Literary studies: plays and playwrights

Im Gegensatz zur frühen Forschung zur alten attischen Komödie, die sich fast nur mit den Stücken des Aristophanes befasst hat, befasst sich die moderne Forschung mit mehreren Dichtern, vor allem Eupolis und Kratinos, den nach den alten Quellen bedeutendsten Dichtern der alten Komödie neben Aristophanes.

This volume gathers 16 papers originally written for the occasion of the 49th Colston Symposium, held in Bristol in 1997, and substantially revised for this publication.

No detailed description available for "e;Shakespeare's Verbal Art in "e;Th' Expense of Spirit"e;"e;.

No detailed description available for "e;Shakespeare and the Ambiguity of Love's Triumph"e;.

Verbatim theatre, a type of performance based on actual words spoken by 'real people', has been at the heart of a remarkable and unexpected renaissance of the genre in Great Britain since the mid-nineties.

Verbatim theatre, a type of performance based on actual words spoken by 'real people', has been at the heart of a remarkable and unexpected renaissance of the genre in Great Britain since the mid-nineties.

Despite the recent turn to affects and emotions in the humanities and despite the unceasing popularity of romantic and erotic love as a motif in fictional works of all genres, the subject has received surprisingly little attention in academic studies of contemporary drama.

Performing Immanence: Forced Entertainment is a unique probe into the multi-faceted nature of the works of the British experimental theatre Forced Entertainment via the thought of Gilles Deleuze and Felix Guattari.

Performing Immanence: Forced Entertainment is a unique probe into the multi-faceted nature of the works of the British experimental theatre Forced Entertainment via the thought of Gilles Deleuze and Felix Guattari.

Drawing primarily on Judith Butler's, Jacques Derrida's, Emmanuel Levinas's and Jean-Luc Nancy's reflections on precariousness/precarity, the Self and the Other, ethical responsibility/obligation, forgiveness, hos(ti)pitality and community, the essays in this volume examine the various ways in which contemporary British drama and theatre engage with 'the precarious'.

Drawing primarily on Judith Butler's, Jacques Derrida's, Emmanuel Levinas's and Jean-Luc Nancy's reflections on precariousness/precarity, the Self and the Other, ethical responsibility/obligation, forgiveness, hos(ti)pitality and community, the essays in this volume examine the various ways in which contemporary British drama and theatre engage with 'the precarious'.

In a moment of intense uncertainty surrounding the means, ends, and limits of (countering) terrorism, this study approaches the recent theatres of war through theatrical stagings of terror.

In a moment of intense uncertainty surrounding the means, ends, and limits of (countering) terrorism, this study approaches the recent theatres of war through theatrical stagings of terror.

A major, defining polarity in Euripidean drama, wisdom and folly, has never so far been the subject of a book-length study.

A major, defining polarity in Euripidean drama, wisdom and folly, has never so far been the subject of a book-length study.

The conventional view of Aristophanes bristles with problems.

The conventional view of Aristophanes bristles with problems.

The category of theatrical character has been swiftly dismissed in the academic reception of no-longer-dramatic texts and performances.

Theatre is traditionally considered a live medium but its 'liveness' can no longer simply be taken for granted in view of the increasing mediatisation of the stage.

Theatre is traditionally considered a live medium but its 'liveness' can no longer simply be taken for granted in view of the increasing mediatisation of the stage.

The category of theatrical character has been swiftly dismissed in the academic reception of no-longer-dramatic texts and performances.

'Realism' is a pervasive term in discussions of contemporary developments in the cultural sphere.

British drama of the 1990s is most commonly associated with the term in-yer-face theatre, which was coined by Aleks Sierz to describe the shocking and provocative work of emerging playwrights such as Mark Ravenhill or Sarah Kane.