|Naslov:||Mad or Misunderstood – Representations of Madness in British Drama|
|Avtorji:||Slapar, Irena (Avtor)|
Onič, Tomaž (Mentor) Več o mentorju...
|Datoteke:|| MAG_Slapar_Irena_2016.pdf (883,11 KB)|
|Vrsta gradiva:||Magistrsko delo (m2)|
|Tipologija:||2.09 - Magistrsko delo|
|Organizacija:||FF - Filozofska fakulteta|
|Opis:||Madness has always fascinated as well as frightened people, which is why its mysterious and indefinite essence has served as an inexhaustible source of inspiration to authors in novels, poetry and plays, and has personified itself in the works of artists. Madness has been an important theme in drama, since it mystified and excited the writers of tragedies as long ago as in Ancient Greece, whereas it entered the British world of drama with the same intensity at the time of its greatest creativity and has remained there ever since. Although it has subsided for a while in certain periods of time, it has never completely diminished into oblivion. Towards the end of the 20th century it resurfaced and regained its importance as an indispensable way of expression of the younger generation of playwrights, which shocked audience and critics alike. The thesis analyses different manifestations of alleged madness and examines how the understanding of irrational behaviour changed through centuries. It questions if diagnosis of the same mental disturbance differed whether the patient was a woman or a man. It further on analyses what kind of treatment was considered to be the most appropriate in a certain time and age. The purpose of this thesis is to examine the representations of (alleged) female madness in the plays of Sarah Daniels.|
|Ključne besede:||madness, drama, women writers, gender, feminism|
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|Skupna ocena:||(0 glasov)|
|Vaša ocena:||Ocenjevanje je dovoljeno samo prijavljenim uporabnikom.|
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