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The study examines ghostly effects, the return of the dead, melancholic incorporation, and traumatic memory shaped as split subjectivity. It also investigates feminist (de)mythologizing strategies and A-effect aesthetics in rewriting, alongside epic adaptation and ontological deconstruction within precarious new war plays. The work grounds its analysis in close readings of plays and conceptual frameworks.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/haunting-the-stage-the-performance-of-trauma-by-contemporary-female-playwrights/138065/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/haunting-the-stage-the-performance-of-trauma-by-contemporary-female-playwrights/138065.png","ImageObject",300,407,{"name":92,"@type":93},"Ethan Miller","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-09-20","2026-08-23",true,{"@type":102,"interactionType":103,"userInteractionCount":34},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What is the central focus of the thesis?","Question",{"text":112,"@type":113},"The thesis focuses on how contemporary female playwrights perform trauma in theatre, using concepts such as haunting, spectrality, and reworked selfhood.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"Which themes are used to analyze traumatic experience on stage?",{"text":117,"@type":113},"It analyzes ghostly effects like the return of the dead, melancholic incorporation, split selfhood, traumatic memory, and feminist strategies of (de)mythologizing and rewriting.",{"name":119,"@type":110,"acceptedAnswer":120},"How does the thesis connect war and theatrical aesthetics?",{"text":121,"@type":113},"It studies spectrality and ontological deconstruction as aesthetics of precariousness in new war plays, showing how trauma is staged through unstable being and form.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},138065,1787473917,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":34,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":129,"read_time":144},687207017582,"https://ap-avatar.wpscdn.com/davatar_994ba38a5ba835b3df7d355c54d3ed8d","DEPARTAMENTO DE LITERATURA INGLESA Y NORTEAMERICANA.  \nDOCTORAL THESIS.  \nHaunting the Stage: The Performance of Trauma by Contemporary Female  \nPlaywrights.  \nEva Gil Cuder  \nSupervisor: Dr. Carolina Sánchez-Palencia Carazo  \nUniversity of Seville  \nMay 2014.  \nHaunting the Stage: The Performance of Trauma by Contemporary  \nFemale Playwrights.  \nTESIS DOCTORAL presentada por la doctoranda EVA GIL CUDER para laobtención del grado de DOCTOR CON MENCIÓN INTERNACIONAL POR LA  \nUNIVERSIDAD DE SEVILLA.  \nSEVILLA, 2014.  \nLa Directora de Tesis  \nCarolina Sánchez-Palencia Carazo  \nLa Doctoranda  \nEva Gil Cuder  \nAcknowledgments.  \nThe accomplishment of this doctoral thesis has been possible thanks to the research fellowships granted by the Plan Propio de Investigación, Universidad de Sevilla, and the Deutscher Akademischer Austauschdienst (DAAD) . Without their financial support, it would not have been possible to culminate the work I now present.  \nTo my academic supervisor, Professor Carolina Sánchez-Palencia Carazo, I will be in eternal debt of gratitude not only for her very illuminating commentaries and suggestions during the research and writing process, but also, and especially, for her confidence on my working capabilities. Her words of encouragement were of inestimable value during the work in progress of this doctoral thesis.  \nFor their trust and academic generosity during my early years as a university student, I thank Professors Juan Carlos Hidalgo-Ciudad and Michael J. Gronow. And for her boundless willingness to help, I will always remain grateful to Ana Luisa Martín Bejarano. The Department of English and American Literature at the University of Seville and the Research Group “Discursos de la Postmodernidad” (HUM-399), led respectively by Ramón EspejoRomero and Manuel Almagro-Jiménez, have also been supporting and encouraging environments during these years.  \nTo Professors Anthony Bale, Roger Luckhurst, Louise Owen and Mr. Colin Teevan from Birkbeck College, The University of London, whom I thank for their supervisory sessions during the very early stages of my doctoral work.  \nI thank Professor Christina Wald for her very illuminating academic guidance during the early writing process and for receiving me at the University of Augsburg for a stay unexpectedly extended. To the exceptionally welcoming team at the Department of English Literature, I am grateful for their kindhearted and honest disposition to make me feel home. For his constant kindness and generosity to let me take part in the very stimulating activities there hosted, I am truly grateful to Professor Martin Middeke. The academic and personal value of my stay at the University of Augsburg is inestimable.  \nAlejandra Camacho, Lisa Lehle, and Lisa Wendl have been a solid source of daily determination during the last stages of work, and for their constant support and encouragement Iam also terribly grateful to Simone Hösch and Julia Elsner.  \nErin Suyehara and Dr. Antonella Russo have each differently been the guiding voice of experience helping me find my track back, and will always remain a reference for my personal self-improvement.  \nTo my German family, especially to Beatriz Sancho, Andrea Fuertes, Jose María Jiménez, María Couso and Rosa Álvarez, I owe my sense of purpose, and to Allende del Pino, Ana María Jiménez, Ares Ulises Díaz and Ana Asuero (& the Marians) I owe my sense of self, thanks to them still intact after months of investigative enclosure.  \nFor the most illuminating speech ever addressed to me at a moment of academic disbelief, I have learnt to regard Francisco Gil Cuder as the older brother he is not. To Julia Gil Cuder for her ever unconditional support and complicity despite distances.  \nTo my parents, Esperanza and Francisco, with ineffable gratitude. For everything.  \nA mis padres, con inefable gratitud.  \nGil Cuder  \nHaunting the Stage.  \nContents.  \ni  \n1. Abbreviations…………………………………………………………………...v  \n2. La Estética del Espectro ","cbCaiq0JX7rPKcUS","https://ap.wps.com/l/cbCaiq0JX7rPKcUS","pdf",1749164,358,"English","# Acknowledgments\n# Contents\n## Abbreviations\n## La Estética del Espectro como Representación del Trauma en la Obra de Dramaturgas Contemporáneas\n## Introduction\n## Chapter 1. Ghostly Elusiveness and Melancholic Incorporation: the Haunted Victim\n## Chapter 2. Perspectives of Selfhood: Ghosting and the Split Self as a Lens to Traumatic Memory\n## Chapter 3. “I think I’ve had this conversation before:”(de)Mythologizing and the A-effect in Contemporary Feminist Rewriting\n## Chapter 4. “Don’t be frightened…I’m not a human being”: Spectrality and Ontological Deconstruction as Aesthetics of Precariousness in New War Plays","[{\"question\":\"What is the central focus of the thesis?\",\"answer\":\"The thesis focuses on how contemporary female playwrights perform trauma in theatre, using concepts such as haunting, spectrality, and reworked selfhood.\"},{\"question\":\"Which themes are used to analyze traumatic experience on stage?\",\"answer\":\"It analyzes ghostly effects like the return of the dead, melancholic incorporation, split selfhood, traumatic memory, and feminist strategies of (de)mythologizing and rewriting.\"},{\"question\":\"How does the thesis connect war and theatrical aesthetics?\",\"answer\":\"It studies spectrality and ontological deconstruction as aesthetics of precariousness in new war plays, showing how trauma is staged through unstable being and form.\"}]","Haunting the Stage - The Performance of Trauma by Contemporary Female Playwrights | PDF",902]