Keywords: GDR literature, historical drama, postdramatic theatre, history, memory, Heiner Müller, Walter Benjamin, Bertolt Brecht, Lehrstück Abstract: The aim of this thesis is to analyse the representation of the German history and its relation with the reality of the GDR in selected dramas by Heiner Müller (1929-1995): Germania Death in Berlin, Germania 3 Ghosts at Dead Man, Life of Gundling Frederick of Prussia Lessing's Dream Sleep Scream, The Battle, The Horatian and The Hamletmachine. The main focus of interest is also the approach of the playwright to selected literary and theatrical genres as historical drama, Lehrstück and postdramatic theatre. The philosophical background of the analysis is based mainly on Walter Benjamin's essay On the Concept of History and his description of the painting Angelus Novus by Paul Klee. Furthermore, the thesis examines the methods of dramatization in Heiner Müller's plays.

<p>Предмет истраживања докторске дисертације јесте<br />фигура оца у историјској драми српског<br />предромантизма и романтизма. Намера<br />истраживања је да на основу обимног корпуса<br />драмских текстова изврши темељна анализа драма<br />у којима је идентификована фигура оца као и да се<br />пружи преглед ликова који се јављају у овој<br />улози. Истраживачки рад ће бити усмерен на<br />проучавање и допуну резултата досадашњих<br />анализа улоге мушких ликова. Успоставиће се<br />примерена типологија главних и епизодних ликова<br />који се у историјским драмама српског<br />предромантизма и романтизма појављују у<br />улози оца. Полазиште дисертације је историјска<br />драма и фигура оца као њен незаобилазни део.<br />Почетна претпоставка је да је психолошка<br />уверљивост наступа појединих јунака последица<br />породичних прилика, а не историјских догађаја.<br />Тежиште истраживачког рада је приказивање<br />јунака чија ауторитативна природа доводи до<br />сукоба, отуђења од породице и самоотуђења.<br />Докторска дисертација би требала подстаћи нека<br />нова питања и одговоре као и нова проучавања<br />историјске драме</p> / <p>Predmet istraživanja doktorske disertacije jeste<br />figura oca u istorijskoj drami srpskog<br />predromantizma i romantizma. Namera<br />istraživanja je da na osnovu obimnog korpusa<br />dramskih tekstova izvrši temeljna analiza drama<br />u kojima je identifikovana figura oca kao i da se<br />pruži pregled likova koji se javljaju u ovoj<br />ulozi. Istraživački rad će biti usmeren na<br />proučavanje i dopunu rezultata dosadašnjih<br />analiza uloge muških likova. Uspostaviće se<br />primerena tipologija glavnih i epizodnih likova<br />koji se u istorijskim dramama srpskog<br />predromantizma i romantizma pojavljuju u<br />ulozi oca. Polazište disertacije je istorijska<br />drama i figura oca kao njen nezaobilazni deo.<br />Početna pretpostavka je da je psihološka<br />uverljivost nastupa pojedinih junaka posledica<br />porodičnih prilika, a ne istorijskih događaja.<br />Težište istraživačkog rada je prikazivanje<br />junaka čija autoritativna priroda dovodi do<br />sukoba, otuđenja od porodice i samootuđenja.<br />Doktorska disertacija bi trebala podstaći neka<br />nova pitanja i odgovore kao i nova proučavanja<br />istorijske drame</p> / <p>The subject of the doctoral thesis research is the<br />figure of a father in the historical drama of<br />Serbian Preromanticism and Romanticism.<br />Based on the large corpus of drama texts, the<br />intention of this research is to do a thorough<br />analysis of dramas where the figure of a father<br />has been identified as well as to present a<br />review of characters appearing in this role. The<br />research work will be aimed on studying and<br />completing the results of the previous analysis<br />of male characters. An appropriate typology of<br />main and episodic characters which appeared in<br />historical dramas of Serbian Preromanticism<br />and Romanticism in the roles of a father,will be<br />established. A starting point of the thesis is the<br />historical drama and the figure of a father as its<br />unavoidable part. The initial assumption is that<br />the psychologically stringent appearance of<br />some heroes is the consequence of family<br />events and not of the historical ones.The centre<br />of the research work is a presentation of the<br />heroes whose authoritative nature leads to<br />conflict, alienation from the family and self<br />alienation, too. The doctoral thesis should<br />induce some new questions and answers as well<br />as a new studying of historical drama</p>

梁慧. / "2011年5月". / "2011 nian 5 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references. / Abstracts in Chinese and English. / Liang Hui. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 史傳文學下的論述 --- p.1 / Chapter 一、 --- 「史傳」與「文學」 / Chapter 二、 --- 以劇寫「史」的意涵 / Chapter 三、 --- 黃燮清筆下的「史劇」 / Chapter 第二節 --- 研究目的 --- p.11 / Chapter 第三節 --- 文獻回顧 --- p.15 / Chapter 一、 --- 清末民初的迴響 / Chapter 二、 --- 近代評論的主題 / Chapter 三、 --- 既有研究的不足 / Chapter 四、 --- 小結 / Chapter 第四節 --- 研究方法 --- p.22 / Chapter 第二章 --- 黃燮清與《倚晴樓九種曲》 --- p.24 / Chapter 第一節 --- 黃燮清生平及其作品 --- p.24 / Chapter 第二節 --- 黃燮清戲曲的創作緣起 --- p.26 / Chapter 第三節 --- 結語 --- p.34 / Chapter 第三章 --- "「藉古人啼笑,今人悲喜」一為司馬相如翻案及自喻的《茂陵絃》" --- p.37 / Chapter 第一節 --- 前言 --- p.37 / Chapter 第二節 --- 翻案史劇的提出 --- p.37 / Chapter 一、 --- 「翻案劇」釋義 / Chapter 二、 --- 「司馬相如事」的討論熱潮 / Chapter 三、 --- 《史記》、《西京雜記》記載的「司馬相如事」 / Chapter 四、 --- 《茂陵絃》簡介 / Chapter 第三節 --- 「譜曲覓知音」一《茂陵絃》的旨趣 --- p.44 / Chapter 第四節 --- 「惜青史之傳誣」一一黃燮清「翻案」的筆法 --- p.47 / Chapter 一、 --- 《茂陵絃》與《琴心記》 / Chapter 二、 --- 翻案的特色 / Chapter 三、 --- 小結 / Chapter 第五節 --- "以曲作賦,借古喻今" --- p.52 / Chapter 第六節 --- 結語 --- p.59 / Chapter 第四章 --- 以劇寫史《帝女花》中的抒情與歷史 --- p.62 / Chapter 第一節 --- 前言 --- p.62 / Chapter 第二節 --- 《帝女花》簡介 --- p.63 / Chapter 第三節 --- "史家筆法:譜興亡之舊事,寫離合之情悰" --- p.64 / Chapter 第四節 --- 《帝女花》的藝術構思 --- p.72 / Chapter 一、 --- 腳色分派 / Chapter 二、 --- 服飾穿戴 / Chapter 三、 --- 時空安排 / Chapter 第五節 --- 《帝女花》中的母題與象徵 --- p.80 / Chapter 一、 --- 「帝女之花」與長平「兩起死」 / Chapter 二、 --- 天命與人事 / Chapter 第六節 --- 以劇寫史一一黃燮清的史心 --- p.91 / Chapter 第七節 --- 結語 --- p.95 / Chapter 第五章 --- 書寫「列女」內外的歷史一一女性入傳的《玉台秋》、《桃谿雪》 --- p.98 / Chapter 第一節 --- 前言 --- p.98 / Chapter 第二節 --- 為女性發聲的《玉台秋》及《桃谿雪》 --- p.101 / Chapter 一、 --- 前言 / Chapter 二、 --- 內容簡介 / Chapter 三、 --- 黃燮清筆下的張宜人不和吳絳雪 / Chapter 第三節 --- 典範女性的建立一一儼如私人「墓誌銘」 --- p.105 / Chapter 第四節 --- 「節烈」一一正史《列女傳》的規範 --- p.111 / Chapter 一、 --- 《桃谿雪》》與吳絳雪 / Chapter 二、 --- 從典範到規範一一黃燮清筆下的吳絡雪 / Chapter 第五節 --- 劇為史傳的筆法 --- p.123 / Chapter 一、 --- 列傳的意圖 / Chapter 二、 --- 「列女傳」的演變 / Chapter 三、 --- "傳人兼傳史,借傳以存史" / Chapter 第六節 --- 結語 --- p.136 / Chapter 一、 --- 以劇傳人的意義 / Chapter 二、 --- 明清文人為女性寫墓誌銘的原因及情況 / Chapter 三、 --- 史學與性別的思考一一創作的意涵 / Chapter （一） --- 《玉台秋》的意圖 / Chapter （二） --- 《桃谿雪》的關懷 / Chapter 第六章 --- 清朝時事劇的復興一《絳稍記》和《居官鑑》 --- p.146 / Chapter 第一節 --- 前言 --- p.146 / Chapter 第二節 --- 影射時事的嘗試一一《絳稍記》 --- p.148 / Chapter 一、 --- 《絳稍記》簡介 / Chapter 二、 --- 影射時事的筆法 / Chapter 三、 --- 《絳稍記》的可觀性 / Chapter 四、 --- 小結 / Chapter 第三節 --- 直寫時事的創作一《居官鑑》 --- p.157 / Chapter 一、 --- 《居官鑑》簡介 / Chapter 二、 --- 國事家事天下事一黃燮清筆下的現實 / Chapter 三、 --- 黃燮清筆下的人物 / Chapter 四、 --- 以筆載史一詩歌與戲文 / Chapter 第四節 --- 結語 --- p.170 / Chapter 一、 --- 從《茂陵絃》到《居官鑑》一一黃燮清白喻形象的轉變 / Chapter 二、 --- 直刺史實的影響 / Chapter 第七章 --- 結論 --- p.174 / Chapter 第一節 --- 總結 --- p.174 / Chapter 一、 --- "戲曲詩化以「緣,情」 ,r言志」" / Chapter 二、 --- 黃燮清以「史」為劇的發展進程 / Chapter （一） --- 史劇中的人物與歷史的關係 / Chapter （二） --- 劇中的「黃燮清」 / Chapter （三） --- 巾幗不讓鬚眉的女性形象 / Chapter （四） --- 從「聊以自娛」到「直刺時事」 / Chapter 三、 --- 研究晚清戲曲的新進路 / Chapter 第二節 --- 餘論一一黃燮清筆下的歷史與虛構 --- p.185 / Chapter 一、 --- 從吳梅語「劇場惡套」說起 / Chapter 二、 --- 黃燮清歷史劇中的虛構情節 / Chapter 三、 --- 歷史與虛構的結合 / Chapter （一） --- 尚實風氣的形成和重現 / Chapter （二） --- 虛構情節一一文人作意好奇的意義 / Chapter 四、 --- 黃燮清歷史劇的結局與不朽的聯想 / 參考書目

В представленной работе рассмотрена авторская концепция философии истории с указанием на основные этапы ее развития на материале шести исторических пьес Максвелла Андерсона. Основной гипотезой научного исследования выступает предположение о том, что андерсоновская концепция истории, ярко выраженная в тюдоровском цикле, не была статичной. / In the presented graduation paper, the author's concept of the philosophy of history is considered with an indication of the main stages of its development based on the material of six historical plays by Maxwell Anderson. The main hypothesis of scientific research is the assumption that Anderson's concept of history, clearly expressed in the Tudor cycle, was not static.

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The 1798 Irish rebellion together with the preceding decade is justly regarded as a watershed event in the forming of Irish national identity. Therefore it is not surprising that it has inspired numerous, and often conflicting, interpretations in both historiography and literature. This study concentrates on both English- and Irish-language historical novels and plays written about the rebellion in the course of the twentieth century, especially after the year 1916. Attention is drawn to the interpretations of the event contained in these literary works, comparing them to the various views of 1798 as they have evolved in Irish historiography. As the rebellion, especially from the 1970s onward, has been increasingly seen in the light of the later conflict in Northern Ireland, this connection has an important place in the analysis. On the theoretical level, the thesis draws from the findings of Hayden White, who has famously questioned the border between historiographical and fictional treatments of historical events. At the same time, this relativism is complemented by selected features of the philosophy of Paul Ricoeur, who highlighted the inevitable ethical questions connected to representations of history. In accordance with the theoretical preliminaries, the study explores the relative value of...

This dissertation examines a range of musicals to understand how and why the features that make a musical a musical are used to tell history. I argue that the historical musical is a distinctive historiographic mode that intertwines these affordances to include multiple histories. In Soft Power (2018), a musical I explore in this dissertation, David Henry Hwang introduces the idea of the “delivery system” of the musical as a particularly effective way to tell stories in both cognitive registers and affective registers. As one of the characters in the musical states, “once those violins start playing, these shows go straight to our hearts.” Many of the most beloved and most experimental musicals from the canon depict and deal with historical events. I argue that the musicals I study interpret important historical events, and do so by means of their formal properties, often intertwining several layers of history which can be experienced simultaneously by an audience.This dissertation close reads two musicals per chapter based on their historical contexts, both when they are set and when they are written. These musicals are paired together based on their shared thematic/historical and formal concerns. Soft Power responds directly to the imperialist attitudes and multiple histories at work in The King and I (1951), while both musicals consider what it means to be an American across a wide expanse of time. I focus on 1776 (1969) and Hamilton (2015) and their responses to issues such as slavery, the role of women, and war as these responses are shaped by the politics and contexts of the moment in which they were written. I pair two shows by John Kander and Fred Ebb, Cabaret (1966) and The Scottsboro Boys (2010), due to their formal similarities in using the entertainment styles from the period in which the shows are set to comment on both entertainment and history. My final chapter pairs Pacific Overtures (1976) and Assassins (1990), shows co-written by John Weidman and Stephen Sondheim, both of which critique American mythologies of historical progress. Because of the many layers that make a musical (choreography, song, orchestrations, text, and stars to name a few) there are many possibilities for layering multiple histories into any one musical. In conclusion, musical theatre is often considered fun and pleasurable, which it absolutely can be, but it also does complex historical and political work using a surprisingly sophisticated historiography to do that work.

This thesis is a study of the works of the historian Flodoard of Rheims (893/4–966), author of two substantial prose narratives (Annales and Historia Remensis ecclesiae) and an epic verse history (De triumphis Christi). Flodoard is the only major Frankish chronicler of his day, so his accounts of the political history of the West Frankish, Ottonian and Italian kingdoms are of paramount importance to modern scholars. Flodoard's Annales have been considered a reliable and neutral account of contemporary affairs, so historians have been content to mine them for ‘facts' informing wider debates concerning the history of late Carolingian Europe. Additionally, he has been judged a conscientious, source-driven archivist: his Historia Remensis ecclesiae preserves an abundance of otherwise-lost documentary sources which has been used by scholars to illuminate the church of Rheims' illustrious history. However, Flodoard was an actor on the highest political stage. He spent time at royal courts, travelled to Rome, and regularly communicated with the leading political and intellectual figures of his day. He was also deeply enmeshed in the affairs of the powerful archbishopric of Rheims. This study demonstrates that Flodoard's histories are not easily extricated from the context of his own turbulent career. It argues that Flodoard cannot be understood without reference to the vicissitudes of the complex political environment in which he operated. By taking Flodoard on his own terms and situating his historical works in their appropriate political and intellectual contexts, this thesis challenges the conventional way we read Flodoard, asking what kind of information we can reliably interrogate him for, whom his audiences were, why he wrote history at all and whether he is truly representative of his age.