Gotowa bibliografia na temat „Irish playwrights”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Irish playwrights”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Irish playwrights"
Porter, Roger. "Oscar on the Boards: Playwrights Represent the Playwright on Stage". New Theatre Quarterly 34, nr 1 (10.01.2018): 47–57. http://dx.doi.org/10.1017/s0266464x17000677.
Pełny tekst źródłaMikami, Hiroko. "Richard Bean’s The Big Fellah (2010) and Jez Butterworth’s The Ferryman (2017): two plays about the Northern Troubles from outside of Northern Ireland". Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 73, nr 2 (25.05.2020): 115–26. http://dx.doi.org/10.5007/2175-8026.2020v73n2p115.
Pełny tekst źródłaWiśniewski, Tomasz. "Between languages. On bilingual issues in modern British and Irish drama". Tekstualia 3, nr 46 (4.07.2016): 111–20. http://dx.doi.org/10.5604/01.3001.0013.4208.
Pełny tekst źródłaVaněk, Joe. "An Outsider’s Eye: The Art of Designing for Theatre". Review of Irish Studies in Europe 4, nr 1 (14.06.2021): 121–45. http://dx.doi.org/10.32803/rise.v4i1.2652.
Pełny tekst źródłaNovkinić, Sandra. "“Women’s Voices in Contemporary Irish Theatre". Anafora 9, nr 1 (2022): 45–61. http://dx.doi.org/10.29162/anafora.v9i1.3.
Pełny tekst źródłaShamina, Vera B. "MEET JOHN BRENDAN KEANE ON RUSSIAN SCENE". Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, nr 3 (1.09.2020): 80–94. http://dx.doi.org/10.18522/2415-8852-2020-3-80-94.
Pełny tekst źródłaHwang, Ji Hyea. "Transcolonial Nationhood". Journal of World Literature 5, nr 3 (23.07.2020): 393–409. http://dx.doi.org/10.1163/24056480-00503005.
Pełny tekst źródłaClare, David, Fiona McDonagh, Justine Nakase, Tanya Dean, Barry Houlihan i Gemma Whelan. "The Golden Thread: Irish Women Playwrights, 1716–2016: A Roundtable". New Hibernia Review 26, nr 1 (marzec 2022): 13–34. http://dx.doi.org/10.1353/nhr.2022.0002.
Pełny tekst źródłaFinnigan, Robert. "An underground theatre: major playwrights in the Irish language 1930–1980". Irish Studies Review 27, nr 4 (6.09.2019): 599–601. http://dx.doi.org/10.1080/09670882.2019.1664023.
Pełny tekst źródłaGonzález Chacón, María del Mar. ""Speaking through Another Culture": Frank McGuinness’s Version of Federico García Lorca’s The House of Bernarda Alba (La Casa de Bernarda Alba)". Miscelánea: A Journal of English and American Studies 60 (28.11.2019): 71–89. http://dx.doi.org/10.26754/ojs_misc/mj.20196288.
Pełny tekst źródłaRozprawy doktorskie na temat "Irish playwrights"
Riordan, Michael, i n/a. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey". Griffith University. School of Humanities, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040615.132200.
Pełny tekst źródłaRiordan, Michael. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367087.
Pełny tekst źródłaThesis (Masters)
Master of Philosophy (MPhil)
School of Humanities
Full Text
Hill, Shonagh L. "Embodied mythmaking : reperforming myths of femininity in the work of twentieth and twenty first century Irish women playwrights". Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534727.
Pełny tekst źródłaBowker, Gemma-Jane. "Explorations of the maternal and the mother-daughter dyad in plays by British and Irish women playwrights and comparative drama from 1945 to the present day". Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508605.
Pełny tekst źródłaHan, Chen-Wei, i 韓震緯. "The Spatial Politics of Home: Gender, Nation-Building and Female Diaspora in Irish Playwright Brian Friel’s Dancing at Lughnasa and The Loves of Cass McGuire". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/84804771816684439587.
Pełny tekst źródła國立臺灣大學
外國語文學研究所
100
This thesis seeks to explore the spatial politics of home in Irish playwright Brian Friel’s plays: Dancing at Lughnasa (1990) and The Loves of Cass McGuire (1966). I would like to draw upon the theory of social construction of scale, feminist geography on home and other relevant theorizations on home, such as the unhomely, or uncanny, in order to explore the contested relationships between home and Irish women after the establishment of the Irish Free State in 1922. Set in Ballybeg, Friel’s favorite but fictitious setting in County Donegal of the north-western Ireland, Dancing at Lughnasa portrays the political, economic and socio-cultural predicaments of five sisters, further uncovering and destabilizing the normative imaginary of Irish women, home and nation-building in the 1930s. The Loves of Cass McGuire delineates the return of an Irish diasporic woman, Cass, from New York, and her incompatibility with the Irish middle-class home, represented by her brother Harry and his household in the 1960s. Many of Friel’s plays are primarily set within the domestic places of home, including kitchen, living room, breakfast room, study, garden, and so forth in plays such as Philadelphia, Here I Come! (1964), The Loves of Cass McGuire (1966), Living Quarters (1977), Aristocrats (1979), Translations (1980), Dancing at Lughnasa (1990), Give Me Your Answer, Do! (1997) and The Home Place (2005). However, the home delineated by Friel is far from a private, intimate place for rest and recuperation; rather, it is always a problematic and contested place for the characters, who, either live in it or only come to visit, have to struggle with the normative social roles and ideologies embodied in the home of the past or the present. In other words, home depicted by Friel in his plays is never merely a setting or background in which the actions of the plays take place; instead, Friel’s plays implicitly reveal that home is not only a material house but also a social sphere constituted by multifarious, and even contradictory, social processes and relations within specifically historical and geographical contexts. More often than not, the homes in Friel’s plays are either broken or on the verge of breakdown, for they are always already permeated by the political, economic, and socio-cultural transformations beyond the scale of home, despite the desperate endeavors by some characters to create or maintain a bounded, stable home. In this thesis I will argue that The Loves of Cass McGuire and Dancing at Lughnasa represent the gendered politics of home in the newly established Ireland after political de-colonization. Moreover, they both stage the contested struggles with the normative gendered mechanism imposed on Irish women’s mobility, identity, gender and sexuality within the scale of home. The social imaginary of an Irish homely home, with its material embodiments respectively in the 1930s and 1960s, is mutually constituted with the gendered identities and relations of the household. Home in both plays means differently for different characters either within the scale of home or in the process of diaspora. Home is a site of feminized domesticity, national order, Catholic virtue and Gaelic traditions, but it is also a conflicting site of power struggles and identity contestation, especially for certain defiant women characters. On the other hand, for those eagerly to sustain a homely home in the normative vision, they also suffer the unhomely, or uncanny, sentiment, as they are compelled to recognize the recurrence of the once familiar but concealed existences and facts, embodied by certain household members, in their daily life. Furthermore, they are also pressed to confront the reality that their supposedly private home is always an open, public place perpetually reconfigured by myriad social processes and relations beyond the scale of home. In the process of representing the domestic sphere of home in both plays, Friel not only delineates the various aspects of home constituted by diverse structural forces in different contexts, but also addresses to the conflictory and fluid meanings and feelings of home for varied subjects in their individual struggles to create a place that can be called home for themselves; namely, a sense of belongingness to a certain place. Accordingly, the home depicted in Friel’s plays is always an open, intersecting sphere constituted by perpetual processes of flux of socio-spatial dynamics at multiple scales.
Howard, Ashley. "Florists and feasts: a critical digital edition of Ralph Knevet's Rhodon and Iris". Thesis, 2020. http://hdl.handle.net/1828/12115.
Pełny tekst źródłaGraduate
2021-06-26
Książki na temat "Irish playwrights"
The Methuen drama guide to contemporary Irish playwrights. London: Methuen Drama, 2010.
Znajdź pełny tekst źródłaBernice, Schrank, i Demastes William W, red. Irish playwrights, 1880-1995: A research and production sourcebook. Westport, Conn: Greenwood Press, 1997.
Znajdź pełny tekst źródłaKosok, Heinz. Plays and playwrights from Ireland in international perspective. Trier: WVT WissenschaftlicherVerlag Trier, 1995.
Znajdź pełny tekst źródłaIrish women playwrights, 1900-1939: Gender and violence on stage. New York: Peter Lang, 2010.
Znajdź pełny tekst źródłaO'Farrell, Ciara A. A playwrights journey: A critical biography of louis D'Alton (1900-1951). Dublin: University College Dublin, 1998.
Znajdź pełny tekst źródła1916-1965, Thompson Sam, Parker Stewart 1941-1998, Mitchell Gary 1965- i Jones Marie 1951-, red. The lost tribe in the mirror: Four playwrights of Northern Ireland. Belfast: Lagan Press, 2009.
Znajdź pełny tekst źródłaJohnston, Philip. The lost tribe in the mirror: Four playwrights of Northern Ireland. Belfast: Lagan Press, 2009.
Znajdź pełny tekst źródła1964-, Jordan Eamonn, red. The drama of war in the theatre of Anne Devlin, Marie Jones, and Christina Reid: Three Irish playwrights. Lewiston: Edwin Mellen Press, 2010.
Znajdź pełny tekst źródłaLiddy, Brenda Josephine. The drama of war in the theatre of Anne Devlin, Marie Jones, and Christina Reid, three Irish playwrights. Lewiston, N.Y: Edwin Mellen Press, 2010.
Znajdź pełny tekst źródłaSlevin, Ailbhe. Deirdre and the dramatists: An exploration of the legend of Deirdre and its treatment by three Irish playwrights. Dublin: University College Dublin, Graduate School of Business, 1993.
Znajdź pełny tekst źródłaCzęści książek na temat "Irish playwrights"
Burke, Helen. "Country Matters: Irish ‘Waggery’ and the Irish and British Theatrical Traditions". W Players, Playwrights, Playhouses, 213–28. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230287198_10.
Pełny tekst źródłaBarranger, Milly S. "Irish Fictions". W Audrey Wood and the Playwrights, 129–40. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137270603_11.
Pełny tekst źródłaPhelan, Mark. "Beyond the Pale: Neglected Northern Irish Women Playwrights, Alice Milligan, Helen Waddell and Patricia O’Connor". W Women in Irish Drama, 109–29. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230801455_7.
Pełny tekst źródłaWatt, Stephen. "Sam Shepard, Irish Playwright". W Irish Theatre in Transition, 241–56. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137450692_17.
Pełny tekst źródłaGould, Geoff. "Death of a Playwright". W Perspectives on Contemporary Irish Theatre, 115–22. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59710-2_8.
Pełny tekst źródłaSaddlemyer, Ann. "John Millington Synge - Playwright and Poet". W A Companion to Irish Literature, 83–97. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444328066.ch34.
Pełny tekst źródłaGrogan, Erin. "‘We Belong to the World’: Christine Longford’s War Plays During Irish Neutrality". W Cultural Convergence, 217–35. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_9.
Pełny tekst źródła"Contemporary Women Playwrights". W The Field Day Anthology of Irish Writing, Volume V, 1234–89. Cork University Press, 2002. http://dx.doi.org/10.2307/j.ctv1fkgbfc.41.
Pełny tekst źródłaClare, David, Fiona McDonagh i Justine Nakase. "Introduction". W The Golden Thread, 1–12. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859470.003.0001.
Pełny tekst źródłaLeeney, Cathy. "Ireland’s ‘exiled’ women playwrights: Teresa Deevy and Marina Carr". W The Cambridge Companion to Twentieth-Century Irish Drama, 150–63. Cambridge University Press, 2004. http://dx.doi.org/10.1017/ccol0521804000.011.
Pełny tekst źródła