DOCSLIB.ORG

BRITISH DRAMA (Paper Code: MAEG1002)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BRITISH DRAMA (Paper Code: MAEG1002) PONDICHERRY UNIVERSITY (A Central University) DIRECTORATE OF DISTANCE EDUCATION BRITISH DRAMA (Paper Code: MAEG1002) MA (English) – I Year DDE – WHERE INNOVATION IS A WAY OF LIFE PONDICHERRY UNIVERSITY ( A Central University) DIRECTORATE OF DISTANCE EDUCATION MASTER OF ARTS In ENGLISH First Year Course Code:60 Paper Code:MAEG1002 British Drama Master of Arts in English British Drama Units I to V Written by Dr. Sujatha Vijayaraghavan Reader Dept of English Pondicherry University Pondicherry – 605 014. All rights are reserved. For Private Circulation only. Printed at PONDICHERRY UNIVERSITY (A Central University) DIRECTORATE OF DISTANCE EDUCATION MA - English British Drama TABLE OF CONTENTS Title Page No. I Introduction 1-43 II Christopher Marlowe- Dr. Faustus, William Shakespeare- King Lear: :A Midsummer Night’s Dream 44-210 III G.B. Shaw-Pygmalion, T.S. Eliot-Murder in the Cathedral 211-276 IV Samuel Beekett-Waiting for Godot, John Osborne - Look Back in Anger 277-329 V Edward Bond-Lear, Harold Pinter-The Birthday Party 330-372 1 COURSE CODE 41 BRITISH DRAMA PAPER CODE H 1020 UNIT ONE Aristotle’s Poetics (selections from chapter Four) 1.Sophocles : Oedipus Rex UNIT TWO 2. Christopher Marlowe : Dr. Faustus 3.William Shakespeare : King Lear- Detailed Study 4. : A Midsummer Night’s Dream UNIT THREE 5. G B Shaw : Pygmalion 6. T S Eliot : Murder in the Cathedral- Detailed Study UNIT FOUR 7. Samuel Beckett : Waiting for Godot 8. John Osborne : Look Back in Anger UNIT FIVE 9. Edward Bond : Lear 10. Harold Pinter : The Birthday party . ******************************************************************** 2 UNIT - I In this unit we shall study Selections from Aristotle’s Poetics by way of introduction & Sophocles’ Oedipus Rex INTRODUCTION Why start with Aristotle? It is first of all necessary to know why we have to look at what Aristotle has said when the course we are about to begin studying is British Drama. This is so because in the Western tradition, drama really owes its origins to the Greeks. Not only that, but also the first principles of criticism and of dramatic construction were spelt out by the Greeks. Greek philosophers starting from Plato and then Aristotle, followed by several others have exhaustively discussed the function of literature and its relevance to man and his life. Aristotle, a philosopher and Plato’s pupil, laid the foundation of Greek dramatic criticism. He also became one of the most important influences in all-Western traditions of literature. He analyzed the plays of the fifth century as well as those of his own time, classified the kinds of drama, and laid down rules for the construction of tragedy. He was the founding father of dramaturgy which is the art of dramatic composition, in the west. Dramaturgy is also the theory about the representation of the main elements of drama on the stage. Aristotle was born in Macedonia, Greece and in spite of the doubts that prevail, it is generally agreed that he was born in 384 BC and died in 322 BC. As a student at Plato's Academy he raised a number of questions never hesitating to disagree with his teacher. Plato stated that poetry and indeed all fine art would weaken the moral health of the citizens of the Greek state, because among the many reasons that he gave, the chief one was that poetry appealed to the emotions rather than to the intellect. Aristotle, on the other hand, felt that poetry would have a positive effect on the development of man’s personality. In ancient Greece, all drama was written in the form of poetry. So when a philosopher used the word poetry it often included drama. The highest form of drama was the tragedy according to the ancient Greek belief. The Poetics is one of Aristotle’s important treatises. In it he outlines the Six Elements of drama. Down the ages, this 3 outline has become a guideline for many playwrights throughout history, and is especially emphasized in the works of William Shakespeare. The treatise we call the Poetics was composed at least 50 years after the death of Sophocles. Aristotle was a great admirer of Sophocles’ Oedipus the King, considering it the perfect tragedy, and not surprisingly, his analysis fits that play most perfectly. Let us therefore use this play to understand the following major parts of Aristotle's analysis of tragedy as a literary genre. The greatest tragedy, in the opinion of Aristotle, was Oedipus the King by Sophocles. The reasons for its supremacy lay in the excellent management of plot and chorus, in the beauty of the language, in the irony of the situations, and in the general nobility of conception. Aristotle cited also the Helena of Euripides as a model of its kind, and lauded the author for the skill with which he had set forth the complicated plot. Euripides was to him the most tragic of the poets. At the same time, he found much in Euripides to censure. Only in Sophocles, the perfect writer, were united ideal beauty, clearness of construction and religious inspiration--the three qualities that alone make tragedy great. The subjects of tragic drama, Aristotle said, were rightly drawn from ancient mythology, because coming from that source they must be true. If man had invented such strange incidents, they would have appeared impossible. The chief characters of a tragic action should be persons of consequence, of exalted station. The leading personage should not be a man characterized by great virtue or great vice, but of a mixed nature, partly good and partly bad. His errors and weaknesses lead him into misfortune. Such a mixture of good and evil makes him seem like us, thus more quickly arousing our sympathy. The course of the tragic action should be such as to saturate the spectator with feelings of compassion, drive out his petty personal emotions, and so "purge" the soul through pity and terror (Catharsis). The crimes suitable for tragic treatment may be committed either in ignorance, or intentionally, and are commonly against friends or relatives. Crimes committed intentionally are generally the more dramatic and impressive. (This in spite of the fact that the central crime in Oedipus the King was committed in ignorance.) As to style, a certain archaic quality of diction is needful to the dignity of tragedy. 4 Aristotle's definition of tragedy “A tragedy, then, is the imitation of an action that is serious and also, as having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions.” (Poetics 1449b.24) Aristotle distinguished six elements of a tragic drama: Plot, Character, Diction, Thought, Spectacle and Melody. Diction and Melody are the style of the text or lyrics, and the music to which some of them are set (Greek tragedy was like opera in that parts of it, though not usually the principal lines of the actors, were sung). Spectacle refers to staging, lighting, sets, costumes, and the like. Thought refers to the indications, given primarily through words but also through other means, of what the characters are thinking. That leaves the two elements to which Aristotle paid most attention, Plot and Character. Of these two, Aristotle thought that the Plot comes first. "In a play, they do not act in order to portray the characters; they include the characters for the sake of the action" (Poetics 1450a.20). That does not mean he would have approved of modern "action films" in which it hardly matters who does the shooting or the fast driving. For Aristotle, action must be consistent with character, and reveal character. Aristotle's Six Elements of Drama 1.PLOT – what happens in a play; the order of events, the story as opposed to the theme; what happens rather than what it means. 2.CHARACTER – the personality or the part an actor represents in a play; a role played by an actor in a play 3.THOUGHT-- what the characters think during the course of action of the play, or the main idea expressed through the play. 4.DICTION/LANGUAGE/DIALOGUE – the word choices made by the playwright and the enunciation of the actors delivering the lines. 5.MUSIC/RHYTHM – by music Aristotle meant the sound, rhythm and melody of the speeches. 6.SPECTACLE – the visual elements of the production of a play; the scenery, costumes, and special effects in a production. 5 Tragedy is the “imitation of an action” (mimesis) according to “the law of probability or necessity.” Aristotle indicates that the medium of tragedy is drama, not narrative; tragedy “shows” rather than “tells.” According to Aristotle, tragedy is higher and more philosophical than history because history simply relates what has happened while tragedy dramatizes what may happen, “what is possible according to the law of probability or necessity.” History thus deals with the particular, and tragedy with the universal. Events that have happened may be due to accident or coincidence; they may be particular to a specific situation and not be part of a clear cause-and-effect chain. Therefore they have little relevance for others. Tragedy, however, is rooted in the fundamental order of the universe; it creates a cause-and-effect chain that clearly reveals what may happen at any time or place because that is the way the world operates. Tragedy therefore arouses not only pity but also fear, because the audience can envision themselves within this cause-and-effect chain (context). Plot is the first principle, the most important feature of tragedy. Aristotle defines plot as “the arrangement of the incidents”: i.e., not the story itself but the way the incidents are presented to the audience, the structure of the play.
Load more

Recommended publications
  • Scotland's 'Forgotten' Contribution to the History of the Prime-Time BBC1 Contemporary Single TV Play Slot Cook, John R
    'A view from north of the border': Scotland's 'forgotten' contribution to the history of the prime-time BBC1 contemporary single TV play slot Cook, John R. Published in: Visual Culture in Britain DOI: 10.1080/14714787.2017.1396913 Publication date: 2018 Document Version Author accepted manuscript Link to publication in ResearchOnline Citation for published version (Harvard): Cook, JR 2018, ''A view from north of the border': Scotland's 'forgotten' contribution to the history of the prime- time BBC1 contemporary single TV play slot', Visual Culture in Britain, vol. 18, no. 3, pp. 325-341. https://doi.org/10.1080/14714787.2017.1396913 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please view our takedown policy at https://edshare.gcu.ac.uk/id/eprint/5179 for details of how to contact us. Download date: 26. Sep. 2021 1 Cover page Prof. John R. Cook Professor of Media Department of Social Sciences, Media and Journalism Glasgow Caledonian University 70 Cowcaddens Road Glasgow Scotland, United Kingdom G4 0BA Tel.: (00 44) 141 331 3845 Email: [email protected] Biographical note John R. Cook is Professor of Media at Glasgow Caledonian University, Scotland. He has researched and published extensively in the field of British television drama with specialisms in the works of Dennis Potter, Peter Watkins, British TV science fiction and The Wednesday Play.
    [Show full text]
  • British Television's Lost New Wave Moment: Single Drama and Race
    British Television’s Lost New Wave Moment: Single Drama and Race Eleni Liarou Abstract: The article argues that the working-class realism of post-WWII British television single drama is neither as English nor as white as is often implied. The surviving audiovisual material and written sources (reviews, publicity material, biographies of television writers and directors) reveal ITV’s dynamic role in offering a range of views and representations of Britain’s black population and their multi-layered relationship with white working-class cultures. By examining this neglected history of postwar British drama, this article argues for more inclusive historiographies of British television and sheds light on the dynamism and diversity of British television culture. Keywords: TV drama; working-class realism; new wave; representations of race and immigration; TV historiography; ITV history Television scholars have typically seen British television’s late- 1950s/early-1960s single drama, and particularly ITV’s Armchair Theatre strand, as a manifestation of the postwar new wave preoccupation with the English regional working class (Laing 1986; Cooke 2003; Rolinson 2011). This article argues that the working- class realism of this drama strand is neither as English nor as white as is often implied. The surviving audiovisual material and written sources – including programme listings, reviews, scripts, publicity material, biographies of television writers and directors – reveal ITV’s dynamic role in offering a range of representations of Britain’s black population and its relationship to white working-class cultures. More Journal of British Cinema and Television 9.4 (2012): 612–627 DOI: 10.3366/jbctv.2012.0108 © Edinburgh University Press www.eupjournals.com/jbctv 612 British Television’s Lost New Wave Moment particularly, the study of ITV’s single drama about black immigration in this period raises important questions which lie at the heart of postwar debates on commercial television’s lack of commitment to its public service remit.
    [Show full text]
  • Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced info the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on untii complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Stylised Worlds: Colour Separation Overlay in BBC Television Plays of the 1970S
    Stylised Worlds: Colour Separation Overlay in BBC Television Plays of the 1970s Leah Panos Abstract This essay aims to understand and interrogate the use of Colour Separation Overlay (CSO) as a mode of experimental production and aesthetic innovation in television drama in the 1970s. It sets out to do this by describing, accounting for and evaluating CSO as a production technique, considering the role of key production personnel, and analysing four specific BBC productions. Deploying methodologies of archival research, practitioner interview, and close textual analysis, the essay also delivers a significant reassessment of the role of the producer and designer in the conceptualisation and realisation of small-screen dramatic fiction. Key words: studio, drama, single play, aesthetics, experimental, CSO, blue screen, designer The technique the BBC named Colour Separation Overlay (CSO), referred to as ‘Chromakey’ by ITV production companies and more commonly known as ‘blue screen’,1 was described by the author of a 1976 television writers’ training manual as ‘the biggest technological development in television in recent years’,2 and remains a principle underpinning contemporary special effects practice. This article will discuss the technique and identify some key figures within the TV industry who championed its use, whilst analysing a cycle of BBC dramas made during the 1970s and early 1980s that used CSO extensively. Although many programmes made during this period used this effect in some capacity, I will examine four aesthetically innovative, CSO-based BBC single plays which demonstrate two designers’ work with CSO: Eileen Diss designed the early CSO productions Candide (Play of the Month, TX: 16/02/73) and Alice Through the Looking Glass (TX: 25/12/73) and Stuart Walker subsequently developed a Critical Studies in Television, Volume 8, No.
    [Show full text]
  • 8 Obituaries  @Guardianobits
    Section:GDN 1J PaGe:8 Edition Date:191101 Edition:01 Zone: Sent at 31/10/2019 17:49 cYanmaGentaYellowbl • The Guardian Friday 1 November 2019 [email protected] 8 Obituaries @guardianobits Birthdays want any “costume crap”. In the same anthology format – the fi rst featuring sci-fi stories – she created Rick Allen, rock Out of This World (1962). drummer, 56; Newman took Shubik with him Mark Austin, to the BBC in 1963 and she was story broadcaster, 61 ; editor on Story Parade (1964-65), Susanna Clarke, dramatisations of modern novels author, 60; Toni for the newly launched BBC2. In Collette, actor, 47; 1965, with Out of the Unknown, she Tim Cook, chief became a producer, and she stayed executive, Apple, in that role for Thirteen Against Fate 59; Sharron (1966), Hugh Leonard ’s adaptations Davies, Olympic of Georges Simenon stories. swimmer and Before switching to ITV, Shubik broadcaster, 57; worked on the BBC2 anthology Lou Donaldson, series Playhouse (1973 -76). Her alto saxophonist, commissions included half a 93; Lord (Bruce) dozen original dramas about the Grocott, Labour paranormal from writers such as politician, 79 ; Brian Hayles and Trevor. Mark Hughes, She left Granada before The Jewel football manager, in the Crown went into production 56; Jeremy Hunt, because she was asked by Columbia Conservative MP Pictures to work on the screenplay of and former health The Girl in a Swing (1988), based on seemed to “sabotage” the potential secretary, 53 ; Richard Adams ’s novel. However, it of Edna, the Inebriate Woman to Roger Kellaway, did not go beyond a fi rst draft.
    [Show full text]
  • In Spite of History? New Leftism in Britain 1956 - 1979
    In Spite of History? New Leftism in Britain 1956 - 1979 Thomas Marriott Dowling Thesis Presented for the Degree of PhD Department of History University of Sheffield August 2015 ii iii Contents Title page p. i Contents p. iii Abstract p. vi Introduction p. 1 On the Trail of the New Left p. 5 Rethinking New Leftism p. 12 Methodology and Structure p. 18 Chapter One Left Over? The Lost World of British New Leftism p. 24 ‘A Mood rather than a Movement’ p. 30 A Permanent Aspiration p. 33 The Antinomies of British New Leftism p. 36 Between Aspiration and Actuality p. 39 The Aetiology of British New Leftism p. 41 Being Communist p. 44 Reasoning Rebellion p. 51 Universities and Left Review p. 55 Forging a Movement p. 58 CND p. 63 Conclusion p. 67 iv Chapter Two Sound and Fury? New Leftism and the British ‘Cultural Revolt’ of the 1950s p. 69 British New Leftism’s ‘Moment of Culture’? p. 76 Principles behind New Leftism’s Cultural Turn p. 78 A British Cultural Revolt? p. 87 A New Left Culture? p. 91 Signifying Nothing? p. 96 Conclusion p. 99 Chapter Three Laureate of New Leftism? Dennis Potter’s ‘Sense of Vocation’ p. 102 A New Left ‘Mood’ p. 108 The Glittering Coffin p. 113 A New Left Politician p. 116 The Uses of Television p. 119 History and Sovereignty p. 127 Common Culture and ‘Occupying Powers’ p. 129 Conclusion p. 133 Chapter Four Imagined Revolutionaries? The Politics and Postures of 1968 p. 135 A Break in the New Left? p.
    [Show full text]
  • The Spaces of the Wednesday Play (BBC TV 1964–1970): Production, Technology and Style
    The spaces of the Wednesday Play (BBC TV 1964–1970): production, technology and style Article Accepted Version Bignell, J. (2014) The spaces of the Wednesday Play (BBC TV 1964–1970): production, technology and style. Historical Journal of Film, Radio and Television, 34 (3). pp. 369-389. ISSN 0143-9685 doi: https://doi.org/10.1080/01439685.2014.937182 (Special issue "Production, site and style") Available at http://centaur.reading.ac.uk/37674/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.tandfonline.com/doi/abs/10.1080/.VBsWcFYsoYU To link to this article DOI: http://dx.doi.org/10.1080/01439685.2014.937182 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Bignell, J., ‘The Spaces of The Wednesday Play (BBC TV 1964–1970): Production, Technology and Style’, Historical Journal of Radio, Film and Television Studies, 34:3 (2014), 369-389. The Spaces of The Wednesday Play (BBC TV 1964-70): Production, Technology and Style Jonathan Bignell Keywords Television; drama; film; location; studio; 1960s; BBC; Wednesday Play. Writing in the trade magazine Film and Television Technician in 1967, the story editor of The Wednesday Play, Roger Smith, looked forward to a moment of decisive change.1 British television production companies would need to re-equip themselves, ready for the coming of colour broadcasting.
    [Show full text]
  • Dias Difíceis a Representação Da Violência Na Dramaturgia Britânica De Matriz Realista Do Pós-Segunda Guerra Mundial (1951-1967)
    UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS Dias difíceis A representação da violência na dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial (1951-1967) Rui Pina Coelho DOUTORAMENTO EM ESTUDOS ARTÍSTICOS ESPECIALIDADE ESTUDOS DE TEATRO 2013 2 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS Dias difíceis A representação da violência na dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial (1951-1967) Rui Pina Coelho Tese orientada pela Professora Doutora Maria Helena Serôdio, especialmente elaborada para a obtenção do grau de Doutor em Estudos Artísticos, Especialidade Estudos de Teatro. 2013 3 4 Resumo A violência na sociedade e a sua representação artística têm sido desde sempre objecto de vibrantes debates. Na criação contemporânea, a violência continua a ser um dos mais insistentes refrãos temáticos motivando trabalhos que fazem confundir a realidade e a ficção, a violência e a sua representação. Este estudo analisa um corpus seleccionado de dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial, incluindo textos de John Whiting (Saints’s Day, 1951), Brendan Behan (The Quare Fellow, 1954), John Osborne (Look Back in Anger, 1956), Harold Pinter (The Birthday Party, 1958), Arnold Wesker (Chicken Soup with Barley, 1958; Roots, 1959; e I’m Talking about Jerusalem, 1960), John Arden (Serjeant Musgrave’s Dance, 1959), David Rudkin (Afore Night Come, 1962), Giles Cooper (Everything in the Garden, 1962), Edward Bond (Saved, 1965) e Charles Wood (Dingo, 1967). São textos reportados a uma geração de dramaturgos conhecidos como “Angry Young Men” e por uma Segunda Vaga de dramaturgos dos anos sessenta que a, seu modo, respondem às profundas alterações na geometria política e social, motivadas, em grande medida, pela Segunda Guerra Mundial.
    [Show full text]
  • The British War Film, 1939-1980: Culture, History, and Genre
    The British War Film, 1939-1980: Culture, History, and Genre by Kevin M. Flanagan B.A., College of William and Mary, 2006 M.A., North Carolina State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kevin M. Flanagan It was defended on April 15, 2015 and approved by Colin MacCabe, Distinguished Professor, Department of English Adam Lowenstein, Associate Professor, Department of English David Pettersen, Assistant Professor, Department of French and Italian Dissertation Advisor: Lucy Fischer, Distinguished Professor, Department of English ii Copyright © by Kevin M. Flanagan 2015 iii THE BRITISH WAR FILM, 1939-1980: CULTURE, HISTORY, AND GENRE Kevin M. Flanagan, Ph.D. University of Pittsburgh, 2015 This dissertation argues that discussions of war representation that privilege the nationalistic, heroic, and redemptively sacrificial strand of storytelling that dominate popular memory in Britain ignore a whole counter-history of movies that view war as an occasion to critique through devices like humor, irony, and existential alienation. Instead of selling audiences on what Graham Dawson has called “the pleasure culture of war” (a nationally self-serving mode of talking about and profiting from war memory), many texts about war are motivated by other intellectual and ideological factors. Each chapter includes historical context and periodizing arguments about different moments in British cultural history, explores genre trends, and ends with a comparative analysis of representative examples.
    [Show full text]
  • 1 Unit 1: ―Romantic Movement‖ 1-Literature: Any Piece of Written
    Unit 1: ―Romantic Movement‖ 1-Literature: any piece of written text having artistic quality. Some concepts: 2-Pre-Victorian female writers *Jane Austen: she was born on the 16th December 1775 in Steventon Rectory, Hampshire, England and died on the 18th July 1817 in Winchester, Hampshire, England. She is one of the first women writer in English. She is different from other writers of her time because her main interest is in moral, social and psychological behavior of the character. She writes mainly about young women as they grow up and search for personal happiness. Austen pictures are detailed often ironic and always about a small number of people. She gives her main characters choices and then shows how and why they make their choices. She criticized novels of sensibility. Her plots are fundamentally comic; she also highlighted the dependence of women on marriage to secure social standing and economic security. WORKS: Sense of sensibility (1811); Pride and Prejudice (1815); Mansfield Pride (1814); Emma (1816); Northanger Abbey (1818); Persuasion (1818). *The Bronte Sisters: Charlotte, Emily and Anne were all writers of great talent, although it is probably Charlotte who is remembered today as the most gifted. Their family was poor and in the early years the sisters tried to earn money by working as governesses and later by opening a village school. Then, they gave up teaching and started to write, first poetry and then novels. Because of the difficulties of writers as women in 19th c, they wrote under the pseudonyms of Currer, Ellis and Acton Bell: 1)- Charlotte: was born in Yorkshire in 1816 into a truly remarkable literary family.
    [Show full text]
  • Personalbibliographien
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main Prof. Dr. Wolf-D. Weise J A M E S S A U N D E R S BIBLIOGRAPHIE (allen in meinem Archiv verfügbaren Materials) [Stand: 06.03.03] Auberlen, Eckhard, "Die Nutzung des dramatischen Mediums in James Saunders' 'Next Time I'll Sing to You", Germanisch-Romanische Monatsschrift 30 (1980) 191-210. Berger, Dieter A., "Komik und Tragik des Paradoxen bei James Saunders" [ SA/SF ], Maske und Kothurn 20 (1974) 2, 191-207. Berger, Dieter A., "James Saunders: The Borage Pigeon Affair ", in: Horst Oppel (ed.), Das englische Drama der Gegenwart , Berlin 1976, 174-191. Brown, Dennis, "James Saunders (8 January 1925-)", in: Stanley Weintraub (ed.), British Dramatists Since WWII , (Dict. of Lit.Biogr.13), Detroit 1982, 440-444. Coveney, Michael, "Not-so-tall Stories on the Block" [rev.-art. Making it Better ], Observer (1992) 16 Feb., 56. Crowley, Jeananne, "A Scent of Flowers" [re: TV series Bloomers ], Radio Times [no further data]. Dace, Tish, "Saunders, James A.", in: James Vinson (ed.), Contemporary Dramatists , New York 31982, 691-695. Dace, Tish, "Saunders, James A.", in: K.A. Berney/N.G. Templeton (eds.), Contemporary British Dramatists , London etc.: St James Press, 1994, 626- 630. Dörfel, Hanspeter, "James Saunders: A Scent of Flowers (1964), in: Klaus-Dieter Fehse/Norbert H. Platz (eds.), Das zeitgenössische englische Drama: Einführung, Interpretation, Dokumentation , Frankfurt/M. 1975, 199-217. Gentile, Kathy J., "A Hermit Dramatized", Modern Drama 28 (1985) 3, 490-499. Hammerschmidt, Hildegard, Das historische Drama in England (1956-1971): Erscheinungsformen und Entwicklungstendenzen , Frankfurt/M.
    [Show full text]
  • THE IMPORTANCE of BEING the Autobiographical Subject in the Drama and Memoirs of Ronald Duncan
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2001 THE IMPORTANCE OF BEING The Autobiographical Subject in the Drama and Memoirs of Ronald Duncan TRUSSLER, ANNA CLAIRE http://hdl.handle.net/10026.1/2207 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. THE IMPORTANCE OF BEING The Autobiographical Subject in the Drama and Memoirs of Ronald Duncan by ANNA CLAIRE TRUSSLER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF PLYMOUTH School of Humanities and Cultural Interpretation Faculty of Arts and Education in collaboration with THE RONALD DUNCAN FOUNDATION August 2001 University of Plymouth Library Anna Claire Trussler THE IMPORTANCE OF BEING: The Autobiographical Subject in the Drama and Memoirs of Ronald Duncan This study developed after considerable time spent collating and cataloguing data contained in Ronald Duncan's archive. Familiarisation with the material led to my identifying a need to explore the elusive nature of the personality that biographical material should hope to uncover. Duncan was prone to mainly confessional writing, a kind of writing that demands a causal inference between life and work. Further­ more, the archive supplies multiple data sources that serve to aid chronology, trace reliability, provide external corroboration and investigate truth-value.
    [Show full text]