No description available.

Thesis--Universität München, 2007. / Includes bibliographical references (p. 467-496)

No description available.

In this thesis an attempt will be made to trace briefly the development of the domestic tragedy of blood on the English stage to the end of the first decade of the seventeenth century.

by Wong Suk Yin, Edith. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves 94-104). / Chapter Chapter One --- The Eternal Triangle --- p.1 / Chapter Chapter Two --- Harold Pinter --- p.16 / Chapter Chapter Three --- Peter Nichols --- p.45 / Chapter Chapter Four --- Tom Stoppard --- p.71 / Chapter Chapter Five --- Conclusion --- p.91 / Works Cited and Consulted --- p.94

The dissertation focuses on the relationship between political thinking and dramatic expression in the early modern period, especially in England. I approach this topic by considering what political historians have termed "the problem of counsel"--a vexed issue situated at the very center of Renaissance moral and political philosophy and informing in multiple ways the relationship between sovereign power and its subjects. Because of drama's central concern with the transformation of speech into action as well as its focus on the moral making of the individual, dramatists found in counsel a powerful instrument with which to develop specific kinds of dramatic character, create tension within individual scenes, and provide motivation for dramatic plots. Counsel also proved a convenient, familiar space within which to think through different, often controversial, political ideas and to give them reality and shape in the embodied representations of the stage. By analyzing and contextualizing plays ranging chronologically from Tudor interludes, such as those by Henry Medwall or John Redford, to Jacobean tragedies, notably Shakespeare's King Lear, the dissertation shows how significant counsel was as a shaping force in the construction of different kinds of plays in the period. It also demonstrates how this varied dramatic material itself contributed to the early modern understanding of the theory and practice of counsel.

by Wendy Wai Kui Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 127-131). / Introduction --- p.1 / Chapter Chapter 1 --- "Dominance and Destruction in The Room, A Slight Ache and A Night Out" --- p.5 / Chapter Chapter 2 --- "Married Love and Reality in The Collection, The Lover, Landscape and Betrayal" --- p.22 / Chapter Chapter 3 --- "The Human Connection and Its Limits in The Caretaker, The Homecoming and Family Voices" --- p.56 / Chapter Chapter 4 --- "The End Of The Road in One For The Road, Mountain Language and Party Time" --- p.85 / Chapter Chapter 5 --- Love and Death Wedded in Moonlight --- p.110 / Conclusion --- p.122 / Works Cited --- p.124 / Bibliography --- p.127

No description available.

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.

Thesis (Ph. D.)--University of Oregon, 2003. / Includes vita and abstract. Includes bibliographical references (leaves 299-309). Also available for download via the World Wide Web; free to University of Oregon users.