![]() ![]() Melbourne: Cambridge University Press, 1992. New York: Rinehart and Winston, 1974.įotheringhm, Richard. Dramatic Theory and Criticism: Greeks to Grotowski. “Adapting History and Literature into Movies.” American Studies Journal 53 (2009).ĭukore, Bernard F. “Learning to Communicate: The Triad of (Mis)Communication in Horse Riding Lessons.” In The Meaning of Horses: Biosocial Encounters, edited by Dona Davis and Anita Maurstad, 87–101. Melbourne: Melbourne University Press, 2001.ĭashper, Kate. Making the Australian Male: Middle-Class Masculinity, 1870–1920. Accessed December 15, 2017.Ĭrotty, Martin. Michigan: The University of Michigan Press, 2003. The Haunted Stage: The Theatre as Memory Machine. “Reflections on Anthropocentricism, Anthropomorphism and Impossible Fiction: Towards a Typological Spectrum of Fictional Animals.” Animal Studies Journal 5, 2 (2016): 161–182.Ĭarlson, Marvin. “They Shot the Horses-Didn’t They?” Wartime 44 (Spring 2008): 54–57.Ĭadman, Sam. ![]() London: Bloomsbury Methuen Drama, 2014.īou, Jean. ![]() Brecht in Practice: Theatre, Theory and Performance. Oxford: Blackwell Publishing, 2004.īarrnett, David. “Rebelais and His World.” In Literary Theory: An Anthology, edited by Julie Rivkin and Michael Ryan, 686–692. Accessed November 25, 2017.īahktin, Mikhail. “As Told by the Boy Who Fed Me Apples.”. ![]()
0 Comments
Leave a Reply. |