Golden Thread: Irish Women Playwrights, Volumes 1 & 2
portes grátis
Golden Thread: Irish Women Playwrights, Volumes 1 & 2
McDonagh, Fiona; Nakase, Justine; Clare, David
Liverpool University Press
03/2024
560
Mole
Inglês
9781802073713
15 a 20 dias
Descrição não disponível.
Volume 1
IntroductionDavid Clare, Fiona McDonagh & Justine Nakase
"There's no Place like old England": Space and Identity in Mary Davys's The Northern Heiress; Or, the Humours of York (1716)
Marguerite Corporaal
"Some tender scenes demand the melting tear": Frances Sheridan's The Discovery (1763) and the Vindication of "Sentimental Comedy"
Conrad Brunstroem
Irish Wit on the London Stage: Elizabeth Griffith's The Platonic Wife (1765)
Cliona O Gallchoir
Deceptive Disabilities in Maria Edgeworth's The Double Disguise (1786): Irish Patriotism, Consumption, and the Martial Male Body
Sonja Lawrenson
Reimagining Maria Edgeworth's The Knapsack (1801) for a Contemporary Young Audience
Fiona McDonagh & Marc Mac Lochlainn
Mary Balfour's Kathleen O'Neil (1814): An Expression or Betrayal of Her Ulster Scots Background?
David Clare
Justice and the "Triple Goddess" Archetypes in Anna Maria Hall's Mabel's Curse (1837)
Ciara Moloney
Operas without a Hero: A Comic Trilogy (1876-1879) by Elena Norton and Mary HeyneMark Fitzgerald
"Petticoats!-petticoats! petticoats!": Sartorial Economics in Clotilde Graves's A Mother of Three (1896)
Justine Nakase
From Gort to Antarctica: Lady Gregory's Audiences and The Rising of the Moon (1903)
Anna Pilz
Lady Gregory's Grania (1912): Myth and Mythology
Shirley-Anne Godfrey
"You have let the play go to pieces": Geraldine Cummins and Susanne R. Day's Fox and Geese (1917) and the Hegemony of the Early Abbey Theatre
Thomas Conway
"Something left over from the Eighteenth Century, undergoing a slow process of decay": The Impotence of the Ascendancy in Mary Manning's Youth's the Season-? (1931)
Ruud van den Beuken
Shape Shifting the Silence: An Analysis of Talk Real Fine, Just Like a Lady (2017) by Amanda Coogan in Collaboration with Dublin Theatre of the Deaf, an Appropriation of Teresa Deevy's The King of Spain's Daughter (1935)
Una Kealy & Kate McCarthy
The Premiere Staging of Mount Prospect (1940) by Elizabeth Connor (the Pen Name of Una Troy) at the Abbey Theatre
Ciara O'Dowd
Corruption and Socio-Political Tensions in Christine Longford's Tankardstown (1948)
Kevin O'Connor
Social Class, Space, and Containment in 1950s Ireland: Maura Laverty's "Dublin Trilogy" (1951-1952)
Cathy Leeney & Deirdre McFeely
Mairead Ni Ghrada's An Triail/On Trial (1964): Hiding Hypocrisy in Plain Sight
Feargal Whelan
Christina Reid: Acts of Memory in Tea in a China Cup (1983), The Belle of the Belfast City (1989), and My Name, Shall I Tell You My Name (1989)
Emilie Pine
Anne Devlin: Depicting a Gendered Journey: Men and Women on The Long March (1984)
Megan W. Minogue
A Partial Eclipse: The Role of the Religious in Patricia Burke Brogan's Eclipsed (1988 / 1992)
Patricia O'Beirne
Coda - What the Woman Sees: Waking Up to Feminist Aesthetics
Cathy Leeney
Volume 2
Introduction
David Clare, Fiona McDonagh & Justine Nakase
Marie Jones's Don't Look Down (1992): Representations of Disability for Young Audiences
Fiona McDonagh
Lesbianism and Legibility in Emma Donoghue's I Know My Own Heart (1993)
Shonagh Hill
Learning to Play Poker: The Re-vision of Irish Women's Agency in Gina Moxley's Danti-Dan (1995)
Nelson Barre
Directing Marina Carr's By the Bog of Cats... (1998) in China
Sarah Jane Scaife
Ursula Rani Sarma's Blue (2000) and Social Transformation in Ireland
Shane O'Neill
Challenging "Good Taste": Roslaeen McDonagh's The Baby Doll Project (2003) and the Creation of a "Traveller Canon"
Mary Burke
Disordered States and Affective Economies in Stella Feehily's O Go My Man (2006)
Clare Wallace
Living in a Rape Culture: Gang Rape and "Toxic Masculinity" in Abbie Spallen's Pumpgirl (2006)
Carole Quigley
Marina Carr's Woman and Scarecrow (2006) and the Ars Moriendi
Jose Lanters
Lizzie Nunnery's Intemperance (2007) and Compromised Mental Health among the Irish in Britain
David Clare
Memory, History, and Forgetting in Anne Devlin's The Forgotten (2009)
Graham Price
"We are here, we were here all along": Queer Invisibility and Performing Age in Amy Conroy's I (Heart) Alice (Heart) I (2010)
Brenda O'Connell
Motherhood and the Search for Recognition in Deirdre Kinahan's Moment (2011)
Dorothy Morrissey
"Unrealing the Real": Disability and Darwinism in Lynda Radley's Futureproof (2011)
Siobhan Purcell
Family Dysfunction and Character Dynamics: Nancy Harris's Our New Girl (2012) in Conversation with Marina Carr's Portia Coughlin (1996) and Martin Crimp's The Country (2000)
Maria Kurdi
Unconscious Casting: Stacey Gregg's Shibboleth (2015), Walls, and the (En)Gendering of Violence
Justine Nakase
Nevertheless, She Persisted: Celia de Freine's Luise (2016)
Brian O Conchubhair
Coda - Spinning Gold: Threads of Augusta Gregory and Marina Carr
Melissa Sihra
IntroductionDavid Clare, Fiona McDonagh & Justine Nakase
"There's no Place like old England": Space and Identity in Mary Davys's The Northern Heiress; Or, the Humours of York (1716)
Marguerite Corporaal
"Some tender scenes demand the melting tear": Frances Sheridan's The Discovery (1763) and the Vindication of "Sentimental Comedy"
Conrad Brunstroem
Irish Wit on the London Stage: Elizabeth Griffith's The Platonic Wife (1765)
Cliona O Gallchoir
Deceptive Disabilities in Maria Edgeworth's The Double Disguise (1786): Irish Patriotism, Consumption, and the Martial Male Body
Sonja Lawrenson
Reimagining Maria Edgeworth's The Knapsack (1801) for a Contemporary Young Audience
Fiona McDonagh & Marc Mac Lochlainn
Mary Balfour's Kathleen O'Neil (1814): An Expression or Betrayal of Her Ulster Scots Background?
David Clare
Justice and the "Triple Goddess" Archetypes in Anna Maria Hall's Mabel's Curse (1837)
Ciara Moloney
Operas without a Hero: A Comic Trilogy (1876-1879) by Elena Norton and Mary HeyneMark Fitzgerald
"Petticoats!-petticoats! petticoats!": Sartorial Economics in Clotilde Graves's A Mother of Three (1896)
Justine Nakase
From Gort to Antarctica: Lady Gregory's Audiences and The Rising of the Moon (1903)
Anna Pilz
Lady Gregory's Grania (1912): Myth and Mythology
Shirley-Anne Godfrey
"You have let the play go to pieces": Geraldine Cummins and Susanne R. Day's Fox and Geese (1917) and the Hegemony of the Early Abbey Theatre
Thomas Conway
"Something left over from the Eighteenth Century, undergoing a slow process of decay": The Impotence of the Ascendancy in Mary Manning's Youth's the Season-? (1931)
Ruud van den Beuken
Shape Shifting the Silence: An Analysis of Talk Real Fine, Just Like a Lady (2017) by Amanda Coogan in Collaboration with Dublin Theatre of the Deaf, an Appropriation of Teresa Deevy's The King of Spain's Daughter (1935)
Una Kealy & Kate McCarthy
The Premiere Staging of Mount Prospect (1940) by Elizabeth Connor (the Pen Name of Una Troy) at the Abbey Theatre
Ciara O'Dowd
Corruption and Socio-Political Tensions in Christine Longford's Tankardstown (1948)
Kevin O'Connor
Social Class, Space, and Containment in 1950s Ireland: Maura Laverty's "Dublin Trilogy" (1951-1952)
Cathy Leeney & Deirdre McFeely
Mairead Ni Ghrada's An Triail/On Trial (1964): Hiding Hypocrisy in Plain Sight
Feargal Whelan
Christina Reid: Acts of Memory in Tea in a China Cup (1983), The Belle of the Belfast City (1989), and My Name, Shall I Tell You My Name (1989)
Emilie Pine
Anne Devlin: Depicting a Gendered Journey: Men and Women on The Long March (1984)
Megan W. Minogue
A Partial Eclipse: The Role of the Religious in Patricia Burke Brogan's Eclipsed (1988 / 1992)
Patricia O'Beirne
Coda - What the Woman Sees: Waking Up to Feminist Aesthetics
Cathy Leeney
Volume 2
Introduction
David Clare, Fiona McDonagh & Justine Nakase
Marie Jones's Don't Look Down (1992): Representations of Disability for Young Audiences
Fiona McDonagh
Lesbianism and Legibility in Emma Donoghue's I Know My Own Heart (1993)
Shonagh Hill
Learning to Play Poker: The Re-vision of Irish Women's Agency in Gina Moxley's Danti-Dan (1995)
Nelson Barre
Directing Marina Carr's By the Bog of Cats... (1998) in China
Sarah Jane Scaife
Ursula Rani Sarma's Blue (2000) and Social Transformation in Ireland
Shane O'Neill
Challenging "Good Taste": Roslaeen McDonagh's The Baby Doll Project (2003) and the Creation of a "Traveller Canon"
Mary Burke
Disordered States and Affective Economies in Stella Feehily's O Go My Man (2006)
Clare Wallace
Living in a Rape Culture: Gang Rape and "Toxic Masculinity" in Abbie Spallen's Pumpgirl (2006)
Carole Quigley
Marina Carr's Woman and Scarecrow (2006) and the Ars Moriendi
Jose Lanters
Lizzie Nunnery's Intemperance (2007) and Compromised Mental Health among the Irish in Britain
David Clare
Memory, History, and Forgetting in Anne Devlin's The Forgotten (2009)
Graham Price
"We are here, we were here all along": Queer Invisibility and Performing Age in Amy Conroy's I (Heart) Alice (Heart) I (2010)
Brenda O'Connell
Motherhood and the Search for Recognition in Deirdre Kinahan's Moment (2011)
Dorothy Morrissey
"Unrealing the Real": Disability and Darwinism in Lynda Radley's Futureproof (2011)
Siobhan Purcell
Family Dysfunction and Character Dynamics: Nancy Harris's Our New Girl (2012) in Conversation with Marina Carr's Portia Coughlin (1996) and Martin Crimp's The Country (2000)
Maria Kurdi
Unconscious Casting: Stacey Gregg's Shibboleth (2015), Walls, and the (En)Gendering of Violence
Justine Nakase
Nevertheless, She Persisted: Celia de Freine's Luise (2016)
Brian O Conchubhair
Coda - Spinning Gold: Threads of Augusta Gregory and Marina Carr
Melissa Sihra
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Volume 1
IntroductionDavid Clare, Fiona McDonagh & Justine Nakase
"There's no Place like old England": Space and Identity in Mary Davys's The Northern Heiress; Or, the Humours of York (1716)
Marguerite Corporaal
"Some tender scenes demand the melting tear": Frances Sheridan's The Discovery (1763) and the Vindication of "Sentimental Comedy"
Conrad Brunstroem
Irish Wit on the London Stage: Elizabeth Griffith's The Platonic Wife (1765)
Cliona O Gallchoir
Deceptive Disabilities in Maria Edgeworth's The Double Disguise (1786): Irish Patriotism, Consumption, and the Martial Male Body
Sonja Lawrenson
Reimagining Maria Edgeworth's The Knapsack (1801) for a Contemporary Young Audience
Fiona McDonagh & Marc Mac Lochlainn
Mary Balfour's Kathleen O'Neil (1814): An Expression or Betrayal of Her Ulster Scots Background?
David Clare
Justice and the "Triple Goddess" Archetypes in Anna Maria Hall's Mabel's Curse (1837)
Ciara Moloney
Operas without a Hero: A Comic Trilogy (1876-1879) by Elena Norton and Mary HeyneMark Fitzgerald
"Petticoats!-petticoats! petticoats!": Sartorial Economics in Clotilde Graves's A Mother of Three (1896)
Justine Nakase
From Gort to Antarctica: Lady Gregory's Audiences and The Rising of the Moon (1903)
Anna Pilz
Lady Gregory's Grania (1912): Myth and Mythology
Shirley-Anne Godfrey
"You have let the play go to pieces": Geraldine Cummins and Susanne R. Day's Fox and Geese (1917) and the Hegemony of the Early Abbey Theatre
Thomas Conway
"Something left over from the Eighteenth Century, undergoing a slow process of decay": The Impotence of the Ascendancy in Mary Manning's Youth's the Season-? (1931)
Ruud van den Beuken
Shape Shifting the Silence: An Analysis of Talk Real Fine, Just Like a Lady (2017) by Amanda Coogan in Collaboration with Dublin Theatre of the Deaf, an Appropriation of Teresa Deevy's The King of Spain's Daughter (1935)
Una Kealy & Kate McCarthy
The Premiere Staging of Mount Prospect (1940) by Elizabeth Connor (the Pen Name of Una Troy) at the Abbey Theatre
Ciara O'Dowd
Corruption and Socio-Political Tensions in Christine Longford's Tankardstown (1948)
Kevin O'Connor
Social Class, Space, and Containment in 1950s Ireland: Maura Laverty's "Dublin Trilogy" (1951-1952)
Cathy Leeney & Deirdre McFeely
Mairead Ni Ghrada's An Triail/On Trial (1964): Hiding Hypocrisy in Plain Sight
Feargal Whelan
Christina Reid: Acts of Memory in Tea in a China Cup (1983), The Belle of the Belfast City (1989), and My Name, Shall I Tell You My Name (1989)
Emilie Pine
Anne Devlin: Depicting a Gendered Journey: Men and Women on The Long March (1984)
Megan W. Minogue
A Partial Eclipse: The Role of the Religious in Patricia Burke Brogan's Eclipsed (1988 / 1992)
Patricia O'Beirne
Coda - What the Woman Sees: Waking Up to Feminist Aesthetics
Cathy Leeney
Volume 2
Introduction
David Clare, Fiona McDonagh & Justine Nakase
Marie Jones's Don't Look Down (1992): Representations of Disability for Young Audiences
Fiona McDonagh
Lesbianism and Legibility in Emma Donoghue's I Know My Own Heart (1993)
Shonagh Hill
Learning to Play Poker: The Re-vision of Irish Women's Agency in Gina Moxley's Danti-Dan (1995)
Nelson Barre
Directing Marina Carr's By the Bog of Cats... (1998) in China
Sarah Jane Scaife
Ursula Rani Sarma's Blue (2000) and Social Transformation in Ireland
Shane O'Neill
Challenging "Good Taste": Roslaeen McDonagh's The Baby Doll Project (2003) and the Creation of a "Traveller Canon"
Mary Burke
Disordered States and Affective Economies in Stella Feehily's O Go My Man (2006)
Clare Wallace
Living in a Rape Culture: Gang Rape and "Toxic Masculinity" in Abbie Spallen's Pumpgirl (2006)
Carole Quigley
Marina Carr's Woman and Scarecrow (2006) and the Ars Moriendi
Jose Lanters
Lizzie Nunnery's Intemperance (2007) and Compromised Mental Health among the Irish in Britain
David Clare
Memory, History, and Forgetting in Anne Devlin's The Forgotten (2009)
Graham Price
"We are here, we were here all along": Queer Invisibility and Performing Age in Amy Conroy's I (Heart) Alice (Heart) I (2010)
Brenda O'Connell
Motherhood and the Search for Recognition in Deirdre Kinahan's Moment (2011)
Dorothy Morrissey
"Unrealing the Real": Disability and Darwinism in Lynda Radley's Futureproof (2011)
Siobhan Purcell
Family Dysfunction and Character Dynamics: Nancy Harris's Our New Girl (2012) in Conversation with Marina Carr's Portia Coughlin (1996) and Martin Crimp's The Country (2000)
Maria Kurdi
Unconscious Casting: Stacey Gregg's Shibboleth (2015), Walls, and the (En)Gendering of Violence
Justine Nakase
Nevertheless, She Persisted: Celia de Freine's Luise (2016)
Brian O Conchubhair
Coda - Spinning Gold: Threads of Augusta Gregory and Marina Carr
Melissa Sihra
IntroductionDavid Clare, Fiona McDonagh & Justine Nakase
"There's no Place like old England": Space and Identity in Mary Davys's The Northern Heiress; Or, the Humours of York (1716)
Marguerite Corporaal
"Some tender scenes demand the melting tear": Frances Sheridan's The Discovery (1763) and the Vindication of "Sentimental Comedy"
Conrad Brunstroem
Irish Wit on the London Stage: Elizabeth Griffith's The Platonic Wife (1765)
Cliona O Gallchoir
Deceptive Disabilities in Maria Edgeworth's The Double Disguise (1786): Irish Patriotism, Consumption, and the Martial Male Body
Sonja Lawrenson
Reimagining Maria Edgeworth's The Knapsack (1801) for a Contemporary Young Audience
Fiona McDonagh & Marc Mac Lochlainn
Mary Balfour's Kathleen O'Neil (1814): An Expression or Betrayal of Her Ulster Scots Background?
David Clare
Justice and the "Triple Goddess" Archetypes in Anna Maria Hall's Mabel's Curse (1837)
Ciara Moloney
Operas without a Hero: A Comic Trilogy (1876-1879) by Elena Norton and Mary HeyneMark Fitzgerald
"Petticoats!-petticoats! petticoats!": Sartorial Economics in Clotilde Graves's A Mother of Three (1896)
Justine Nakase
From Gort to Antarctica: Lady Gregory's Audiences and The Rising of the Moon (1903)
Anna Pilz
Lady Gregory's Grania (1912): Myth and Mythology
Shirley-Anne Godfrey
"You have let the play go to pieces": Geraldine Cummins and Susanne R. Day's Fox and Geese (1917) and the Hegemony of the Early Abbey Theatre
Thomas Conway
"Something left over from the Eighteenth Century, undergoing a slow process of decay": The Impotence of the Ascendancy in Mary Manning's Youth's the Season-? (1931)
Ruud van den Beuken
Shape Shifting the Silence: An Analysis of Talk Real Fine, Just Like a Lady (2017) by Amanda Coogan in Collaboration with Dublin Theatre of the Deaf, an Appropriation of Teresa Deevy's The King of Spain's Daughter (1935)
Una Kealy & Kate McCarthy
The Premiere Staging of Mount Prospect (1940) by Elizabeth Connor (the Pen Name of Una Troy) at the Abbey Theatre
Ciara O'Dowd
Corruption and Socio-Political Tensions in Christine Longford's Tankardstown (1948)
Kevin O'Connor
Social Class, Space, and Containment in 1950s Ireland: Maura Laverty's "Dublin Trilogy" (1951-1952)
Cathy Leeney & Deirdre McFeely
Mairead Ni Ghrada's An Triail/On Trial (1964): Hiding Hypocrisy in Plain Sight
Feargal Whelan
Christina Reid: Acts of Memory in Tea in a China Cup (1983), The Belle of the Belfast City (1989), and My Name, Shall I Tell You My Name (1989)
Emilie Pine
Anne Devlin: Depicting a Gendered Journey: Men and Women on The Long March (1984)
Megan W. Minogue
A Partial Eclipse: The Role of the Religious in Patricia Burke Brogan's Eclipsed (1988 / 1992)
Patricia O'Beirne
Coda - What the Woman Sees: Waking Up to Feminist Aesthetics
Cathy Leeney
Volume 2
Introduction
David Clare, Fiona McDonagh & Justine Nakase
Marie Jones's Don't Look Down (1992): Representations of Disability for Young Audiences
Fiona McDonagh
Lesbianism and Legibility in Emma Donoghue's I Know My Own Heart (1993)
Shonagh Hill
Learning to Play Poker: The Re-vision of Irish Women's Agency in Gina Moxley's Danti-Dan (1995)
Nelson Barre
Directing Marina Carr's By the Bog of Cats... (1998) in China
Sarah Jane Scaife
Ursula Rani Sarma's Blue (2000) and Social Transformation in Ireland
Shane O'Neill
Challenging "Good Taste": Roslaeen McDonagh's The Baby Doll Project (2003) and the Creation of a "Traveller Canon"
Mary Burke
Disordered States and Affective Economies in Stella Feehily's O Go My Man (2006)
Clare Wallace
Living in a Rape Culture: Gang Rape and "Toxic Masculinity" in Abbie Spallen's Pumpgirl (2006)
Carole Quigley
Marina Carr's Woman and Scarecrow (2006) and the Ars Moriendi
Jose Lanters
Lizzie Nunnery's Intemperance (2007) and Compromised Mental Health among the Irish in Britain
David Clare
Memory, History, and Forgetting in Anne Devlin's The Forgotten (2009)
Graham Price
"We are here, we were here all along": Queer Invisibility and Performing Age in Amy Conroy's I (Heart) Alice (Heart) I (2010)
Brenda O'Connell
Motherhood and the Search for Recognition in Deirdre Kinahan's Moment (2011)
Dorothy Morrissey
"Unrealing the Real": Disability and Darwinism in Lynda Radley's Futureproof (2011)
Siobhan Purcell
Family Dysfunction and Character Dynamics: Nancy Harris's Our New Girl (2012) in Conversation with Marina Carr's Portia Coughlin (1996) and Martin Crimp's The Country (2000)
Maria Kurdi
Unconscious Casting: Stacey Gregg's Shibboleth (2015), Walls, and the (En)Gendering of Violence
Justine Nakase
Nevertheless, She Persisted: Celia de Freine's Luise (2016)
Brian O Conchubhair
Coda - Spinning Gold: Threads of Augusta Gregory and Marina Carr
Melissa Sihra
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
