Frank McGuinness's dramaturgy of difference and the Irish theatre
Furkejuvvon:
| Váldodahkki: | |
|---|---|
| Searvvušdahkki: | |
| Materiálatiipa: | Elektrovnnalaš E-girji |
| Giella: | eaŋgalasgiella |
| Almmustuhtton: |
New York :
Peter Lang,
c2011.
|
| Ráidu: | Irish studies (New York, N.Y.) ;
v. 12. |
| Fáttát: | |
| Liŋkkat: | An electronic book accessible through the World Wide Web; click to view |
| Fáddágilkorat: |
Lasit fáddágilkoriid
Eai fáddágilkorat, Lasit vuosttaš fáddágilkora!
|
Sisdoallologahallan:
- Defective histories: re-presenting history in Innocence, Mary and Lizzie, and Mutabilitie
- Queer nation: homosexual representations of national identity in Observe the sons of Ulster marching towards the Somme and Dolly West's kitchen
- The wilde Irishmen: 'theatre theatrical' in Gates of gold
- Camping in utopia: Carthaginians and the queer aesthetic
- Holy irreverence: The gospel according to Judas
- There's no place like 'home': The bird sanctuary, Someone who'll what over me, and The factory girls
- Conclusion
- Appendix 1: interview with Frank McGuinness
- Appendix 2: interview with Senator David Norris
- Appendix 3: interview with Patrick Mason.