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Articles 1 - 9 of 9
Full-Text Articles in Dramatic Literature, Criticism and Theory
Percy Bysshe Shelley’S The Cenci And The “Pernicious Mistake” Of The Regency-Era Melodrama, Derek Leuenberger
Percy Bysshe Shelley’S The Cenci And The “Pernicious Mistake” Of The Regency-Era Melodrama, Derek Leuenberger
Bridgewater Review
No abstract provided.
No One Is Alone: Responsibility, Consequences, And Family In Into The Woods, Jennifer White
No One Is Alone: Responsibility, Consequences, And Family In Into The Woods, Jennifer White
Honors Program Theses and Projects
No abstract provided.
Renaissance Drama And Magic: Humanism And Hermeticism In Early Modern England, Caitlin A. Larracey
Renaissance Drama And Magic: Humanism And Hermeticism In Early Modern England, Caitlin A. Larracey
Honors Program Theses and Projects
With deals made with the devil, the promise of base metals turned into gold, and charms cast over beasts, humans, and spirits, magic has a profound role in the drama of Early Modern England. Even more than magic, be it black or white, the magus repeatedly takes center stage in front of Elizabethan and Jacobean audiences. There exists a fascination in the period with unnatural or supernatural powers, especially in light of the reputations of figures such as the physician-magicians John Dee and Simon Forman, and even King James I. Yet the magic and magician that emerge in principal plays …
Aristotle, Performativity, And Perfect Friendship In Shakespeare, Ryan Engley
Aristotle, Performativity, And Perfect Friendship In Shakespeare, Ryan Engley
Undergraduate Review
From childhood, most of us have been taught that our “identity,” both how we see ourselves and how others see us, is shaped at least in part by our friends: “you are the company you keep,” as the cliché goes. Experience will teach us that not all friendships are the same, much less equal, even if we never hear of Aristotle and his tripartite scale of friend-types. His categories were of course born of the classical world but, true to fashion, remain valuable barometers for measuring individual identity and desire in friendships. They’re useful, too, in understanding Shakespeare’s characters and …
The Visions Of Lena Younger Created By Lorraine Hansberry In A Raisin In The Sun, Lizandra Gomes
The Visions Of Lena Younger Created By Lorraine Hansberry In A Raisin In The Sun, Lizandra Gomes
Undergraduate Review
This is one chapter of a full Honors’ Thesis entitled “The Visions of Women Created by Three Major Female African American Playwrights of the Twentieth Century: Georgia Douglas Johnson, Lorraine Hansberry, and Suzan-Lori Parks”. This chapter addresses the vision of Lena Younger created by Lorraine Hansberry in A Raisin in the Sun. It analyses the vision of African American women emerging through the character of Lena Younger, during the Civil Rights Movement by employing traditional dramaturgical methodology, including facets of Literary Structural Analysis, and Stanislavskian Analysis. This study in its whole will, thus, demonstrate how the self-perceived image of African …
Is Prospero Just? Platonic Virtue In William Shakespeare’S The Tempest, Anthony Jannotta
Is Prospero Just? Platonic Virtue In William Shakespeare’S The Tempest, Anthony Jannotta
Undergraduate Review
The Tempest is often regarded, and rightly so, as Shakespeare’s last great play. Many scholars argue that Prospero is an analogue for Shakespeare himself, noting the similarities between Prospero’s illusory magic and Shakespeare’s poetic genius. The themes of imagination, illusion, and, indeed, theatre itself play an integral role. The line that is perhaps most often cited as evidence for this argument is Prospero’s speech directly after he breaks up the wedding masque in which he refers to “the great globe itself” (IV.i.153). There is a danger, however, in appealing to the author’s biography or treating the biography as paramount, namely …
White People, Kathryn Leclair
White People, Kathryn Leclair
Undergraduate Review
J.T. Rogers has carefully constructed his play, White People, to concentrate on the issue of communications between races, to talk to the audience, and to address them in order to make them understand their own shortcomings in approaching the topic of race. Both Alan and Martin, two of the three main characters in this play, have difficulty with the ways in which they communicate their feelings about race and their positions as white middle class men. They argue with themselves about how to communicate while externally showing the audience the struggle between what they both believe to be morally …
The Dehumanization Of Prisoners In Brendan Behan’S The Quare Fellow, Zachariah Milauskas
The Dehumanization Of Prisoners In Brendan Behan’S The Quare Fellow, Zachariah Milauskas
Undergraduate Review
Brendan Behan’s The Quare Fellow looks not only at how a prison population reacts to an execution, but also how people throughout history respond to inhumanity—whether it be injustice or dehumanization. Behan struggles with whether or not prisons are able to reform prisoners. In a darkly comic way, Behan questions the justice of prisons and executions, and yet the characters in the play do not seem to know how to fix the judicial system of 1940s Ireland. In this play, Behan is concerned with showing how the prison system is built and how it will never help anyone: prisons supposedly …
The Spanish Tragedy And The Supernatural: Exploring The Coexistence Of Patriotic And Subversive Interpretations In The Spanish Tragedy, Michelle Mercure
The Spanish Tragedy And The Supernatural: Exploring The Coexistence Of Patriotic And Subversive Interpretations In The Spanish Tragedy, Michelle Mercure
Undergraduate Review
The title of Thomas Kyd’s play, The Spanish Tragedy, is as ambiguous as the play’s content. According to critic Ian McAdam, the play’s ambiguity allows for two conflicting interpretations. He writes that the play is . . . in its very complexity, marked by gaps and discontinuities which, while not rendering it artistically incoherent, have led to striking discrepancies in critical readings; while some see Kyd patriotically asserting England’s political ascendancy over Spain’s ‘evil empire,’ others see the playwright taking a dangerously subversive stance toward (English) society itself.