo-Christian revelation (everyone responsible for his/her actions), I investigate the question: Is Jephthah’s daughter a mute puppet in a drama staged by her tyrannical father, or perhaps fate, or is she rather a woman who is responsible for her own actions and accountable only to herself? The answer is twofold: she is a woman fully responsible for herself; however, the responsibility for her premature and violent death is shared by her father, herself, and the biblical author–redactor. After identifying Jephthah’s daughter as a person responsible for her own actions, I aim to overcome the dialectic of “the text of terror” (post-structuralist interpretation) and the search for “herstory” (neoliberal interpretation). I suggest that in her powerlessness against patriarchal tyranny, Jephthah’s daughter nonetheless exerts power and authority in condemning the existing power structures. Without approving any form of sacrifice, reading the story through a lens of powerful powerlessness can help us discern different forms of power and, ultimately, reject the aggression and violence that has dominated our world to this very day.
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Apene, Dickson Nkehmengwe. "Intertextuality Across Genres: A Study of Homer’s the Odyssey and Suzan-Lori Parks’s Father Comes Home from the Wars". Global Academic Journal of Linguistics and Literature 5, nr 05 (23.09.2023): 81–86. http://dx.doi.org/10.36348/gajll.2023.v05i05.003.

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This research work aims to show the relationship between Homer’s The Odyssey and Parks’s Father Comes Home from the Wars. It has as objective, to debunk the stereotypical norms of writing literary works, which shows that comparative analysis can only be limited to a particular genre, that is (novel to novel, play to play and poetry to poetry). This intertextual study proclaims that a literary work cannot be limited only to a particular genre but can equally cut across genres. This explains why Parks rewrites Homer’s epic poem The Odyssey into a play, Father Comes Home from the Wars, which she transforms into the American scenario. Thus, the researcher is going to carry out a comparative analysis between Homer’s epic poem and Parks’s play. Our study of the selected works has considered the way meanings are constructed by a network of cultural and social discourses which embody distinct codes, expectations and assumptions. Besides, the thematic and linguistic similarities and differences between the works of the European and American authour selected have enabled the researcher to have an insight into literary influences and affinities. This article has also studied the life experiences of the authours selected, and their historical contexts and has demonstrated that Homer had no direct influence on Parks. This work is premised on the hypothesis that intertextuality is not limited to a particular genre of writing, be it prose, poetry or drama but can equally cut across genres. Intertextuality foregrounds the notions of interconnectedness and interdependence in culture. To analyse these works, the researcher used deconstruction to debunk traditional norms of writing in contrastive studies. Although Parks subscribes to Greek mythology and the Theatre of the Absurd respectively, she deviates from her European forebear of this convention, as she presents her play Father Comes Home from the Wars, which is again not written in acts and scenes but in parts, through American realism, as she is somewhat a social critic.
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Rozprawy doktorskie na temat "Hippolyta (greek mythology) – drama"

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Hussein, Abdelhamid. "Griechische Mythologie im modernen arabischen Theater am Beispiel Ägyptens und Syriens /". Aachen : Shaker, 2004. http://catalog.hathitrust.org/api/volumes/oclc/56878742.html.

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Riley, Kathleen. "The reception and performance of Euripides' Herakles : reasoning madness". Oxford [u.a.] Oxford Univ. Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199534487.001.0001.

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Hamilton, Christine Rose Elizabeth. "The Function of the Deus ex Machina in Euripidean Drama". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500421429824731.

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Van, Zyl Smit E. "Contemporary witch : dramatic treatments of the Medea myth". Thesis, Stellenbosch : University of Stellenbosch, 1987. http://hdl.handle.net/10019.1/1440.

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Silverblank, Hannah. "Monstrous soundscapes : listening to the voice of the monster in Greek epic, lyric, and tragedy". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:f66a7bb1-de17-46f2-b79f-c671c149c366.

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Although mythological monsters have rarely been examined in any collective and comprehensive manner, they constitute an important cosmic presence in archaic and classical Greek poetry. This thesis brings together insights from the scholarly areas of 'monster studies' and the 'sensory turn' in order to offer readings of the sounds made by monsters. I argue that the figure of the monster in Greek poetry, although it has positive attributes, does not have a fixed definition or position within the cosmos. Instead of using definitions of monstrosity to think about the role and status of Greek monsters, this thesis demonstrates that by listening to the sounds of the monster's voice, it is possible to chart its position in the cosmos. Monsters with incomprehensible, cacophonous, or dangerous voices pose greater threats to cosmic order; those whose voices are semiotic and anthropomorphic typically pose less serious threats. The thesis explores the shifting depictions of monsters according to genre and author. In Chapter 1, 'Hesiod's Theogony: The Role of Monstrosity in the Cosmos', I consider Hesiod's genealogies of monsters that circulate and threaten in the nonhuman realm, while the universe is still undergoing processes of organisation. Chapter 2, 'Homer's Odyssey: Mingling with Monsters', discusses the monster whom Odysseus encounters and even imitates in order to survive his exchanges with them. In Chapter 3, 'Monsters in Greek Lyric Poetry: Voices of Defeat', I examine Stesichorus' Geryoneis and the presence of Centaurs, Typhon, and Gorgons in Pindar's Pythian 1, 2, 3, and 12. In lyric, we find that these monsters are typically presented in terms of the monster's experience of defeat at the hands of a hero or a god. This discussion is followed by two chapters that explore the presence of the monster in Greek tragedy, entitled 'Centripetal Monsters in Aeschylus' Prometheus Bound and Oresteia' and 'Centrifugal Monsters in Greek Tragedy: Euripides and Sophocles.' Here, I argue that in tragedy the monster, or the abstractly 'monstrous', is located within the figure of the human being and within the polis. The coda, 'Monstrous Mimesis and the Power of Sound', considers not only monstrous voices, but monstrous music, examining the mythology surrounding the aulos and looking at the sonic developments generated by the New Musicians.
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Masciadri, Virgilio. "Eine Insel im Meer der Geschichten : Untersuchungen zu Mythen aus Lemnos /". Stuttgart : Steiner, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016376984&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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McFall, Edwin K. "Tragic hero to antichrist : Macbeth, the Oedipus Tyrannus of the English Renaissance /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/10234.

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Dixon, Dustin W. "Myth-making in Greek and Roman comedy". Thesis, 2015. https://hdl.handle.net/2144/16320.

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Challenging the common notion that mythological comedies simply burlesque stories found in epic and tragedy, this dissertation shows that comic poets were active participants in creating and transmitting myths and argues that their mythical innovations influenced accounts found in tragedy and prose mythography. Although no complete Greek mythological comedy survives, hundreds of fragments and titles reveal that this type of drama was extremely popular; they were staged in Greece, Sicily, and Southern Italy and make up about one-half of all comedies produced in some periods. These fragments, supplemented by Plautus' Amphitruo (the only nearly complete mythological comedy), vase-paintings, and ancient testimonia, shed light on the vibrant tradition of comic mythology. In chapter one, I argue that ancient scholars' and prose mythographers' citations of comedies invite us to view comedians as authoritative myth-makers. I then survey the development of mythological comedy throughout the fifth and fourth centuries BCE. The plays' titles reveal common mythical topics as well as a number of comic myths that survived independent of the tragic tradition. In chapter two, I argue that Cratinus' Dionysalexandros and Epicharmus' Odysseus the Deserter are wildly innovative comedies that challenge previous accounts for mythological authority. In chapter three, Epicharmus' Pyrrha and Prometheus, Pherecrates' Antmen, and Cratinus' Wealth Gods are studied to show how comedians created new stories by fusing myths together and by combining myth and historical reality. In chapter four, I look at the affairs of Zeus to show the dramatists' different approaches to the same mythical material. While tragedians tend to focus on the suffering of Zeus' victims, comedians feature Zeus' humorously outlandish and usually harmless seductions. In chapter five, on the Amphitruo, I show how Plautus has transformed a myth about the birth of Heracles into a story about Jupiter's long-term affair with a pregnant woman. In chapter six, I enter the debate about comedy's influence on tragedy and argue that mythical variants invented by the comic poet Cratinus have been incorporated into Euripides' Trojan Women and Helen, which demonstrates that, as early as the fifth century, comic poets were seen as mythological authorities.
2017-06-30T00:00:00Z
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"Convergence and divergence: a comparative study of myth and tragic in Jiuge and Agamemnon". 1999. http://library.cuhk.edu.hk/record=b5890040.

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Książki na temat "Hippolyta (greek mythology) – drama"

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1988-, Orak Sevda, red. Hezkirî. Yenişehir, Diyarbakır: Lîs Basın-Yayın, 2013.

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Pradon. Phèdre et Hippolyte. Exeter, England: University of Exeter, 1987.

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Ganōtēs, Kōnstantinos. To drama tou Hippolytou. Athēna: Maistros, 2009.

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Euripides. Hippolytos. Thessalonikē: Ekdoseis Zētros, 2008.

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Ganōtēs, Kōnstantinos. To drama tou Hippolytou. Athēna: Maistros, 2009.

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Euripides. Alcestis, Medea, Hippolytus. Indianapolis: Hackett, 2007.

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D, H. Hippolytus temporizes: A play in three acts. Redding Ridge, CT: Black Swan Books, 1985.

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Pinelière, Guérin de La. Le Mythe de Phèdre: Les Hippolyte français du dix-septième siècle. Paris: Champion, 1996.

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Euripides. Hippolytos and other plays. Oxford: Oxford University Press, 2009.

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Miquel Maria Gibert i Pujol. Fedra, o La inclemència del temps. Barcelona: Edicions 62, 1993.

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Części książek na temat "Hippolyta (greek mythology) – drama"

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Alaux, Jean. "Acting Myth: Athenian Drama". W A Companion to Greek Mythology, 141–56. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396942.ch7.

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Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga". W Filosofie jako životní cesta, 130–45. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-8.

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The Study Prometheus, for example loosely follows up the central theme of Hans Blumenberg’s theory of myth and mythology, the character of Prometheus and Promethean conceptions in scientific as well as imaginative literature (poetry and drama). The aim is not an elaborate reflection of all the variations on Promethean themes that were summarized in Blumenberg’s epochal book Work on Myth (1979). The author rather selects some themes from the works on the myth about Prometheus in Classical Greek literature (Hesiod, Aeschylus) and, at the turn of modernism, in German movement Sturm und Drang (Goethe). Most attention is paid to a fictional figure known as actio per distans (action at distance, with keeping a distance) and its variations from the distance between people and gods through the distance between people to the distance of an ageing poet from spirit of the age (Zeitgeist), to which he no longer belongs.
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Ellana, Frank. "The Cormorant Hunters". W A Republic Of Rivers, 297–300. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195061024.003.0048.

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Abstract In this selection Frank Ellana (1904-), a King Island Eskimo, tells of a different kind of wilderness-the wild reaches of the human heart-in a tale of infidelity and murder that could have been taken from Greek mythology of drama, so intensely tragic is it.
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Savanekar, Dr Ram P. "THEMATIC ANALYSIS OF EUGENE O’NEILL’S PLAYS". W Futuristic Trends in Social Sciences Volume 3 Book 27, 57–60. Iterative International Publishers, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3baso27p2ch4.

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This present research paper throws light on thematic analysis of Eugene O’ Neill’s plays. O’ Neill is considered as one of the most controversial figures in modern drama. Eugene O' Neill is known as one of the greatest American playwrights in the history. His themes have made his plays highly recognized work and it is only because of strong themes of his plays just like dysfunctional family life, hiding behind a mask and Greek Mythology. His plays also throw light on social themes, religious themes, psychological themes, pessimism, family life and Greek mythology. His use of melodramatic elements in his early dramas may be the subject of study. In his plays, there is a touch of free play of realism and melodrama. Sometimes the characters of O’ Neill become like puppets without having their own life. His plays have been written by focusing on personal point of view having effect of his family’s tragic relationship. Hence, Eugene O’ Neill has become popular in American Literature because of themes of his play
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Doolan, Emma. "Unsettled Waters: The Postcolonial Gothic of Tidelands". W Screening the Gothic in Australia and New Zealand. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721141_ch01.

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Tidelands (2018), the first standalone Australian production in the Netflix Originals portfolio, imports the monstrous figure of the siren from Greek mythology to the South-East Queensland coast, unsettling not only the iconic Australian beach, but also the domestic television genres of the beachside soapie and crime drama. However, while Tidelands innovates in Australian Gothic, it also continues to engage with – or become entangled within – some of the genre’s oldest preoccupations: nation, inheritance, belonging, and colonial guilt. Tidelands’s spaces function as gothic heterotopias, reflecting tensions between multicultural, Indigenous, and Anglo-Celtic Australia which the series attempts to resolve by replacing First Nations peoples with the half-siren Tidelanders, imagining a future in which hybridity and assimilation erase the need for Reconciliation.
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