British And Irish Dramatists Since World War Ii

Embraces the work of writers working in theatrical traditions ranging from the classic well-made play to the most radical avant-garde pieces. This variety is indicative of the fact that this period is one of the most important in British drama, comparable to the late-Elizabethan/Jacobean and post-Restoration eras in terms of the quantity and quality of new work and surpassing both of them in the sheer variety of theatrical offerings.

The Theatre of War surveys more than two hundred plays about the First World War written, published and/or performed in Britain and Ireland between 1909 and 1998. Perspectives discussed include: subject matter, technique and evaluation. The result is an understanding of the First World War as a watershed in international history.

English Drama Since 1940 considers the bids of successive post-war dramatists to find language and images of remorseless disclosure, appropriate to the public manifestation of sensed crisis and the interrogation of the ideal of renewal. This book introduces the period and its discourse whilst redefining them, to give proper consideration to developments of themes, styles, concerns and contexts from the 80s to the present. The book offers succinct and analytical introductions to the work of 60 dramatists, whilst arguing for (re)appraisal of many dates critical perspectives, in order to stimulate further argument in the field.

The fifteen essays in this collection, published here for the first time, survey the work of some of the major British and Irish dramatists since 1960. Included are four dramatists - Samuel Beckett, Harold Pinter, Peter Shaffer and Peter Nichols - who began writing plays before 1960, and whose work since then has continued to develop interestingly. Most of the dramatists considered here, however, are those who have begun writing more recently, and who illustrate some of the distinctive characteristics of British and Irish drama of our time.

Literary Research and Irish Literature: Strategies & Sources explores primary and secondary research resources relevant to the study of Irish literary authors, works, genres, and history. Sources covered include general literary research guides; union library catalogs; print and online bibliographies; manuscripts and archives; microfilm and digitization projects; scholarly journals; periodicals, newspapers, and reviews; and electronic and Web resources. To ease comparison and evaluation of references, each chapter addresses how to choose and utilize research methods and tools to yield the most relevant information. This guide also examines the strengths and weaknesses of core and specialized electronic and print research tools and standard search techniques and_when appropriate_covers the historical and cultural contexts and usability issues of unique reference sources. This volume, number 5 in the series, raises trenchant issues in Irish literary scholarship, such as the problem of defining what Irish literature is; gaps in criticism and secondary literature devoted to Irish literature; neglected areas of scholarly inquiry, including Irish literature by women and lesser-known writers; and the rewards of interdisciplinary research. It concludes with a brief consideration of a scenario illustrating how a scholar might use strategies and sources covered in the text to solve a research problem.

In this, the first of two self-standing volumes bringing The New Oxford History of England up to the present, Brian Harrison begins in 1951 with much of the empire intact and with Britain enjoying high prestige in Europe. The United Kingdom could still then claim to be a great power, whose welfare state exemplified compromise between Soviet planning and the USA’s free market. When the volume ends in 1970, no such claims carried conviction. The empire had gone, central planning was in trouble, and even the British political system had become controversial. In an unusually wide-ranging, yet impressively detailed volume, Harrison approaches the period from unfamiliar directions. He explains how British politicians in the 1950s and 1960s responded to this transition by pursuing successive roles for Britain: worldwide as champion of freedom, and in Europe as exemplar of parliamentary government, the multi-racial society, and economic planning. His main focus, though, rests not on the politicians but on the decisions the British people made largely for themselves: on their environment, social structure and attitudes, race relations, family patterns, economic framework, and cultural opportunities. By 1970 the consumer society had supplanted postwar austerity, the socialist vision was fading, and 'the sixties' (the theme of his penultimate chapter) had introduced new and even exotic themes and values. Having lost an empire, Britain was still resourcefully seeking a role: it had yet to find it.