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ABOUT THE PREREQUISITE SITUATION IN THE CASE OF THE OFFENSE OF MISAPPROPRIATION OF A WORK
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From Dickens’s Theatrical Performance to Contemporary post Dickensian Narrative and Artistic Performance (Acker, Ackroyd, Waters and Rushdie)
Published 2010-06-01“…It can be claimed that Waters’s narrative ploys are borrowed from the theatrical world which held a real fascination for Dickens. With English Music, Ackroyd, for his part, illustrates what Clayton in his study: Charles Dickens in Cyberspace (2003) calls “undisciplined” creativity, by revisiting Great Expectations trans-artistically, through an odd combination of the pictorial, the musical, the cinematographic and the theatrical. …”
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