{"id":1695,"date":"2021-07-26T11:12:40","date_gmt":"2021-07-26T09:12:40","guid":{"rendered":"https:\/\/www.ub.edu\/cbtbarcelona\/?page_id=1695"},"modified":"2021-07-26T11:12:40","modified_gmt":"2021-07-26T09:12:40","slug":"hildegard-klein","status":"publish","type":"page","link":"https:\/\/www.ub.edu\/cbtbarcelona\/hildegard-klein\/","title":{"rendered":"Hildegard Klein"},"content":{"rendered":"
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Hildegard Klein was Senior Lecturer in the English Literature Section of the Department of English, German and French, University of M\u00e1laga, until her recent retirement.<\/strong><\/h5>\n

She holds a BA in English Philology (University of Malaga) and a PhD (University of Granada). Her PhD thesis focused on the didactic component of the theatre of Edward Bond. She has published widely on different aspects of Bond\u2019s work in national and international journals. Beyond Bond, she has worked on playwrights such as Michael Frayn and, particularly, on British feminist theatre.<\/p>\n

She is co-editor of Teor\u00edas feministas y sus aplicaciones al teatro feminista brit\u00e1nico contempor\u00e1neo (Granada: Comares, 2000), and editor of Estrategias feministas en el teatro brit\u00e1nico del siglo XX (M\u00e1laga: Atenea, Vol. 41, Universidad de M\u00e1laga, 2003). She has also researched the drama of a totally unknown early 20th-century German author, Frieda H. Kraze. Since 2000, as a result of an ongoing collaboration with the Romanian University of Timisoara, she has published an article on British feminist drama and in-yer-face theatre in the journal Gender Studies<\/em> every year. She is co-editor of British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics<\/em> (Basingstoke and New York: Palgrave Macmillan, 2007). She was a member of “British Theatre of the 1990s\u201d, a three-year research project funded by the Spanish Ministry of Science and Education (BFF2002-00257), and of “The Representation of Politics and the Politics of Representation in post-1990 British Theatre”, a three-year research project funded by the Spanish Ministry of Science and Innovation (FF12009-07598\/FILO).[\/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=”hklein@uma.es” style=”flat” shape=”square” color=”primary” size=”lg” align=”left” link=”url:mailto%3Ahklein%40uma.es|||”][\/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-a836ea71-dfaa”][vc_column_text]\n

Contemporary British Theatre<\/strong><\/h5>\n

2013:<\/strong> “Federico Garc\u00eda Lorca\u2019s\u00a0Yerma<\/em>\u00a0(1937) and Ruth Carter\u2019s\u00a0A Yearning<\/em>\u00a0(1999): Oppression of Women through Space and Time\u201d,\u00a0Gender Studies<\/em>\u00a012: 1, pp. 230-45.<\/p>\n

2013:<\/strong> “Other Britains in Black British Drama”,\u00a0Postcolonial Studies Association Newsletter,\u00a0<\/em>Special Issue: Other Britains, 11\/Spring, pp. 15-16.<\/p>\n

2012<\/strong> \u201cTrauma Drama: Victims\u2019 Traumatic Memories in Kay Adshead\u2019s The Bogus Woman<\/em> (2001) and Timberlake Wertenbaker\u2019s Credible Witness<\/em> (2001)\u201d,\u00a0Gender Studies<\/em>\u00a012: 1, pp. 62-73.<\/p>\n

2012:<\/strong> “Lilies on the Land:<\/em>\u00a0The Forgotten Women\u2019s Land Army of World War II. A Documentary Play”,\u00a0Gender Studies<\/em>\u00a01: \u00a011, pp. 189-199.<\/p>\n

2011:<\/strong> “Mark Ravenhill’s Plays: Woman\u2019s Nourishing Role in a Barren Homosexual World\u201d,\u00a0Gender Studies<\/em>\u00a01: 10, pp. 163-73.<\/p>\n

2010:<\/strong>\u00a0“Harper Regan – A Female Protagonist’s Flight from Personal\u00a0Catastrophe: Her Voyage of Discovery and Return to Redemption”. Gender Studies<\/em> 1: 9, pp. 125-35.<\/p>\n

2009:<\/strong> \u201cMatricide: Violating the Sacred Mother-Daughter Bond in The Beauty Queen of Leenane\u201d, Gender Studies<\/em> 1: 8, pp. 139-49.<\/p>\n

2008:<\/strong> \u201cRebellious Women Figures in Edward Bond\u2019s Theatre Challenging Patriarchy\u201d, Gender Studies 1: 7, pp. 207-17.<\/p>\n

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

2007:<\/strong> \u201cLa objetivaci\u00f3n del cuerpo femenino dentro del sistema de representaci\u00f3n masculina: Masterpieces de Sarah Daniels\u201d, Cuerpo de mujeres: miradas, representaciones e identidades<\/em>.\u00a0Eds. Ana M\u00aa Mu\u00f1oz Mu\u00f1oz, Carmen Gregorio Gil and Adelina S\u00e1nchez Espinosa. Feminae <\/em>24,\u00a0<\/em>Granada: Universidad de Granada, pp. 171-84.<\/p>\n

2006:<\/strong> \u201cLa nueva est\u00e9tica en la escena londinense al final del milenio: un teatro experimental y provocador\u201d, De habitaciones propias y otros espacios conquistados: mujeres y literatura en lengua inglesa<\/em>. Eds. Margarita Carretero Gonz\u00e1lez, M\u00aa Elena Rodr\u00edguez Mart\u00edn and Gerardo Rodriguez Salas. Granada: Universidad de Granada, pp. 171-84.<\/p>\n

2006:<\/strong> \u201cGirl Power in the British Theatre of the Nineties: Violent Disoriented Girl Gangs Kick Traditional Ideas of Femininity\u201d, Gender Studies<\/em> 1: 5, pp. 189-200.<\/p>\n

2005:<\/strong> \u201cPerpetrators and Victims in British Controversial In-Yer-Face Drama of the 1990s\u201d, Gender Studies<\/em> 1: 4, pp. 157-70.<\/p>\n

2004:<\/strong> \u201cMother\/Daughter Relationship in British Feminist Drama from a Psychoanalytical Perspective\u201d, Gender Studies<\/em> 1: 3, pp. 147-61.<\/p>\n

2003:<\/strong> editor, Estrategias feministas en el teatro brit\u00e1nico del siglo XX<\/em>. M\u00e1laga: Servicio de Publicaciones de la Universidad de M\u00e1laga.<\/p>\n

2003:<\/strong> \u201cViolence, Silence and the Power of Language in Edward Bond\u2019s The Woman<\/em> and Timberlake Wertenbaker\u2019s The Love of the Nightingale<\/em>: Transformation of Greek Myths for Our Time\u201d, Gender Studies<\/em> 1: 2, pp. 19-32.<\/p>\n

2002:<\/strong> \u201cWhy Must a Man Have Only One Woman?: The Entanglement of an Artist in a Triangular Relationship\u201d, Gender Studies<\/em> 1: 1, pp. 73-80.<\/p>\n

2000:<\/strong> \u201cCertainty\/Uncertainty and the Notion of Time in Michael Frayn\u2019s Copenhagen<\/em>\u201d, Studii di Limbi si Literaturi Moderne<\/em>, pp. 269-79.<\/p>\n

2000:<\/strong> with Blanca L\u00f3pez Rom\u00e1n, Teor\u00edas feministas y sus aplicaciones al teatro feminista brit\u00e1nico contempor\u00e1neo<\/em>. Granada: Comares.<\/p>\n

1997:<\/strong> “Greek Myths Deconstructed in Edward Bond’s The Woman”<\/em>,\u00a0Enciclopedia del Teatro.\u00a0<\/em>Instituto Europeo de Investigaci\u00f3n Teatral. CD-Rom.<\/p>\n

1995:<\/strong> “Violence in the Theatre of Edward Bond”, In-Between<\/em> 4: 2, pp. 163-79.<\/p>\n

1995:<\/strong> “Edward Bond: An Interview”, Modern Drama<\/em> 38: 3, pp. 408-15.<\/p>\n

1994:<\/strong> “La ense\u00f1anza de la interpretaci\u00f3n de una escena de las obras de Edward Bond como paradigma de su teatro”, Teatro<\/em> 5, pp. 133-39.<\/p>\n

1991:<\/strong> “Edward Bond’s Use of Sociolects in his Dramatic Work”, Atlantis<\/em> 14: 1-2, pp. 93-101.<\/p>\n

1989:<\/strong> “Human Cannon – An Epic History Play by Edward Bond”, Anejos de Analecta Malacitana<\/em> 6, pp.\u00a081-91.<\/p>\n

1989:<\/strong> “Edward Bond: \u00abLear was standing in my path…\u00bb – Lear’s Progressive Journey from Blindness to Moral Insight and Action”, Atlantis<\/em> 11: 1-2,\u00a0pp. 71-8.<\/p>\n

 <\/p>\n

Other<\/strong><\/h5>\n

2000:<\/strong> “Frieda H. Kraze’s Erf\u00fcllungen<\/em> (Fulfilment<\/em>): A Play of Today for Tomorrow”, Women, The First World War and the Dramatic Imagination, International Essays (1914-1999)<\/em>. Ed. Claire M. Tylee, Lampeter: Mellen Press, pp. 23-38.<\/p>\n

2000:<\/strong> “Erf\u00fcllungen<\/em>\u00a0von Friede H. Kraze: Ein St\u00fcck von heute f\u00fcr morgen”, Friede H. Kraze, Von Husum nach Weimar Leben and Werk<\/em>. Eds. Arno Bamm\u00e9 y J\u00fcrgen Dietrich. Munich and Viena: Profil Verlag, pp. 171-188.<\/p>\n

2000:<\/strong> “George III: A Tragic Hero?”, a paper given at XVII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of the XVII International Conference of AEDEAN<\/em>. Departamento de Filolox\u00eda Inglesa, Francesa e Alemana, Universidad de Vigo, pp. 189-92.<\/p>\n

1999:<\/strong> “Hero\u00ednas femeninas en la resistencia: la Guerra de la Independencia y la Guerra Civil Espa\u00f1ola – Agustina de Arag\u00f3n y Agustina de Estarobon”,\u00a0Pensamiento, Imagen, Identidad: A la B\u00fasqueda de la Definici\u00f3n de G\u00e9nero<\/em>. Ed. M\u00aa J. Jim\u00e9nez Tom\u00e9. M\u00e1laga: Universidad de M\u00e1laga, Atenea, pp. 298-319.<\/p>\n

1998:<\/strong> “Friede H. Kraze’s Play Erf\u00fcllungen<\/em> (Fulfilment<\/em>): A Play of Today for Tomorrow”, Institut f\u00fcr Interdisziplin\u00e4re Forschung und Fortbildung der Universit\u00e4ten Innsbruck,\u00a0Heft\u00a0<\/em>20, Klagenfurt, Wien,\u00a0pp. 1-18.<\/p>\n

1998:<\/strong> “Stanley Spencer, a Male Artist Enthralled by a Grasping Lesbian Painter”, a paper given at 2nd conference “Lesbos from Sapo (600 B.C.)” to the “3rd millennium, homosexuality in mythology, religions and plays of various eras”. Published in: Conference Proceedings<\/em>. Ed. Lia Karavia.\u00a0Athens, pp. 67-74.<\/p>\n

1997:<\/strong> “Gatsby and the Lost Generation<\/em>“, In-Between<\/em> 6: 1, pp. 49-58.<\/p>\n

1997:<\/strong> “Notes on Post-modernism and two Post-modern plays”, a paper given at XVIII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of the XVIII International Conference of AEDEAN<\/em>. Servicio de publicaciones, Universidad de Alcal\u00e1 de Henares, pp. 647-54.<\/p>\n

1996:<\/strong> “Historical Retrospection: Dramatic Myths of Women in the Rural Plays of Garc\u00eda Lorca”, a paper given at the international conference \u201cThe Imaging of Women in Myth and History\u201d. Published in: Proceedings of the Conference<\/em>. Ed. Hema Raghavan.\u00a0Gargi College, Delhi, pp. 61-72.<\/p>\n

1996:<\/strong> “Artaud and the English \u2018theatre of cruelty\u2019”, a paper given at XIV International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of the XIV International Conference of AEDEAN<\/em>. Bilbao: Servicio editorial, Universidad del Pa\u00eds Vasco, pp. 259-65.<\/p>\n

1991:<\/strong> “A-a-america”, a paper given at XIII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of the XIII International Conference of AEDEAN<\/em>. Barcelona: PPU, pp. 231-4<\/p>\n

1988:<\/strong> “The Dramatist Can Help to Create a New Theatre by the Way He Writes”, a paper given at XII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of the XII International Conference of AEDEAN<\/em>. Departamento de Filolog\u00eda Inglesa, Universidad de Alicante, pp. 325-30.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Conferences” tab_id=”1532016934468-1bcec533-1a64ea71-dfaa”][vc_column_text]\n

Contemporary British Theatre<\/strong><\/h5>\n

2013:<\/strong> “Federico Garc\u00eda Lorca’s\u00a0Yerma<\/em>\u00a0(1937) and Ruth Carter’s\u00a0A Yearning<\/em>\u00a0(1999): Oppression of Women through Space and Time”, paper presented at the XXIII Conference on British and American Studies, Timisoara, 16-18 May.<\/p>\n

2012:<\/strong> \u201cBlack British Drama: Defining the Multiracial-Multicultural British Hybrid Identity\u201d, paper presented at the 11th Conference of the European Society for the Study of English (ESSE), Bogazici University, Istanbul, 4-8 September.<\/p>\n

2012:<\/strong> “Performing the Victims\u2019 Disturbing Memories in Kay Adshead\u2019s\u00a0The Bogus Woman<\/em>\u00a0and Timberlake Wertenbaker\u2019s\u00a0Credible Witness<\/em>“, paper presented at the XXII Conference on British and American Studies, Timisoara, 17-19 May.<\/p>\n

2011:<\/strong> coordination of the round table \u201cThe Politics of Re-reading\/Rewriting in Contemporary British Theatre\u201d, XXXV International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universitat Aut\u00f2noma de Barcelona, 17 November.<\/p>\n

2011:<\/strong> \u201cLilies on the Land\u00a0<\/em>\u2013 The Forgotten Women\u2019s Land Army of World War II \u2013 a documentary play\u201d, paper presented at the 21st<\/sup>\u00a0Conference on British and American Studies, Timisoara, 19 May.<\/p>\n

2010:<\/strong> “The Nourishing Function of Women in the Barren Homosexual World in\u00a0Mark Ravenhill’s plays”, paper presented at the 20th Conference on British\u00a0and American Studies, Timisoara, 20 May.<\/p>\n

2010:<\/strong> “Joe Penhall’s London Crisis Drama: From Urban Alienation, Social Marginality and Isolation to Schizophrenia”, \u00a0paper presented at the conference “Contemporary British Theatre: Towards a New Canon”, School of English, Birmingham City University, 16 October.<\/p>\n

2009:<\/strong> \u201cHarper Regan: A Female Protagonist\u2019s Flight from Personal Catastrophe, her Voyage of Discovery and Return to Redemption\u201d, paper presented at the 19th Conference on British and American Studies, Timisoara, 21 May.<\/p>\n

2008:<\/strong> \u201cMatricide Violating the Sacred Mother-Daughter Bond in The Beauty Queen of Leenane<\/em>\u201d, paper presented at the 18th Conference on British and American Studies, Timisoara, 22 May.<\/p>\n

2007:<\/strong> \u201cRebellious Women Figures in Edward Bond\u2019s Theatre Challenging Patriarchy\u201d, paper presented at the 17th Conference on British and American Studies, Timisoara, 17 May.<\/p>\n

2005:<\/strong> \u201cGirl Power in the British Theatre of the Nineties: Violent Disoriented Girl Gangs Kick Traditional Ideas of Femininity\u201d, paper presented at the 15th Conference on British and American Studies, Timisoara, 19 May.<\/p>\n

2004:<\/strong> \u201cPerpetrators and Victims in British Controversial In-Yer-Face Drama of the 1990s\u201d, paper presented at the 14th Conference on British and American Studies, Timisoara, 13 May.<\/p>\n

2004:<\/strong> \u201cMasterpieces by Sarah Daniels: Women as Objects in the Male Gaze\u201d, paper presented at the “Simposio ‘Cuerpo de Mujer: Miradas, Representaciones e Identidades’\u201d, Instituto de Estudios de la Mujer, Granada, 20-21 September.<\/p>\n

2003:<\/strong> \u201cMother\/Daughter Relationship in British Feminist Drama\u201d, paper presented at the 13th Conference on British and American Studies, Timisoara, 15 May.<\/p>\n

2002:<\/strong> \u201cViolence, Silence and the Power of Language in Edward Bond\u2019s The Woman<\/em> and Timberlake Wertenbaker\u2019s The Love of the Nightingale<\/em>: Transformation of Greek Myths for Our Time\u201d, paper presented at the 12th Conference on British and American Studies, Timisoara, 17 May.<\/p>\n

2001:<\/strong> \u201cWhy Must a Man Have Only One Woman?: The Entanglement of an Artist in a Triangular Relationship\u201d, paper presented at the 11th Conference on British and American Studies, Timisoara, 17 May.<\/p>\n

2000:<\/strong> \u201cCertainty\/Uncertainty and the Notion of Time in Michael Frayn\u2019s Copenhagen\u201d, paper presented at the 10th Conference on British and American Studies, Timisoara, 18 May.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”MA Dissertations” tab_id=”1532017077695-d875c483-897cea71-dfaa”][vc_column_text]\n

Contemporary British Theatre<\/strong><\/h5>\n

2010:<\/strong> Jos\u00e9 Francisco Subiri, \u201cAn\u00e1lisis de las obras dram\u00e1ticas de Mark Ravenhill: Teatro politico versus teatro queer<\/em>\u201d.<\/p>\n

2002:<\/strong> Encarnaci\u00f3n Fuentes Nieblas, \u201cAn\u00e1lisis de Personajes Hist\u00f3ricos, Art\u00edsticos y M\u00edticos en la Obra de Pam Gems\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] Hildegard Klein was Senior Lecturer in the English Literature Section of the Department of …<\/p>\n","protected":false},"author":1,"featured_media":342,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1695","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/pages\/1695","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=1695"}],"version-history":[{"count":1,"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/pages\/1695\/revisions"}],"predecessor-version":[{"id":1696,"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/pages\/1695\/revisions\/1696"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/media\/342"}],"wp:attachment":[{"href":"https:\/\/www.ub.edu\/cbtbarcelona\/wp-json\/wp\/v2\/media?parent=1695"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}