Gotowe bibliografie tematyczne / Irish drama

Gotowa bibliografia na temat „Irish drama”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 1 sierpnia 2024

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Artykuły w czasopismach na temat "Irish drama"

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Richard P. Martin. "Upstaged: Irish Drama in Irish". Princeton University Library Chronicle 68, nr 1-2 (2007): 82. http://dx.doi.org/10.25290/prinunivlibrchro.68.1-2.0082.

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Murray, Christopher. "Contemporary Irish Drama". Moderna Språk 88, nr 1 (1.06.1994): 1–8. http://dx.doi.org/10.58221/mosp.v88i1.10084.

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Cottreau, Deborah, Cóilín D. Owens i Joan N. Radner. "Irish Drama 1900-1980". Canadian Journal of Irish Studies 22, nr 1 (1996): 108. http://dx.doi.org/10.2307/25513050.

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Ma, Qianqian. "John Singer's Comedic Drama and Western Culture". Journal of Education, Humanities and Social Sciences 4 (17.11.2022): 61–63. http://dx.doi.org/10.54097/ehss.v4i.2723.

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The writing of the West in Irish drama began in the Irish Renaissance in the late 19th and early 20th centuries and continues to this day. During the Irish Renaissance, in order to resist British colonial rule, writers endowed the western frontier region of Ireland with romantic imagery and mythic qualities, seeing it as a cultural symbol embodying nationhood, poetic idyll and Irishness. The West of Ireland fits perfectly with the writers' construction of Irish culture during this period in terms of its colonial history, economic environment, sense of national identity, language and culture, and religious beliefs. Thus, the Irish West became not only a symbol of Irish identity, but also a unique ideological field for the revitalisation of the Irish nation.
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Pilkington, Lionel, Robert Welch, W. J. Mc Cormack i Nicholas Grene. "Irish Drama and Its Contexts". Irish Review (1986-), nr 26 (2000): 118. http://dx.doi.org/10.2307/29736000.

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Benstock, Bernard, Mary C. King, D. E. S. Maxwell i John O'Riordan. "Three Cheers for Irish Drama". Contemporary Literature 28, nr 1 (1987): 121. http://dx.doi.org/10.2307/1208577.

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Bibbò, Antonio. "Irish Theatre in Italy during the Second World War: translation and politics". Modern Italy 24, nr 1 (11.10.2018): 45–61. http://dx.doi.org/10.1017/mit.2018.33.

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Irish drama underwent an extraordinary rediscovery in Italy during the Second World War, primarily because of its political convenience (Ireland was a neutral nation) but also because of its aesthetic significance. Through an analysis of the role of key mediators I employ Irish literature as a lens to investigate a crucial moment of renewal within both Italian politics and theatre, emphasising strands of continuity between Fascist and post-Fascist practices. First, I show how a wartime ban on English and American plays prompted an interest in Irish drama and the fluid status of the Irish canon enabled authors of Irish origin (e.g. Eugene O’Neill), to be affiliated with Irish literature. I then move on to considering how this very fluidity facilitated the daring rebranding of Irish theatre as anti-fascist in Paolo Grassi’s ‘Collezione Teatro’, a key step in his position-taking at the centre of Italy’s theatrical field. Ireland was a substitute for England and appeared on Italian (political and literary) maps mainly thanks to its anti-English function. However, despite the politically inflected motivation of the various, often contrasting uses of the category ‘Irish drama’ in wartime Italy, this was the first time Irish literature had been widely acknowledged as a specific tradition within the Anglosphere in Italy.
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Ní Riain, Isobel. "Drama in the Language Lab – Goffman to the Rescue". Scenario: A Journal of Performative Teaching, Learning, Research VIII, nr 2 (1.07.2014): 115–23. http://dx.doi.org/10.33178/scenario.8.2.11.

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Between 2011 and summer 2014 I taught Irish in the Modern Irish Department of University College Cork (UCC). I spent one hour a week with each of my two second year groups in the language lab throughout the academic year. Ostensibly, my task was to teach the students to pronounce Irish according to Munster Irish dialects. It was decided to use Relan Teacher software for this purpose. My main objective was to teach traditional Irish pronunciation and thus to struggle against the tide of the overbearing influence of English language pronunciation which is becoming an increasing threat to traditional spoken Irish. Achieving good pronunciation of Irish language sounds, where there is strong interference from English, is not easy. For many students there is no difference between an English /r/ and an Irish /r/. Irish has a broad and slender /r/ depending on the nearest vowel. Many students do not even acknowledge that Irish has to be pronounced differently and this is a tendency that seems to be gathering momentum. The question I asked at the beginning of my research was how could I cultivate a communication context in which students would start to use sounds they had been rehearsing in ...
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Mahony, Christine Hunt, Jacqueline Genet i Richard Allen Cave. "Perspectives of Irish Drama and Theatre". Canadian Journal of Irish Studies 18, nr 2 (1992): 137. http://dx.doi.org/10.2307/25512939.

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Alatawi, Maha. "When Narrative Becomes Theatrical". Harold Pinter Review 5, nr 1 (1.05.2021): 107–20. http://dx.doi.org/10.5325/haropintrevi.5.2021.0107.

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ABSTRACT Storytelling is an integral component of Irish tradition, folklore, and culture. Ireland's rich narrative tradition can be traced back to the early oral act of storytelling, undertaken by the seanchaí (storyteller or historian). Despite the wide spectrum of studies and broadly ranging arguments on storytelling in general and other specific aspects, in Irish drama narrative and the monologue, as well as narrative levels and types of narrators, have never been analyzed. In narratological terms Irish drama is rich with various degrees of diegetic narrativity employed differently by its various playwrights. This article looks more closely into a subject that until now has not received attention in the context of Irish theatre. In Irish theatre, in which language, narrative, and storytelling are recurrent topics, it is crucial that we understand how narrative is more complicated than the simple telling of a story and that it possesses techniques and levels that are worth reflecting on for their ability to change nuance and the experience of the audience.
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Rozprawy doktorskie na temat "Irish drama"

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Merrett, Helen Ruth. "Perspectives on loyalism in representative Irish Drama". Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275907.

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Murphy, Paul. "Hegemony and fantasy in Irish drama, 1899-1949". Thesis, Staffordshire University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402434.

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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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Walsh, Maeve. "Re:vision : the interpretation of history in contemporary Irish drama". Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286613.

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Salis, Loredana. "'So Greek with consequence' : classical tragedy in contemporary Irish Drama". Thesis, Ulster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421897.

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Harris, Susan C. "Bodies and blood : gender and sacrifice in modern Irish drama /". Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/fullcit?p9837975.

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Stout, Rebecca Lynn. ""In dreams begins responsibility:" the role of Irish drama and the Abbey Theatre in the formation of post-colonial Irish identity". Texas A&M University, 2006. http://hdl.handle.net/1969.1/3843.

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This research does not hope to give a finalized portrait of Ireland and its vast and diverse people. Instead, it hopes to add one more piece to the complicated mosaic that is an honest depiction of Irish personal and national identity. Several plays by authors considered to be quintessential Irish nationalists have been read in conjunction with those authors’ biographies and the historical moments in which those plays were created, to offer a multi-faceted perspective to the intersection between art, politics and individual senses of personhood and nation. The final conclusion is that the growth and development of a nation requires that the definition of national identity be in a constant state of performance and revision. Several key conclusions can be drawn from the findings here. First, Irish identity is slippery and elusive. To try to finalize a definition is to stunt the growth of a constantly evolving nation. Secondly, personal and national identity formation cannot be separated into two distinct processes. Due to the unique political situation leading up to Irish independence and the subjugated state of all Irish people, regardless of their class or economic distinction, an individual always exists in relationship to those other members of his or her class, as well as those who define him or her by their differences. Finally, because of this constantly evolving state and this complicated interrelationship between the personal and the public, Irish stage drama bears a unique relationship to Ireland, and to critics seeking to analyze that literature. The multiplicity of the Irish experience demonstrates itself most clearly in the consistent newness of repeated performances of its classic texts. By examining the historical ruptures that resulted from the initial performances of those texts and comparing them to the texts themselves, documents that live outside of history until they are drawn back in by those who seek to reinterpret and re-perform them, researchers can witness the evolution of key ideas of Irish nationalism from their roots in personal experience, through the interpretive machine of the early Abbey audiences, and as they continue to transform in modern presentations.
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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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Jaros, Michael Perin. ""To Have Lived is Not Enough for Them" performing Irish history in the twentieth century /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307371.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed February 6, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 207-215).
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Grossman, Joanna Rebecah. "Shakespeare Grounded: Ecocritical Approaches to Shakespearean Drama". Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064927.

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Using the "Great Chain of Being" -- which was integral to the Elizabethan understanding of the world -- as a starting point, this dissertation examines the sometimes startling ways in which Shakespeare's plays invert this all-encompassing hierarchy. At times, plants come to the forefront as the essential life form that others should emulate to achieve a kind of utopian ideal. Still other times, the soil and rocks themselves become the logical extension of a desire to remove man from the pinnacle of earthly creation. Over the course of this project, I explore plays that emphasize a) alternative, non-mammalian modes of propagation, b) the desire to sink the human body into the earth (or, at a minimum, man's closeness to the ground), and c) the imagined lives of flora and fauna, while underscoring man's kinship with myriad organisms. In many of the works explored, a modern vision of materiality comes to the forefront, presenting a stark contrast to the deeply held religious views of the day. In flipping the ladder upside down, Shakespeare entices his reader to confront inherent weaknesses in human and animal biology, and ultimately to question why man cannot seek a better model from the lowly ground upon which he treads.
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Książki na temat "Irish drama"

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Roche, Anthony. Contemporary Irish Drama. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-1-349-58712-4.

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Lanters, Jose. Revolutionary Irish drama. Fort Lauderdale: Nova University, 1999.

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Roche, Anthony. Contemporary Irish drama. Wyd. 2. Basingstoke: Palgrave Macmillan, 2009.

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Lanters, José. Revolutionary Irish drama. Ft. Lauderdale, FL: Dept. of Liberal Arts, Nova Southeastern University, 1999.

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Anthony, Roche, i Pine Richard, red. Contemporary Irish drama. Waterville, Me: Colby College, 1991.

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P, Harrington John, red. Modern Irish drama. New York: Norton, 1991.

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Sihra, Melissa, red. Women in Irish Drama. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230801455.

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Cóilín, Owens, i Radner Joan Newlon, red. Irish drama, 1900-1980. Washington, D.C: Catholic University of America Press, 1990.

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Lojek, Helen Heusner. The Spaces of Irish Drama. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230370418.

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Clare, David. Irish Anglican Literature and Drama. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68353-5.

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Części książek na temat "Irish drama"

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Cousins, James H. "Irish Drama Arrives". W The Abbey Theatre, 1–3. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-08508-8_1.

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Yeats, W. B. "Irish National Drama". W The Abbey Theatre, 98–100. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-08508-8_22.

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Todd, Loreto. "Drama". W The Language of Irish Literature, 64–84. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19989-1_5.

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Roche, Anthony. "Introduction". W Contemporary Irish Drama, 1–12. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-1-349-58712-4_1.

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Roche, Anthony. "Beckett and Behan: Waiting for Your Man". W Contemporary Irish Drama, 13–41. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-1-349-58712-4_2.

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Roche, Anthony. "Friel’s Drama: Leaving and Coming Home". W Contemporary Irish Drama, 42–83. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-1-349-58712-4_3.

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Roche, Anthony. "Murphy’s Drama: Tragedy and After". W Contemporary Irish Drama, 84–129. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-1-349-58712-4_4.

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Roche, Anthony. "Kilroy’s Doubles". W Contemporary Irish Drama, 130–57. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-1-349-58712-4_5.

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Roche, Anthony. "Northern Irish Drama: Imagining Alternatives". W Contemporary Irish Drama, 158–219. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-1-349-58712-4_6.

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Roche, Anthony. "The 1990s and Beyond: McPherson, Barry, McDonagh, Carr". W Contemporary Irish Drama, 220–60. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-1-349-58712-4_7.

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Streszczenia konferencji na temat "Irish drama"

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Hallissey, Helen. "'WHO AM I, MR. STANISLAVSKI?' AN EXPLORATION OF STANISLAVSKI'S 'SYSTEM' OF TRAINING ACTORS IN REALIZING CHARACTERIZATION IN THE 1999 IRISH DRAMA CURRICULUM (PRIMARY LEVEL)". W 11th International Conference on Education and New Learning Technologies. IATED, 2019. http://dx.doi.org/10.21125/edulearn.2019.0394.

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