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Michael J. Sidnell

Professor emeritus

Degrees
M.A., Ph.D. (London)

Current Research
The rise of the performative after Nietzsche; Samuel Beckett as playwright and auteur; performance and reception.

Selected publications related to theatre & drama
Books:
YEATS’S POETRY AND POETICS. London: Macmillan,1996.
DANCES OF DEATH: The Group Theatre of London in the Thirties. London: Faber and Faber,
Edited Books:
SOURCES OF DRAMATIC THEORY, 2: Voltaire to Hugo, edited by Michael J.Sidnell et al. Cambridge: CUP, 1991. Rpr. pb. 2010.
SOURCES OF DRAMATIC THEORY, 1: Plato to Congreve, edited by Michael J.Sidnell et al. Cambridge: Cambridge University Press, 1991. Rpr. pb. 2008.
THE SECRET ROSE, STORIES BY W.B.YEATS: A Variorum Edition, edited by P.L.Marcus, W.Gould and M.J.Sidnell. Ithaca: Cornell University Press, 1982. 2nd ed. rev. London: Macmillan Press, 1992.
W.B. YEATS: THE COUNTESS CATHLEEN: Manuscript Materials, edited M.J.Sidnell and Wayne K. Chapman. Ithaca: Cornell University Press, 1999.
DRUID CRAFT: the Writing of the Shadowy Waters: Manuscripts of W.B.Yeats, transcribed, edited and with a commentary by M.J.Sidnell, G.P.Mayhew and D.R.Clark. Amherst: University of Massachusetts Press, 1971.
Contributions to books:
“Innocence, in a Sense: Self-consciousness in Theatrical Translation,” in Breaking the Language Barrier: proceedings of the twentieth congress of the International Association of Theatre Critics, Canal: Montreal, 2005. Pp.30-39.
“Authorizations of the Performative: Whose Performances of What, and for Whom?,” in The Performance Text, ed. Domenico Pietropaolo. Ottawa: Legas, 1999. Pp. 97-112.
“Auden and the Group Theatre”. In W.H.Auden and Christopher Isherwood: Plays …, ed. Edward Mendelson. Princeton: Princeton University Press. Pp.490-507.
“Another Death of Tragedy: Louis MacNeice’s translation of Agamemnon in the context of his work in the theatre”, in Greek Tragedy and its Legacy: Essays Presented to D. J. Conacher, ed. Martin Cropp et al. Calgary: University of Calgary Press, 1986. Pp.323-336.
“Louis MacNeice” in Dictionary of Literary Biography, Vol. X,2: Modern British Dramatists, edited Stanley Weintraub. Detroit: Bruccoli Clark, 1982. Pp. 8-12.
“W. H. Auden” in Dictionary of Literary Biography, Vol. X,1: Modern British Dramatists, edited Stanley Weintraub. Detroit, Bruccoli Clark, 1982. Pp.I, 12-24.
“Beverley Simons”, in Contemporary Playwrights. London: St. James’s Press, 1978).
“The Well of the Saints and the light of this World”, in Sunshine and the Moon’s Delight: a centenary tribute to J.M.Synge, edited S.B.Bushrui. London, 1972. Pp.54-59.
“Hic and Ille: Shaw and Yeats”, in Theatre and Nationalism in Twentieth Century Ireland, edited R. O’Driscoll. Toronto, 1970. Pp.156-78. [Reprinted in part in Modern Irish Drama, ed. John P. Harrington. Norton:NY, 1991.]
“The Seagull”, in The Stratford Scene, 1958-68, edited P. Raby. Toronto, 1968) 222-24.
“Yeats’s First Work for the Stage”, in W.B.Yeats: Centenary Essays, edited D.Maxwell and S.Bushrui. London, 1965. Pp.167-88.
Articles:
“Beckett’s Discovery of Theatre: Human Wishes, and the dramaturgical contexts of Eleutheria”, South Carolina Review. (Forthcoming 2010).
“Semiotic Arts of Theatre,” Semiotica 168 1-4 (2008),11-43.
“Beckett’s Sacrifice of Archaic Theatre on the Altar of Modernism”, @nalyses: revue de critique et de théorie littéraire, XXe siècle, 2007.
“Aesthetic Prejudice in Modern Drama,” Modern Drama, XLIV, 1(Spring 2001), 16-30.
“The Countess Cathleen as a Study in Theatrical Genre”, South Carolina Review 32, 1 (Fall 1999), 38-50.
“Performing Writing: Inscribing Theatre”, Modern Drama 39:4. (1997), 547-557.
“Yeats’s ‘Written Speech’: Writing, Hearing and Performance”, Yeats Annual 11, edited W. Gould (London: Macmillan, 1995) 3-25.
“Mode narratif et mode dramatique: réflexions à partir de la pièce “le chien” de Jean-Marc Dalpé,” L’Annuaire théatrâl: revue d’histoire et de recherche, 10 (automne 1991) 173-187.
“Adventures in the Culture Trade: the 1991 Stratford Festival,” Journal of Canadian Studies, 26, 4 (Winter 1991-92) 146-158.
“Designers’ Plays and other Texts: the Stratford Festival 1990,” Journal of Canadian Studies, 25, 4 (Winter 1990-91) 129-140.
“Polygraph: somatic truth and an art of presence”, Canadian Theatre Review, 64 (Fall 1990), 45-48.
“Representing Theatre: the Stratford Season 1989″, Journal of Canadian Studies, 24,4 (Winter 1989-90) 109-117.
“Being Classical in North America: the Stratford Season 1988″, Journal of Canadian Studies, 23,4 (Winter 1988-89) 109-117.
“On Dramatic Theory and its History: A Review Essay”, Essays in Theatre, 4,2 (May 1986) 147-159.
“Misalliance: Sex, Socialism and the Collectivist Poet”, Modern Drama, XVII, I (June, 1974) 125-39.
“John Bull’s Other Island: Yeats and Shaw”, Modern Drama, 11 (1968) 245-51.
“Manuscript Versions of Yeats’s The Shadowy Waters”, Papers of the Bibliographical Society of America, LXII (1968) 39-57.
“Synge’s Playboy and the Champion of Ulster”, Dalhousie Review, XLV (1965) 51-69.
“A Moniment without a Tombe: the Stratford Festival Theatre”, Essays and Studies of the English Association, ed. W.A.Armstrong (London, 1964) 41-64.
“Manuscript Versions of Yeats’s The Countess Cathleen”, Papers of the Bibliographical Society of America, LVI (1962) 79-103.


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