In this article we explore the concept of criminal psychology and will explicate some of its major tenants in characterization of Hercule Poirot. With an interdisciplinary approach, by close reading and by drawing from crime and psychological theories (especially Behaviorism), we investigate the criminal profiling techniques in Agatha Christie’s detective novels. Particularly we adduce Ian Marsh’s theory in introducing a set of explanations for criminal behavior and Westera et al’s propositions in identifying features that make a detective’s endeavors effective. We focus on the psychological procedures that exist in the process of mystery (making and solution) as well as on the detective’s task to decodify riddles in light of the

The following conversation with director Penny Cherns, about her work on Pam Gems’ play Queen Christina, is derived from a body of developing research on Gems (1925–2011) and those who worked with her. Gems wrote revisionist plays with strong leading female roles that took apart the man-made history about Western women–from Europe and the US. 1 She established herself as a major playwright in the British theatre with plays such as Dusa, Fish, Stas, and Vi (1976), Queen Christina (1977), Piaf (1978), Camille (1984), and Stanley (1996). Queen Christina is a landmark in women’s drama as it was the first play by a woman author to be staged by the Royal Shakespeare Company (RSC). The history of its production is interesting: Ann Jellicoe

In this interview, award-winning actress Jane Lapotaire talks about the process of devel - op ing the central role in Pam Gems's Piaf, for which she won the Tony Award for Best Actress in 1981. She further describes how Gems gave her the chance to play a protagonist for the first time in her career in the British male-dominated theatre of the late 1970s. Gems established herself as a major feminist playwright in the British theatre in 1976 with the production of Dusa, Fish, Stas and Vi, although it was Piaf that brought her international attention and acclaim. Lapotaire discusses the significance of the female mission to create protagonist roles for women in the theatre who did not previously have the opportunity to drive a

In this interview, award-winning American director Nancy Meckler talks about the beginning of her career as a theatre director in the UK and shares her experience as a former artistic director of the Shared Experience Theatre Company. She further describes the history of the production of Pam Gems's breakthrough Dusa, Fish, Stas, and Vi (1976) as the first feminist play that transferred from the Edinburgh Fringe Festival to the West End.

This is the sixty-fifth annual report of dissertations in progress in theatre arts in the United States. The entries contained in this report were gathered from those institutions offering a doctoral degree in theatre or related fields. The accuracy of the report depends largely on the cooperation of those faculty members who submitted complete and timely information. By compiling this data, we seek to inform the greater theatre community of the diverse research projects currently underway across various universities and disciplines.This report lists (in order) the doctoral student’s name, dissertation title, institution, academic department, faculty supervisor, and projected year of completion. Dissertation topics are arranged in two par

In this research, we employ a socio-historical examination of the subversion of the ‘juridico-discursive’power in the late Victorian period in order to examine the rise of the British Suffrage Movement and specifically ‘suffrage drama’. we demonstrate how ordinary women and women artists, here in case of Elizabeth Robins, moved against the patriarchal artistic hegemony. The term ‘artistic hegemony’is utilized here as a parallel term for ‘cultural hegemony’. In Marxism, and specifically in Gramscian theories, cultural hegemony refers to the domination of socio-cultural norms imposed by ruling class (bourgeoisie) on a society. These ideological norms are usually practiced through sets of diverse apparatuses commensurate with d

This paper examines the socio-historical subversion of‗ juridico-discursive ‘power in the late Victorian period. It briefly investigates the rise of the British suffrage movement and highlights the role of‗ suffrage drama ‘as its social apparatus. The authors demonstrate how suffrage artists, especially the playwright/actress Elizabeth Robins, acted against the dominant patriarchal hegemony and were in frontline of social uprisings. It is argued that‗ Suffrage drama ‘as a‗ place of tolerance ‘functioned as an antithesis to the mainstream theatre and challenged the conventional dramatic forms practiced prior to its birth. Suffrage drama provided a space for women to have their collective voice heard in a social and political

Thomas Hardy is considered to be a determinist mostly because his protagonists are either controlled by the nature of things or by superior powers. In other words, independence of the human Will in Hardy's fiction is hard to be approved because man's struggle against the'Will'just leads to his future failures. In the present study, the researchers depict how the Victorian author applies his deterministic views/techniques in the Tess of the D'Urbervilles, and how his portrait of the characters as the victims of heredity and environment exempts them from controlling their destiny. This study also investigates how nature and characters in Tess challenge with one another to manipulate the pre-destined conditions.

The relationship of people with nature is usually expressed in different ways, and certainly literature is one of them. Nature as one of the indispensable elements of writing has drawn the attention of many writers specifically the novelists. In this study, the researchers attempt to apply ecocritical analysis of Joseph Conrad’s Heart of Darkness. The researchers also show how the relationship between man and nature which had been sympathetic and harmonized in Romantic period changed to cruel and heartless one in industrial and capitalistic Modern time; and how Conrad’s Heart of Darkness meticulously shows this alternation.

In the present study the researcher argues the important role the diction play in Dubliners, especially in the first and the last stories," The Sisters" and" The Dead." The researcher attempts to show how phraseology helped Joyce to carry the themes of decrepitude, stagnation, and paralysis in Irish society at the turning of the twentieth century, and how this collection emphasizes the significance of societal context in understanding Joyce's texts, and vice versa. The hope of this de-codification is to help readers having a clearer understanding of this collection of short stories, what happens beyond the text, and the commonalities prevailed in atmosphere of Dublin of 1900s. In order to fill in the concealed gaps in cryptic references of

This paper aims at recalling different modes of alienation in modern world and looks closely at modern alienations of characters in Sam Shepard’s buried child and true west. The researchers try to analyze the mentioned works by applying Sartre's ethical alienation and Heidegger's ontological alienation on these works. It is tried to make it precise that in Sartre's philosophy alienation occurs when human beings refuse to accept'responsibility'for their own freedom. In addition, Heidegger's notion of'authenticity'is discussed as contradiction to this Sartrean alienation and fallen understanding.