Mad or misunderstood

representations of madness in British drama

Irena Slapar (Avtor), Tomaž Onič (Mentor)

Povzetek

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

master theses;madness;drama;women writers;gender;feminism;

Podatki

Jezik:	Angleški jezik
Leto izida:	2016
Tipologija:	2.09 - Magistrsko delo
Organizacija:	UM FF - Filozofska fakulteta
Založnik:	[I. Slapar]
UDK:	159.97-055.2:821.111.09-2Daniels S.(043.2)
COBISS:	22685448
Št. ogledov:	974
Št. prenosov:	94
Ocena:	0 (0 glasov)
Metapodatki:

Ostali podatki

Sekundarni jezik:	Slovenski jezik
Sekundarni naslov:	Nori ali nerazumljeni – norost v britanski dramatiki
Sekundarni povzetek:	Norost je že od nekdaj fascinirala in hkrati plašila ljudi, zato je s svojo skrivnostnostjo in nedoločljivostjo služila kot neizčrpen vir navdiha avtoricam in avtorjem v romanih, poeziji in dramah, ter se utelesila v mojstrovinah mnogih umetnikov. Prav tako je norost pomemben motiv v dramatiki, saj je vznemirjala že pisce tragedij v antični Grčiji, v britanski prostor pa je z enako intenzivnostjo vstopila v času največjega razcveta dramatike in v njem tudi ostala. V nekaterih obdobjih se je sicer za nekaj časa umaknila v ozadje, vendar ni nikoli popolnoma izginila, proti koncu 20. stoletja pa je postala stalnica izražanja mladih avtorjev, ki je pretresala tako kritike, kot občinstvo. Delo sprva razišče različne manifestacije domnevnih norostih in odpira vprašanje, kako se je pogled na nerazumljivo vedenje spreminjal skozi stoletja. Nadalje ugotavlja, če so se diagnoze norosti razlikovale glede na to, ali je trpeči bil moškega ali ženskega spola. Razišče tudi družbeno sprejemljive načine zdravljenja norosti, ki so variirali od bizarno neučinkovitih do boleče radikalnih in celo smrtonosnih. Delo se posveti analizi (domnevne) norosti pri ženskih likih v dramah avtorice Sarah Daniels.
Sekundarne ključne besede:	magistrska dela;norost;drama;ženske pisateljice;spol;feminizem;
URN:	URN:SI:UM:
Vrsta dela (COBISS):	Magistrsko delo
Komentar na gradivo:	Univ. v Mariboru, Filozofska fak., Oddelek za anglistiko in amerikanistiko
Strani:	100 f.
ID:	9176185