. This paper examines dramatic techniques in Caryl Churchill’s latest play Love and Information (2012) through the lens of Marxist and poststructuralist theories. In this paper, I argue that Churchill appropriates Bertolt Brecht’s dramatic elements of epic

Drawing on the critical practice of affect theory, this paper reads Toni Morrison’s Beloved’s nuanced representations of love and selfishness as instances of a racialized affect. While many critics have generally noted Morrison’s dramatization

, a popular form of the Hindu dramatic art. Others which deserve more attention are Hun (marionette), Nang Yai and other court entertainments such as Rabeng, Mong Khrum, Kula-ti-mai, etc. Researches in those said above which constitute a part

) the composition of denouement like dramatic theory. A study of the rhetoric or figures of speech in Kumārasambhava was found that the literature consists of beauty with Alankaras (figures of speech) that were divided into 2 types: 1) Arthālankāra (figures

, the nāndī (=dramatic prologue) and the bharatavākya (=dramatic epilogue), therefore, all share certain similarities with each other. As these texts take place in their corresponding literature and bear a purposeful resemblance to an āśis in a Vedic

of English people living in the upper class, and how English girls live and are depressed in lower position with men’s oppression and without freedom. She illustrates their living through her narratives – dramatizing gender inequality, which are filled

. Then the wedding had been held. This play-within-a-play had its own ending as stated in Sahityadarpana. The influence of play-within-a-play upon the principal plays was to emphasize dramatic action in context of plot development. On the other hand, in the context

and argues that Hosseini exploits this particular cross-cultural value in order to generate appreciation of the female sex under the extensively oppressive Taliban rule. As a result, Hosseini succeeds in achieving dramatic impact and creating memorable female

the dichotomous quality commonly attributed to law. By juxtaposing the implementation of law and religious practices, the novel’s dramatization of the collision between these two forces shows that emotion and feeling are never absent from the allegedly

by the dramatic turns of political changes, Irish childhood presents the Irish poets of different generations with the challenging task of reworking literary tradition, national history, and identity. To understand how contemporary Irish poets, Seamus Heaney