{"id":1692,"date":"2021-07-26T11:03:06","date_gmt":"2021-07-26T09:03:06","guid":{"rendered":"https:\/\/www.ub.edu\/cbtbarcelona\/?page_id=1692"},"modified":"2021-07-26T11:05:07","modified_gmt":"2021-07-26T09:05:07","slug":"pilar-zozaya","status":"publish","type":"page","link":"https:\/\/www.ub.edu\/cbtbarcelona\/pilar-zozaya\/","title":{"rendered":"Pilar Zozaya"},"content":{"rendered":"
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Pilar Zozaya is Emeritus Professor of English Literature in the Department of English and German, University of Barcelona. She holds a BA in English Literature (University of Barcelona) and a PhD in English Literature (University of Barcelona).<\/p>\n

She has spent periods as a Fellow of Exeter College, Oxford, a Fellow of Dartmouth College, Hanover NH and Visiting Scholar at\u00a0Sheffield University. She has published numerous articles and essays on English and Irish literature, and has specialized in Elizabethan, Restoration and contemporary drama. Her books include El sirviente ingl\u00e9s: auge y declive\u00a0(Barcelona: Ediciones Universidad de Barcelona, 1982) and Contemporary British Drama\u00a01980-1986 (Barcelona: PPU, 1989). She has co-edited British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics (Basingstoke and New York: Palgrave Macmillan, 2007).<\/p>\n

She was Principal Investigator of “British Theatre of the 1990s\u201d, a three-year research project funded by the Spanish Ministry of Science and Education (BFF2002-00257), and a co-investigator for \u201cThe Representation of Politics and the Politics of Representation in post-1990 British Theatre\u201d, a three-year research project funded by the Spanish Ministry of Science and Innovation (FFI2009-07598).[\/vc_column_text][\/vc_column][\/vc_row][vc_row no_margin=”true” padding_top=”25px” padding_bottom=”0px” border=”none” bg_video=”” class=”” style=””][vc_column fade_animation_offset=”45px”][vc_btn title=”zozaya@ub.edu” style=”flat” shape=”square” color=”primary” size=”lg” align=”left” link=”url:mailto%3Azozaya%40ub.edu|||”][\/vc_column][\/vc_row][vc_row padding_top=”20px” padding_bottom=”0px” bg_video=”” class=”” style=””][vc_column fade_animation_offset=”45px”][vc_tta_tour style=”modern” shape=”square” color=”white” spacing=”5″ controls_size=”sm” active_section=”1″ css_animation=”none”][vc_tta_section title=”Publications” tab_id=”1532016934428-4bbf5116-a836dc57-efb3″][vc_column_text]\n

Contemporary British Theatre<\/p>\n

2010: with Mireia Aragay, \u201cActos de fe: El teatro de David Hare, 1968-2009\u201d,\u00a0Primer Acto: Cuadernos de Investigaci\u00f3n Teatral\u00a0333, pp. 31-44.<\/p>\n

2007: co-editor with Mireia Aragay, Hildegard Klein, and Enric Monforte,\u00a0British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics. Basingstoke and New York: Palgrave Macmillan.<\/p>\n

2004: with Mireia Aragay, \u201cThe State of British Theatre Now: An Interview with Michael Billington\u201d,\u00a0Atlantis\u00a026: 1, pp. 89-100.<\/p>\n

2004: with Mireia Aragay, \u201cAssessing \u2019In-Yer-Face\u2019 Theatre: An Interview with Aleks Sierz\u201d,\u00a0The European English Messenger\u00a0XIII, 1, pp. 60-71.\u00a0<\/p>\n

2003: with Mireia Aragay, \u201cThe Royal Court in the 1990s: An Interview with Max Stafford-Clark\u201d, Anuari de Filologia\u00a0(Filologia Anglesa i Alemanya, Universitat de Barcelona) XXV, A-12, pp. 27-37.<\/p>\n

2002: \u201cBrujas, \u2018top girls\u2019 y criaturas extra\u00f1as en el teatro de Caryl Churchill\u201d,\u00a0Voces e im\u00e1genes de mujeres en el teatro del siglo XX: Dramaturgas anglonorteamericanas. Eds. Rosa Garc\u00eda Rayego and Eulalia Pi\u00f1ero Gil. Madrid: Editorial Complutense, pp. 125-59.<\/p>\n

2001: \u201cThe Desire of Verification: An Analysis of the Plays of Harold Pinter\u201d,\u00a0Contemporary English Studies (Language and Literature). Eds. Annette Gomis van Heteren et al. Almer\u00eda: Universidad de Almer\u00eda, pp. 481-91.<\/p>\n

2000: \u201cEl pasado y el presente en\/de la obra de Harold Pinter\u201d,\u00a0Primer Acto: Cuadernos de Investigaci\u00f3n Teatral\u00a0284, pp. 19-26.<\/p>\n

2000: \u201cVerifying the Past in Harold Pinter\u2019s Mountain Language\u201d,\u00a0Homenaje al Profesor Basilio Losada. Eds. Isabel de Riquer et al. Barcelona: Publicaciones de la Universidad de Barcelona, pp. 748-55.<\/p>\n

1996: \u201cAlternative Political Discourses in Ariel Dorfman\u2019s Death and the Maiden\u201d,\u00a0Atlantis\u00a018, 453-60.<\/p>\n

1996: \u201c\u2018The air is full of our cries\u2019: Reflexivity in Beckett\u2019s Not I\u201d,\u00a0Hailing Heaney. Eds. Rosa Gonz\u00e1lez and Jacqueline A. Hurtley. Barcelona: PPU, pp. 87-104.<\/p>\n

1996: co-editor with Mireia Aragay and V\u00edctor Molina, \u201cDossier Pinter\u201d,\u00a0Quimera\u00a0152, pp. 19-39.<\/p>\n

1995: \u201cAn Interview with Louise Page\u201d,\u00a0BELLS\u00a0(Barcelona English Language and Literature Studies) 6, pp. 193-205.<\/p>\n

1994: \u201cDramaturgas inglesas contempor\u00e1neas\u201d,\u00a0Mujeres y literatura. Eds. \u00c0ngels Carab\u00ed and Marta Segarra. Barcelona: PPU, pp. 151-63.<\/p>\n

1992: \u201cA Semiotic Approach to Beckett\u2019s Ohio Impromptu\u201d,\u00a0Voices of Ireland\/Veus d\u2019Irlanda. Eds. Nela Bureu, Pere Gallardo y Maria O\u2019Neill. Lleida: Pag\u00e8s Editors, pp. 99-106.<\/p>\n

1992: \u201cLooking around in Anger: A Study of Sarah Daniels\u2019s Masterpieces\u201d,\u00a0Homenaje a D\u00f1a. Patricia Shaw. Eds. Santiago Gonz\u00e1lez et al. Oviedo: Universidad de Oviedo, Vol. III, pp. 504-12.<\/p>\n

1991: \u201cQu\u00e9 D\u00f3nde\u201d,\u00a0(Pausa.), (Sala Beckett, Barcelona) 7, pp. 6-10.<\/p>\n

1991: \u201c\u2018Nothing is left to tell\u2019: El silencio en las \u00faltimas obras de Beckett\u201d, Samuel Beckett: Palabra y silencio. Eds. Juan Bargall\u00f3 Carret\u00e9 and Francisco Garc\u00eda Tortosa. Sevilla: Centro Andaluz de Teatro, pp. 97-106.<\/p>\n

1991: \u201cDavid Edgar: An Interview\u201d,\u00a0Homenaje a Enrique Garc\u00eda D\u00edez. Eds. Angel L\u00f3pez Garc\u00eda and Evangelina Rodr\u00edguez Cuadros. Valencia: Universidad de Valencia, pp. 543-50.<\/p>\n

1989:\u00a0Contemporary British Drama, 1980-1986. Barcelona: PPU.<\/p>\n

1989: \u201cPlays-within-Plays in Three Modern Plays\u201d,\u00a0Revista Alicantina de Estudios Ingleses\u00a01, pp. 189-201.<\/p>\n

1989: \u201cPinter\u2019s Angry Shout: An Analysis of The Hothouse and One for the Road\u201d,\u00a0Revista Canaria de Estudios Ingleses\u00a016, pp. 121-30.<\/p>\n

1988: \u201cPr\u00f3logo\u201d,\u00a0Top Girls, de Caryl Churchill. Barcelona: Institut del Teatre, pp. 5-15.<\/p>\n

1987: Programa de mano para de\u00a0The Dumb Waiter\u00a0y\u00a0One for the Road, de Harold Pinter. Barcelona: Publicacions Teatre Lliure, pp. 9-10.<\/p>\n

1987: \u201c\u2018Make sense who may\u2019: Beckett\u2019s A Piece of Monologue (1979) to What, Where (1983)\u201d, Revista Canaria de Estudios Ingleses\u00a015, pp. 7-23.<\/p>\n

1987: \u201cA Visit to Three New\/Old Pinteresque \u2018Other Places\u2019\u201d,\u00a0Atlantis\u00a09, pp. 53-61.<\/p>\n

1986: \u201cBond\u2019s Armageddon and its Aftermath in the War Plays\u201d,\u00a0Anuari d\u2019Angl\u00e8s\u00a0(Universitat Aut\u00f2noma de Barcelona) 9, pp. 19-32.<\/p>\n

Other<\/p>\n

2004: \u201cJuicio a Shakespeare: una aproximaci\u00f3n a Lear (1971) y a Bingo (1973) de Edward Bond\u201d, Shakespeare en la imaginaci\u00f3n contempor\u00e1nea. Revisiones y reescrituras de su obra. Ed. \u00c1ngeles de la Concha.\u00a0Madrid: Universidad Nacional de Educaci\u00f3n a Distancia, pp. 103-21.<\/p>\n

2003: \u201c’The Men in Black’: Political discourse in Shakespeare’s (c.1600) and Branagh’s (1996) Hamlet\u201d, Tendencias actuales en los Estudios Filol\u00f3gicos Anglo-Norteamericanos. Eds. Elena Ortells Mont\u00f3n and Jos\u00e9 Ram\u00f3n Prado P\u00e9rez. Castell\u00f3n: Publicaciones de la Universidad Jaume I, pp. 127-38.<\/p>\n

2003: \u201cRepresenting Women in Restoration England: a Re-assessment of Aphra Behn’s The Rover\u201d, Re-shaping the Genres: Restoration Women Writers. Eds. Zen\u00f3n Luis-Mart\u00ednez and Jorge Figueroa-Dorrego. Bern: Peter Lang, pp. 99-122.<\/p>\n

2002: with Mireia Aragay, \u201cTeaching Shakespeare Then and Now: The University of Barcelona as a Case Study\u201d, Shakespeare Yearbook, vol. 13 (Shakespeare and Spain). Eds. Jos\u00e9 Manuel Gonz\u00e1lez and Holger Klein. Lewiston: The Edwin Mellen Press, pp. 196-213.<\/p>\n

1997: \u201cThe Bard Revisited: New Readings of Shakespeare\u2019s Tragedies\u201d a key-note address given at XVIII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universidad de Alcal\u00e1 de Henares,16 December. Published in: Proceedings of XVIII International Conference of AEDEAN. Alcal\u00e1 de Henares, pp. 53-65.<\/p>\n

1995: \u201cAn Interview with Louise Page\u201d, BELLS (Barcelona English Language and Literature Studies) 6, pp. 193-205.<\/p>\n

1995: \u201cLiteratura inglesa Isabelina\u201d, Lecciones de Literatura Universal. Ed. Jordi Llovet. Madrid: Ediciones C\u00e1tedra, pp. 255-64.<\/p>\n

1994: with Jacqueline Hurtley, \u201cAn Interview with Maggie Gee\u201d, BELLS (Barcelona English Language and Literature Studies) 5, pp. 171-83.<\/p>\n

1993: \u201cThe ‘eye’ in Chicago Loop by Paul Theroux\u201d, BELLS (Barcelona English Language and Literature Studies) 4, pp. 47-51.<\/p>\n

1990: \u201cIntroduction\u201d, BELLS (Barcelona English Language and Literature Studies) 1, pp. 1-2.<\/p>\n

1989: \u201cAphra Behn: La primera escritora profesional en Inglaterra\u201d, Estudios Literarios Ingleses: La restauraci\u00f3n, 1660-1700. Ed. Bern Dietz. Madrid: Ediciones C\u00e1tedra, pp. 265-303.<\/p>\n

1987: “Cr\u00edtica de \u00c9s aix\u00ed, si us ho sembla, de Luigi Pirandello”, El Temps, pp. 66-7.<\/p>\n

1986: \u201cWhen Less means More\u201d, English Diary. Barcelona: Barna House, pp. 13-6.<\/p>\n

1984: Traducci\u00f3n y adaptaci\u00f3n de A Basic English Grammar, de J.Eastwood and R. Mackin. Oxford: Oxford University Press.<\/p>\n

1984: \u201cEl sirviente en la novela inglesa del siglo XX\u201d, Ciclo sobre Literatura Inglesa Contempor\u00e1nea. Lleida: Universitat de Lleida, pp. 57-69.<\/p>\n

1983: \u201cIntroducci\u00f3n, Biograf\u00eda y Bibliograf\u00eda\u201d, Tito Andr\u00f3nico, Antonio y Cleopatra, Coriolano y Cimbelino, de William Shakespeare. Trad. Jos\u00e9 Mar\u00eda Valverde. Barcelona: Ediciones Planeta, pp. 9-36.<\/p>\n

1982: El sirviente ingl\u00e9s: Auge y declive. PPU: Barcelona.<\/p>\n

1982: \u201cCausas y efectos de la infancia de E. Cherrington en la trilog\u00eda de L.P. Hartley\u201d, Anuari de Filologia (Filologia Anglesa i Alemanya, Universitat de Barcelona) VIII, pp. 521-36.<\/p>\n

1981: \u201cUn h\u00e9roe dom\u00e9stico: el sirviente ingl\u00e9s (retrato y evoluci\u00f3n en la relaci\u00f3n con su amo)\u201d, a paper given at V International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of V International Conference of AEDEAN. Oviedo: Universidad de Oviedo, pp: 402-11.<\/p>\n

1980: \u201cSoledad, locura y muerte en Reflections in a Golden Eye, de Carson McCullers, y The Grass is Singing, de Doris Lessing\u201d, a paper given at IV International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of IV International Conference of AEDEAN. Salamanca: Universidad de Salamanca, pp: 355-62.<\/p>\n

1980: \u201cDe Sam Weller a Les Barret\u201d, Anuari de Filologia (Filologia Anglesa i Alemanya, Universitat de Barcelona) VI, pp. 527-40.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Conferences” tab_id=”1532016934468-1bcec533-1a64dc57-efb3″][vc_column_text]\n

Contemporary British Theatre<\/p>\n

2004: coordination of the round table \u201cShocking the Audience? Experiential Theatre in London since 1990\u201d, 7th Conference of the European Society for the Study of English (ESSE), Universidad de Zaragoza, 9 September.<\/p>\n

2004: participation in the round table \u201cShocking the Audience? Experiential Theatre in London since 1990\u201d with a paper on the theatre of Mark Ravenhill, 7th Conference of the European Society for the Study of English (ESSE), Universidad de Zaragoza, 9 September.<\/p>\n

1997: \u201cThe Desire of Verification: An Analysis of the Plays of Harold Pinter\u201d, paper presented at the 1st International Conference on English Studies. Universidad de Almer\u00eda, 23 October. Published in: 1st International Conference on English Studies: Conference Proceedings, pp. 481-91.<\/p>\n

1995: \u201cAn Approach to Ariel Dorfman\u2019s Death and the Maiden\u201d, paper presented at the 3rd Conference of the European Society for the Study of English (ESSE), University of Glasgow, 11 September.<\/p>\n

1992: \u201cPaintings, Fakes and Enigmas in Alan Bennett\u2019s A Question of Attribution\u201d, paper presented at the XVI International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), 15 December. Published in: Proceedings of XVI International Conference of AEDEAN, Valladolid, pp. 207-12.<\/p>\n

1992: \u201cSemantizaci\u00f3n esc\u00e9nica y deixis textual en las \u00faltimas obras de Samuel Beckett\u201d, paper presented at the International Conference \u201cTeatro del siglo XX\u201d, Universidad Complutense (Madrid), 19 November. Published in: Teatro del siglo XX: Actas del Congreso, Madrid, pp. 369-74.<\/p>\n

1991: \u201cThatcherite Women: A Study of Caryl Churchill\u2019s Top Girls\u201d, paper presented at the XII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universidad de Alicante, 19 December 1988. Published in: Proceedings of XII International Conference of AEDEAN, Alicante, pp. 129-34.<\/p>\n

1986: coordination of the round table \u201cLa tercera ola: Teatro Ingl\u00e9s contempor\u00e1neo\u201d, X International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universidad de Zaragoza, 18 December.<\/p>\n

1986: participation in the round table \u201cLa tercera ola: Teatro Ingl\u00e9s contempor\u00e1neo\u201d with a paper on contemporary British women playwrights, X International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universidad de Zaragoza. Published in: Proceedings of X International Conference of AEDEAN, Universidad de Zaragoza, pp. 519-20.<\/p>\n

1986: attendance at the symposium \u201cSamuel Beckett at eighty\u201d, University of Stirling, UK, 11-15 August.<\/p>\n

1984: \u201c\u2018The past is a foreign country\u2019: A Study of Pinter\u2019s Old Times and No Man\u2019s Land\u201d, paper presented at the VIII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universidad de M\u00e0laga, 19 December. Published in: Proceedings of VIII International Conference of AEDEAN, Universidad de M\u00e1laga, pp. 167-74.<\/p>\n

1983: \u201cExternal Appearance and Internal Meaning in Waiting for Godot\u201d, paper presented at the VII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universidad de Madrid, 21 December. Published in: Proceedings of VII International Conference of AEDEAN, Universidad de Madrid, pp. 253-59.<\/p>\n

1982: \u201cTom Stoppard: A Fellow of infinite Jest\u201d, paper presented at the VI International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universidad de Barcelona, 15 December. Published in: Proceedings of VI International Conference of AEDEAN, Universidad de Barcelona, pp. 305-11.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Talks, seminars, public engagement and practical work” tab_id=”1532017077695-d875c483-897cdc57-efb3″][vc_column_text]\n

Contemporary British Theatre<\/p>\n

2006: \u201cEl Teatro de Samuel Beckett: Una aproximaci\u00f3n\u201d, a guest lecture given within the symposium \u201cCelebraci\u00f3n del Centenario de Samuel Beckett\u201d, organized by Associaci\u00f3 d\u2019Investigaci\u00f3n i d\u2019Experimentaci\u00f3 Teatral (AIET), Barcelona, 28 September.<\/p>\n

2005: \u201cEl teatro de Caryl Churchill: del feminismo socialista a la abstracci\u00f3n formal\u201d, a guest lecture given within the \u201cIX Ciclo Autor: Caryl Churchill: Compromiso, inteligencia y creatividad\u201d, Festival Escena Contempor\u00e1nea, Teatro Pradillo (Madrid), 9 February.<\/p>\n

2003: \u201cDavid Hare, textos i contextos: des del Portable Theatre (1968) fins a The Breath of Life (2002)\u201d, a guest lecture co-authored with Mireia Aragay for the \u201cDavid Hare Season\u201d, organized by Fundaci\u00f3 Romea per a les Arts Esc\u00e8niques (Barcelona) and the British Council, 3 March.<\/p>\n

2002: \u201cEl teatre angl\u00e8s contemporani: la figura de Howard Barker\u201d, a public interview with Michael Billington on the occasion of the Catalan premiere of Scenes from an Execution (Escenes d\u2019una execuci\u00f3), organized by the British Council and the Teatre Nacional de Catalunya (TNC) and co-conducted with Mireia Aragay, 22 March.<\/p>\n

2000: \u201cBrujas, \u2019top girls\u2019 y criaturas extra\u00f1as en el teatro de Caryl Churchill\u201d, a guest lecture given within the \u201cII Ciclo Literatura hecha por Escritoras Anglonorteamericas\u201d, UNED (Madrid), 7 November.<\/p>\n

2000: \u201cEl pasado en\/de la obra dram\u00e1tica de Harold Pinter\u201d, a guest lecture given within the \u201cIV Ciclo Autor: Re-volviendo a Pinter\u201d, Festival Escena Contempor\u00e1nea, Teatro Pradillo (Madrid), 29 February.<\/p>\n

1996: \u201c\u2018The air is full of our cries\u2019: Reflexivity in Beckett\u2019s Not I\u201d, a guest lecture given within \u201cHailing Heaney: An International Conference for a Nineties Nobel\u201d, Universitat de Barcelona, 8 March.<\/p>\n

1996: \u201cLa Memoria en la obra de Harold Pinter\u201d, a guest lecture given within the Pinter season \u201cOto\u00f1o Pinter\u201d, organized by Sala Beckett (Barcelona) and the British Council, 9 December.<\/p>\n

1993: \u201cContemporary British Drama\u201d, a guest lecture given within the cycle \u201cContemporary Literature in English\u201d, organized by the British Council (Barcelona), 12 May.<\/p>\n

1993: \u201cMetatheatrical functions in Ronald Harwood\u2019s The Dresser and Reflected Glory\u201d, a guest lecture given within the cycle \u201cLiterature in English: New Trends\u201d, organized by the British Council (Barcelona), 13 January.<\/p>\n

1992: \u201cUna aproximaci\u00f3n a las \u00faltimas obras teatrales de Samuel Beckett\u201d, a guest lecture given within the \u201cCiclo sobre Literatura Inglesa (Teatro)\u201d, organized by Universidad de Navarra (Pamplona), 4 March.<\/p>\n

1992: \u201cA Semiotic Approach to Beckett\u2019s Ohio Impromptu\u201d, a guest lecture given within the \u201c1st. Conference on Irish Studies\u201d, Universitat de Lleida, 11 March.<\/p>\n

1991: \u201cVisual and Aural Images in Beckett\u2019s Later Plays\u201d, a guest lecture given within the \u201cSixth Annual Anglo-American Week\u201d, organized by Universidad de Deusto (Bilbao), 22 April.<\/p>\n

1991: \u201cWho\u2019s Who in Contemporary British Drama\u201d, a guest lecture given within the \u201cI Congreso Internacional sobre la ense\u00f1anza de lenguas extranjeras\u201d, organized by Universitat de Barcelona, 1 February.<\/p>\n

1990: \u201c\u2018Nothing is left to tell\u2019: El silencio en las \u00faltimas obras de Beckett\u201d, a guest lecture given within the \u201cI Simposio Samuel Beckett\u201d, Universidad de Sevilla, 10 December.<\/p>\n

1990: \u201cDramaturgas inglesas contempor\u00e1neas\u201d, a talk given at the \u201cI Seminario de Literatura escrita por mujeres\u201d, organized by Universitat de Barcelona, 14 April.<\/p>\n

1990: \u201cThe Rest is Silence\u201d, a guest lecture given within the Symposium \u201c\u2018In Memoriam\u2019 de Samuel Beckett\u201d, organized by Universidad de Le\u00f3n (Le\u00f3n), 16 March.<\/p>\n

1987\/1986: Cycle of 9 talks on British contemporary drama, \u201cEncuentros con el Teatro Brit\u00e1nico Contempor\u00e1neo\u201d, organized by the British Council (Barcelona), November 1986 \u2013June 1987.<\/p>\n

1986: \u201cTheatre of the 80\u2019s in Britain\u201d, a guest lecture given within the \u201cJornadas de Literatura Inglesa Contempor\u00e1nea\u201d, organized by Universitat de Lleida, 30 March.<\/p>\n

1985: \u201cBeckett y el Teatro del Absurdo\u201d, a talk given within the \u201cJourn\u00e9es de Literature Anglaise Contemporaine\u201d, organized by Universit\u00e9 de Montpellier (France), 19 March.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Doctoral Theses” tab_id=”1532024044486-dbdb1456-22d3″][vc_column_text]\n

Contemporary British Theatre<\/p>\n

2000: Enric Monforte, \u201cGender, Politics, Subjectivity: Reading Caryl Churchill\u201d.<\/p>\n

1997: Eva Espasa, \u201cLa transposici\u00f3 esc\u00e8nica: el proc\u00e9s de traducci\u00f3 i producci\u00f3 de Gust de mel i Les alegres casades de Windsor\u201d.<\/p>\n

1992: Mireia Aragay, \u201cAn\u00e0lisi del llenguatge en l\u2019obra teatral de Harold Pinter\u201d.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”MA Dissertations” tab_id=”1532024053146-f9988b17-5cb7″][vc_column_text]\n

Contemporary British Theatre<\/p>\n

2006: Clara Escoda, \u201c\u2018Trees Have Names\u2019: Postdramatism, or the Search for a Non-Mediated Political Space in Martin Crimp\u2019s Theatre\u201d.<\/p>\n

2005: M\u00f2nica Miravet, \u201cIn-yer-Face Theatre: A Journey to the 1990s in Britain\u201d.<\/p>\n

2005: Mar\u00eda Isabel Seguro, \u201cCaryl Churchill\u2019s Cloud Nine: A Practice on Intersectionality\u201d.[\/vc_column_text][\/vc_tta_section][\/vc_tta_tour][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row no_margin=”true” padding_top=”0px” padding_bottom=”0px” border=”none”][vc_column fade_animation_offset=”45px”][vc_column_text] Pilar Zozaya is Emeritus Professor of English Literature in the Department of English and …<\/p>\n","protected":false},"author":1,"featured_media":465,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1692","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/pages\/1692","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/comments?post=1692"}],"version-history":[{"count":1,"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/pages\/1692\/revisions"}],"predecessor-version":[{"id":1693,"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/pages\/1692\/revisions\/1693"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/media\/465"}],"wp:attachment":[{"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/media?parent=1692"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}