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  • 1.
    Alm, Mikael
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History.
    Johansson, Britt-IngerUppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Scripts of Kingship: Essays on Bernadotte and Dynastic Formation in an Age of Revolution2008Collection (editor) (Other academic)
    Abstract [en]

    When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.

    In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.

  • 2.
    Badani Zuleta, Paola
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Linguistics and Philology.
    Restoring the face of history on stage: Taking Tiger Mountain by Strategy - A model opera in revolutionary service2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis is to present identified modifications in the model opera Taking Tiger Mountain by Strategy, and to put these in perspective of its trajectory from its origins in the novel Tracks in the Snowy Forest, to its final form as the studied model opera from 1970. A semantical analysis was employed in the study of the book and the script, whereas semiotics served as a tool in identifying the existence and use of traditional elements from the theatrical form of jingju in the model opera. The contextualized analysis of the encountered alterations and their employment in relation to their history and contemporary circumstances shed a light over the importance of the identified elements’ role in using the model opera as a tool for clarifying differences between good and evil as established by the contemporary political elite. Going beyond its entertaining purpose and in accordance with the established policies regarding the arts set by the Communist Party, director Jiang Qing created a medley of Chinese and Western instruments, reformed jingju elements and rephrased lines. A medley conveying the indirect message of the right way to follow, in the disguise of a communist hero besieging Tiger Mountain in the name of revolution.

  • 3.
    Bergman-Claeson, Görel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Scandinavian Languages.
    Berättaren på scenen: Monologer, avsidesrepliker och direkt publiktilltal i svensk dramatik under tre sekler2008Book (Other academic)
  • 4.
    Bergman-Claeson, Görel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Scandinavian Languages.
    Den bannlysta berättaren: monologen, avsidesrepliken och det moderna genombrottet2007In: Studier i svensk språkhistoria. 9, Det moderna genombrottet - också en språkfråga?: föredrag vid nionde sammankomsten för svenska språkets historia, i Åbo 19-20 maj 2006, Åbo: Svenska institutionen vid Åbo akademi , 2007, p. 7-Chapter in book (Other academic)
  • 5.
    Bergman-Claeson, Görel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Scandinavian Languages.
    Pigan som tystnade: Könsaspekter på episka strukturer i svensk dramatik 1725-19002007In: Språk och kön i nutida och historiskt perspektiv: studier presenterade vid Den sjätte nordiska konferensen om språk och kön, Uppsala 6-7 oktober 2006, Uppsala: Uppsala universitet , 2007, p. 145-153Chapter in book (Other academic)
    Abstract [en]

    The maid who fell silent. Epic structures and gender in Swedish drama 1725-1900

    Epic structures such as soliloquies and asides are frequently used in drama. The narrative function served by these dramatic conventions enables characters to provide a running commentary to the plot, and this in turn makes the characters using them a driving force in the drama.

    In this paper I discuss gender and social class of the dramatic figures using epic structures in Swedish drama from 1725 to 1900. The material studied consists of 25 plays.

    The main characters af interest are the servant figures. The driving force of 18th-century comedy is the cunning maid and, to a lesser extent, her male counterpart. Around 1850 these servants are replaced by other figures, such as the scheming villain, a characteristic male figure in melodrama.

    With the emergence of realism and naturalism, the use of epic structures is reduced. Female servant figures in naturalist plays have few lines, and use virtually no soliloquies or asides. They are a necessary part of the bourgeois family, but are no longer the driving force of the drama.

  • 6.
    Bialecka, Mirka
    Uppsala University, University Library.
    En flykt in i språkkapseln2008In: Svenska Dagbladet, ISSN 1101-2412, Vol. 14/8Article in journal (Other (popular science, discussion, etc.))
  • 7.
    Blom, Mattias Bolkéus
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English, The Swedish Institue for North American Studies.
    Om rätten att säga ifrån: Arthur Millers Häxjakten2001Other (Other (popular science, discussion, etc.))
  • 8.
    Cullhed, Anna
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature.
    Fischer, OttoUppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature, Rhetoric.Lysell, RolandInstitutionen för litteraturvetenskap och idéhistoria, Stockholms universitet.Öhrberg, AnnUppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature, Rhetoric.
    Poetens monopolium: Bengt Lidner 250 år2009Collection (editor) (Other (popular science, discussion, etc.))
  • 9. Fogelberg Rota, Stefano
    Representations of power: the role of Nicolas Vallari in Queen Christina’s Ballets and Processions2015In: Musique-Images-Instruments: Revue française d'organologie et d'iconographie musicale, ISSN 1264-7020, no 15, p. 62-89Article in journal (Refereed)
  • 10.
    Foka, Anna
    Umeå universitet, Humlab.
    Deconstructing Oedipus: Woody Allen's Mighty Aphrodite and the classical tradition2017In: The reception of ancient virtues and vices in modern popular culture: beauty, bravery, blood and glory / [ed] Eran Almagor and Lisa Maurice, Leiden and Boston: Brill Academic Publishers , 2017, 11, p. 167-186Chapter in book (Refereed)
    Abstract [en]

    The chapter examines the philosophical dichotomy between Hellenism and Hebraism in order to show how Mighty Aphrodite may be seen as a contemporary example of merging cultural identities, previously thought in contradiction to one another. Allen's reiteration of Oedipal references may be read as a dismantling of Classical Hellenic culture and a rearrangement intended for a 21st century New York setting. Allen constructs a fictional tragic space that is embedded in the main plot and that manifests itself in the form of tragic dramaturgy and scenic conventions.

    Against this backdrop, Allen's overall use of classical tradition may be considered self-referential: it points out to the director's own understanding of classical culture as a twenty first century Jewish New York film director. Ancient cultural forms mingle with contemporary film and mirror 'the two way relationship between the source text or culture and the new work and receiving elements'. Abort of their original context of antiquity, ritual, drama and myth, tragedy and the very figure of Oedipus are (paradoxically) cinematically deconstructed as humorous, and are granted a place within contemporaneity, finding a specific leeway of expression in classical Hollywood film narratives. The film is a commentary on the potentials of reinstating dominant structures of classical reception per se: Oedipus may become Anti-Oedipus, tragedy may turn into comedy and binary structures such as Hellenism and Hebraism may mingle together in perfect harmony.

  • 11.
    Heide, Markus
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    Narcocorridos: Ethnic Tradition, Border Discourse, and Commercialization2015In: Selling Ethnicity and Race: Consumerism and Representation in Twenty-First-Century America / [ed] Pisarz-Ramirez, Gabriele, Trier (Tyskland): Wissenschaftlicher Verlag Trier, 2015, p. 197-211Chapter in book (Refereed)
    Abstract [en]

    As traditional Mexican folk music corridos have always celebrated smugglers, outlaws and bandits, and many songs, popular in Mexico and the US Southwest, have commented on drug-related issues. However, in the past decades narcocorridos added a new dimension to the complex relation of music industry and drug consumption in North America. The following essay discusses the growing popularity of the drug ballad (narcocorrido) in the context of the rise of drug related violence in Mexico and the history of corrido singing in the US-Mexico borderlands. The contemporary narcocorrido is shown as a commercialized rendering of local traditions of resistance against oppression and poverty. Ethnic roots of the music genre are exploited for marketing celebratory and heroic representations of drug related violence.

  • 12.
    Jensen, Claudia R.
    et al.
    University of Washington, Seattle.
    Maier, Ingrid
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Slavic Languages.
    Pickleherring Returns to the Kremlin: More New Sources on the Pre-History of the Russian Court Theatre2015In: Scando-Slavica, ISSN 0080-6765, E-ISSN 1600-082X, Vol. 61, no 1, p. 7-56Article in journal (Refereed)
    Abstract [en]

    This article, a continuation of “Orpheus and Pickleherring in the Kremlin: The ‘Ballet’ for the Tsar of February 1672” (Scando-Slavica 59:2), focuses on the second performance given for Tsar Aleksej Michajlovič by foreign residents of Moscow. This encore production, in May 1672, expanded upon the programme of the February event: it was longer, featured more characters on stage, and even included some female characters (certainly portrayed by male performers). In addition to revealing this May entertainment, we discuss the identities of the performers (largely drawn from the merchant population of Moscow’s Foreign Quarter), and we suggest that the author of the eye-witness account describing the February performance was Christoff Koch (ennobled von Kochen), a Swedish correspondent and commercial representative in Moscow.  Almost simultaneously with the May performance, the Russian court began to make plans for a more permanent theatre; we trace the court’s attempts to contact the important German acting troupe headed by the Paulsen and Velten families. Finally, we discuss the impacts these two performances may have had on the plays offered by the tsar’s court theatre beginning in October 1672, with special focus on the character Pickleherring.

  • 13.
    Kåreland, Lena
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature.
    När teatern var stadens ljuspunkt2009In: Svenska Dagbladet, no 5 aprilArticle in journal (Other (popular science, discussion, etc.))
  • 14.
    Leibetseder, Doris
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Centre for Gender Research.
    Express Yourself! Gender Euphoria and Intersections2017In: The Routledge Research Companion to Popular Music & Gender / [ed] Stan Hawkins, Abingdon: Routledge, 2017, p. 300-313Chapter in book (Refereed)
  • 15.
    Lundblad, Jonas
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Exact in feeling: Messiaen’s recorded performances of his Livre d’orgue2019In: The Organ Yearbook: A Journal for the players & historians of keyboard instruments, ISSN 0920-3192, Vol. 48Article in journal (Other academic)
    Abstract [en]

    The article provides analyses of Olivier Messiaen´s art of interpretation, as recorded in three performances of his own Livre d'orgue. Beside the wellknown 1956 recording from Sainte-Trinité in Paris, documentation of live concerts from Stuttgart (1953) and Göteborg (1957) are considered. The study also discusses tensions between imperatives for an exact rendering of notation and freedom of expression. It suggests that these dimensions are not necessarily mutually opposed, and uses Messiaen's own statements to outline a temporal progression from an initial grasp of the exact notation to lively and sensible interpretations.

  • 16.
    Lönngren, Ann-Sofie
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature.
    Ordens skapande kraft: Den Okändes queera maskuliniteter i "Till Damaskus" IIII2008In: Lambda Nordica: Tidskrift om homosexualitet, ISSN 1100-2573, no nr 4, p. 61-74Article in journal (Other academic)
    Abstract [en]

    The Prolific Power of Words – The Unknown´s Queer Masculinities in To Damascus I-III

     

    The play To Damascus by Swedish playwriter August Strindberg was accomplished in two parts in 1898, and a third part in 1901. In research and stagings it has been a common practice to focus mainly or exclusively on the first part. In doing so, however, we loose track of The Unknown’s search for a stable, male identity, which is a theme that is crucial in all three parts of the play. In this article, I argue that the different representations of The Unknown that is seen throughout the play – as e.g a child, a bird, a woman, God and the Devil – are all part of a process in which he is trying to find and stabilize his own male identity in accordance with what was accepted and valuable at the turn of the 20th century. The different social positions of The Unknown are accomplished by words; hence, it is within the context of verbal interactions with other individuals in the play that the transformations of his identity gains material reality. At the end of the play, it is this negotiable quality of the material world that makes it possible for The Unknown to die and live again.

  • 17.
    Nilsson, Ann-Marie
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Performativa inslag i medeltida gudstjänster2007In: Ny svensk teaterhistoria. 1: Teater före 1800 / [ed] Tomas Forser & Sven Åke Heed, Hedemora: Gidlund , 2007, p. 51-64Chapter in book (Other academic)
    Abstract [sv]

    Performativa eller dramatiska inslag i medeltida liturgi såsom gravbesöket och dramatisk evangelieläsning kring påsk samt processioner.

  • 18.
    Nordin Hennel, Ingeborg
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Literature.
    Artistrecetter och Taglionifeber2007In: Ny svensk teaterhistoria. 2: 1800-talets teater, Hedemora: Gidlund , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 19.
    Nordin Hennel, Ingeborg
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Literature.
    En stjärnskådespelerska2007In: Ny svensk teaterhistoria. 2: 1800-talets teater, Hedemora: Gidlund , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 20.
    Nordin Hennel, Ingeborg
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Literature.
    Nystart på Arsenalen2007In: Ny svensk teaterhistoria. 2: 1800-talets teater, Hedemora: Gidlund , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 21.
    Nordin Hennel, Ingeborg
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Literature.
    Vägen till en scenkarriär2007In: Ny svensk teaterhistoria. 1: Teater före 1800, Hedemora: Gidlund , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 22.
    Nordin Hennel, Ingeborg
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Literature.
    Åter till Operan2007In: Ny svensk teaterhistoria. 2: 1800-talets teater, Hedemora: Gidlund , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 23.
    Nordin Hennel, Ingeborg
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Literature.
    Österländsk exotism2007In: Ny svensk teaterhistoria. 2: 1800-talets teater, Hedemora: Gidlund , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 24.
    Plebuch, Tobias
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Musikdramaturgie im Spielfilm2014In: Der dramaturgische Blick: Potenziale und Modelle von Dramaturgie im Medienwandel / [ed] Christa Hasche, Eleonore Kalisch, Thomas Weber, Berlin: Avinus Verlag, 2014, p. 69-81Chapter in book (Other academic)
  • 25.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Didascalie: / Stage directions2003Other (Other academic)
  • 26.
    Robardey-Eppstein, Sylviane
    Stockholms universitet, Inst. för franska, italienska och klassiska språk.
    Décors et accessoires dans les didascalies de J.G.A. Cuvelier de Trie : écriture du spectaculaire et spectacle de l'écrit2010In: Costumes, décors et accessoires dans le théâtre de la Révolution et de l'Empire / [ed] Philippe Bourdin et Françoise Le Borgne, Clermont-Ferrand: Presses Universitaires Blaise-Pascal , 2010, p. 89-102Chapter in book (Refereed)
  • 27.
    Robardey-Eppstein, Sylviane
    Inst. för franska, italienska och klassiska språk, Stockholms universitet.
    Ferdinand Laloue, "peintre à la manière large" au Cirque-Olympique (1827-1841)2010In: La Fabrique du théâtre: Avant la mise en scène (1650-1880) / [ed] Mara Fazio & Pierre Frantz, Paris: Desjonquères , 2010, p. 353-365Chapter in book (Refereed)
  • 28.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Introduction2018In: Sculpter l'espace, ou le théâtre d'Alexandre Dumas à la croisée des genres / [ed] Sylviane Robardey-Eppstein, Paris: Classiques Garnier, 2018, p. 7-25Chapter in book (Refereed)
  • 29.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    La cacophonie du vide ou le comble didascalique dans le théâtre de Jean Tardieu2007In: La Didascalie dans le théâtre du XXe siècle: regarder l’impossible / [ed] Florence Fix & Frédérique Tudoire-Surlapierre, Dijon: Éditions Universitaires de Dijon , 2007, p. 223-235Chapter in book (Refereed)
  • 30.
    Robardey-Eppstein, Sylviane
    Stockholms universitet, Inst. för franska, italienska och klassiska språk.
    La distanciation dans le Théâtre en liberté de Victor Hugo : ludisme et étrangeté ou l’autre versant du texte2009In: La revue des lettres modernes: Victor Hugo. Le théâtre et l'exil / [ed] Florence Naugrette, Caen: Minard , 2009, p. 137-157Chapter in book (Refereed)
  • 31.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    La Jérusalem délivrée au Cirque-Olympique (1836): le manuscrit du souffleur et le spectaculaire retracé2011In: Les Arts de la scène à l’épreuve de l’histoire: Les objets et les méthodes de l’historiographie des spectacles produits sur la scène française (1635-1906) / [ed] Roxane Martin & Marina Nordera, Paris: Honoré Champion , 2011, p. 27-40Chapter in book (Refereed)
  • 32.
    Robardey-Eppstein, Sylviane
    Inst. för franska, italienska och klassiska språk, Stockholms universitet.
    La réécriture théâtrale au miroir du roman: va-et-vient transmodaux de Dumas père (de Lorenzino à Une nuit à Florence... et l'inverse)2010In: Roman et théâtre: Une rencontre intergénérique dans la littérature française / [ed] Aphrodite Sivetidou & Maria Litsardaki, Paris: Classiques Garnier , 2010, p. 407-423Chapter in book (Refereed)
  • 33.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    La survivance du théâtre romantique2010In: Les Spectacles sous le Second Empire / [ed] Jean-Claude Yon, Paris: Armand Colin , 2010, p. 149-158Chapter in book (Refereed)
  • 34.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Le grotesque est en haut: verticalité et surélévation du grotesque dans la dramaturgie romantique2012In: Grotesque et spatialité dans les arts du spectacle et de l’image en Europe (XVIe-XXIe siècles): / [ed] Aline Le Berre, Florent Gabaude & Philippe Wellnitz, Bern: Peter Lang Publishing Group, 2012, p. 149-162Chapter in book (Refereed)
  • 35.
    Robardey-Eppstein, Sylviane
    Mälardalen, Inst för Humaniora.
    Les didascalies en regard des cahiers de mise en scène : l’exemple de Lucrèce Borgia de Victor Hugo2007In: Le Texte didascalique à l’épreuve de la lecture et de la représentation, Sud Éditions, Tunis / Presses Universitaires de Bordeaux, Pessac , 2007, p. 225-238Chapter in book (Refereed)
  • 36.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Les hyperdidascalies des pantomimes comme traces du jeu mélodramatique (1792-1804)2017In: Revue d'Histoire du Théâtre, ISSN 1291-2530, Vol. 2, no 274, p. 9-20Article in journal (Refereed)
    Abstract [en]

    Hyper-developed stage directions in pantomime plays as traces of melodramatic acting (1792-1804)

    The scripts of pantomime plays and early melodramas are dominated by hyper-developed or invasive stage directions that can be read as the textual traces of the acting conditions. In these texts of narrative nature, action story-telling is combined with scenographic indications and descriptions of the characters’ (future actors’) movements and physical reactions. As « talking » modalities appeared, writers and actors had to rethink and reconfigure the gestural score, as it got split and redistributed between dialogues and stage directions. The exaggerated expressivity that was perceived in melodrama may therefore be explained by a difficult juncture between substitutive and speech-accompanying gestures, and by the tension between « natural » dialogues and stylised acting in « tableaux », all beyond the typical novel-like phraseology of the time. Texts of “spoken pantomimes” as a genre let us “see” separate but coexistent codes that shed light on the origins of the melodramatic double way of acting, and allow us to redraw the established definitions.

  • 37.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Les mises en scène sur papier-journal: espace interactionnel et publicité réciproque entre presse et monde théâtral (1828-1865)2012In: Presse et scène au XIXe siècle: RELAIS MÉDIATIQUES DES PHÉNOMÈNES DRAMATIQUES / [ed] Olivier Bara & Marie-Ève Thérenty, Médias 19 , 2012Chapter in book (Refereed)
  • 38.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    “Les péripéties du boulevard et les magnificences de l’Opéra”: le spectacle fantastique dumasien et son écriture entre mélodrame et féerie2018In: Le Théâtre de Dumas père, entre héritage et renouvellement / [ed] Anne-Marie Callet-Bianco et Sylvain Ledda, Rennes: Presses Universitaires de Rennes, 2018, p. 199-214Chapter in book (Refereed)
    Abstract [fr]

    Le « grand spectacle » à la Dumas ne saurait se réduire à celui mis en œuvre dans les drames historiques. Le dramaturge s’est laissé plus d’une fois tenter par des formes spectaculaires qui relevaient moins de la fresque en action que de la machinerie huilée. L’article s’attache à démontrer que dans les pièces issues de l’esthétique gothique, dans lesquelles le surnaturel occupe une place de choix, c’est bien l’écriture spectaculaire du mélodrame « primitif » et de la féerie qui articule le traitement du scénique à l’action dramatique. Deux drames servent de base à l’analyse : Don Juan de Maraña (versions de 1836 et 1863) et Le Vampire (1851). Les thèmes et les cadres du (mélo)drame et de la féerie induisent des stratégies scéniques – repérables autant dans les dialogues que dans les didascalies – qui servent la tension frénétique, l’espace-temps précipité et la symbolique d’ordre métaphysique (fût-elle manichéenne). La présence scénique ou thématique  de la peinture et de la sculpture, mises à contribution  pour les « trucs » ou les « clous », participe de stratégies de mise en abyme prisées sur les scènes des boulevards ; au passage, se font jour les liens qui se tissent avec l’esthétique du « grand opéra ». L’analyse oblige à déplacer le regard et à réévaluer la formule péjorative qui à l’époque a frappé le théâtre spectaculaire (« Tout pour les yeux, rien pour l’esprit »). Dans ses drames fantastiques, Dumas tente une fusion du visuel et du spirituel. En puisant dans l’héritage des pratiques scéniques des théâtres populaires, il propose de nouvelles alchimies génériques, pour un renouvellement du romantisme théâtral.  

  • 39.
    Robardey-Eppstein, Sylviane
    Stockholms universitet, Inst. för franska, italienska och klassiska språk.
    Meurice et Dumas père. Mystères d'une collaboration et flottements de la critique2009In: Victor Hugo et Paul Meurice, allumeurs d'étoiles: Textes réunis et présentés par Danièle Gasiglia-Laster et Arnaud Laster, numéro hors série de L'Écho Hugo, Société des Amis de Victor Hugo , 2009, p. 44-53Chapter in book (Refereed)
  • 40.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Personnage-comédien et espace métathéâtral au XIXe siècle : le jeu marqué2014In: Personnage de théâtre et espace ludique / [ed] Georges Zaragoza & Dider Souiller, Dijon: Le murmure , 2014, p. 287-309Chapter in book (Refereed)
  • 41.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Présentation, Établissement du texte, Annotation et Variantes de Victor, ou l'Enfant de la forêt, Drame en trois actes, en prose et à grand spectacle par R.-Ch. Guilbert-Pixerécourt2013In: René-Charles Guilbert de Pixerécourt. Mélodrames. Tome I - 1792-1800, sous la direction de Roxane Martin / [ed] Roxane Martin, Paris: Classiques Garnier, 2013, p. 565-683 (+Variantes:1033-1055)Chapter in book (Refereed)
  • 42.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Présentation, Établissement du texte, Annotation et Variantes de L'Homme à trois visages, ou le Proscrit, Drame en trois actes, en prose et à grand spectacle par R.-Ch. Guilbert-Pixerécourt2014In: René-Charles Guilbert de Pixerécourt. Mélodrames. Tome II - 1801-1803, sous la direction de Roxane Martin / [ed] Roxane Martin, Paris: Classiques Garnier , 2014, p. 149-300 (+ Variantes:1032-1081)Chapter in book (Refereed)
  • 43.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Présentation, Établissement du texte, Annotation et Variantes de Pizarre, ou la Conquête du Pérou, Mélo-Drame historique en trois actes, en prose et à grand spectacle par R.-Ch. Guilbert-Pixerécourt2014In: René-Charles Guilbert de Pixerécourt. Mélodrames. Tome II - 1801-1803, sous la direction de Roxane Martin / [ed] Roxane Martin, Paris: Classiques Garnier , 2014, p. 651-769 (+ Variantes: 1115-1140Chapter in book (Refereed)
  • 44.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Présentation, Établissement et Annotation du texte La Forêt de Sicile, Drame lyrique en deux actes et en prose, Paroles de R.-Ch. Guilbert Pixerécourt, Musique de Gresnick  2013In: René-Charles Guilbert de Pixerécourt. Mélodrames. Tome I - 1792-1800, sous la direction de Roxane Martin / [ed] Roxane Martin, Paris: Classiques Garnier, 2013, p. 337-563Chapter in book (Refereed)
  • 45.
    Robardey-Eppstein, Sylviane
    Stockholms universitet, Institutionen för franska, italienska och klassiska språk.
    Regards sur l'oeuvre dramatique de Casimir Delavigne tout au long du XIXe siècle2008In: Le Miel et le fiel: La critique théâtrale en France au XIXe siècle, Presses de l'Université Paris-Sorbonne, Paris , 2008, p. 147-158Chapter in book (Refereed)
  • 46.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Sculpter l'espace, ou le théâtre d'Alexandre Dumas à la croisée des genres2018Collection (editor) (Refereed)
    Abstract [en]

    Drawing on an examination of space in dramatic works (co)authored by Dumas père, this book considers their aesthetic and generic ambiguities. It thereby brings to light modes of writing, between page and stage, which contribute to refine – or problematize – definitions of romantic (melo)drama.

  • 47.
    Robardey-Eppstein, Sylviane
    Stockholms universitet, Inst. för franska, italienska och klassiska språk.
    Situation du théâtre français à Stockholm (1825-1863)2008In: Le Théâtre français à l'étranger au XIXe siècle: Histoire d'une suprématie culturelle / [ed] Jean-Claude Yon, Nouveau Monde éditions, Paris , 2008, p. 411-429Chapter in book (Refereed)
  • 48.
    Robardey-Eppstein, Sylviane
    Stockholms universitet, Inst. för franska, italienska och klassiska språk.
    Victorien Sardou, un siècle plus tard (dir. Guy Ducrey)2008In: Romantisme, ISSN 0048-8593, E-ISSN 1957-7958, Vol. 3, no 141, p. 139-141Article, book review (Other academic)
  • 49.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages.
    Virtualités et limites de l'animisme sur scène: Le cas de La Forêt mouillée de Victor Hugo2011In: L'Homme en animal sur scène et au cinéma / [ed] CERPCOS / Sylvie Perault, Nanterre: Les Éditions du Jongleur , 2011, p. 51-57Chapter in book (Refereed)
  • 50.
    Robardey-Eppstein, Sylviane
    Stockholms universitet, Inst. för franska, italienska och klassiska språk.
    Voir, dire et faire : la dynamique du spectaculaire dans le monologue de don César (Ruy Blas, Acte IV, scène 2)2009In: Hugo sous les feux de la rampe: Relire Hernani et Ruy Blas / [ed] Arnaud Laster & Bertrand Marchal, Presses Universitaires Paris-Sorbonne, Paris , 2009, p. 227-239Chapter in book (Refereed)
12 1 - 50 of 59
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